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Canvas remix / by Burke, Alisa.(CARDINAL)489395;
Subjects: Handicraft.; Mixed media painting.; Wearable art.;
Available copies: 1 / Total copies: 1
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The jazzmen : how Duke Ellington, Louis Armstrong, and Count Basie transformed America / by Tye, Larry,author.(CARDINAL)686264;
Includes bibliographical references and index.part I. Setting the stage. Satchmo's battlefield ; The Count's shrouded roots in Red Bank ; Duke's capital experience -- part II. Musical lives: Nightspots ; Life on the rocky road ; Getting there ; Setting the themes ; The language of jazz ; On center stage -- part III. It's an ensemble: The sidemen ; Side women ; Managers and mobsters ; Critical audiences and professional critics -- part IV. Offstage: Family unfriendly ; Mistresses and misogyny ; Keeping the faith ; Cravings and dependencies ; Toilet truths, food fetishes, and other medical matters ; Follow the money -- part V. Race matters: Artists and entertainers ; Resetting the themes ; Breakthrough battles ; Overseas ambassadors -- part VI. Last acts: Long-lived ; Last days and lasting memories -- Epilogue: Legacies."This is the story of three revolutionary American musicians, the maestro jazzmen who orchestrated the chords that throb at the soul of twentieth-century America. Duke Ellington, the grandson of slaves who was christened Edward Kennedy Ellington, was a man whose story is as layered and nuanced as his name suggests and whose music transcended category. Louis Daniel Armstrong was born in a New Orleans slum so tough it was called The Battlefield and, at age seven, got his first musical instrument, a ten-cent tin horn that drew buyers to his rag-peddling wagon and set him on the road to elevating jazz into a pulsating force for spontaneity and freedom. William James Basie, too, grew up in a world unfamiliar to white fans--the son of a coachman and laundress who dreamed of escaping every time the traveling carnival swept into town, and who finally engineered his getaway with help from Fats Waller. What is far less known about these groundbreakers is that they were bound not just by their music or even the discrimination that they, like nearly all Black performers of their day, routinely encountered. Each defied and ultimately overcame racial boundaries by opening America's eyes and souls to the magnificence of their music. In the process they wrote the soundtrack for the civil rights movement."--
Subjects: Biographies.; Ellington, Duke, 1899-1974.; Armstrong, Louis, 1901-1971.; Basie, Count, 1904-1984.; African American jazz musicians; Jazz musicians;
Available copies: 27 / Total copies: 28
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Boundless : twenty voices celebrating multicultural and multiracial identities / by Bowman, Akemi Dawn,contributor.(CARDINAL)357267; Moldavsky, Goldy,contributor.(CARDINAL)624092; Hopson, Nasug̊raq Rainey,contributor.(CARDINAL)837314; Jean, Emiko,contributor.(CARDINAL)409933; Ryon, Loriel,contributor.(CARDINAL)831636; Hiranandani, Veera,contributor.(CARDINAL)354031; Alsaid, Adi,contributor.(CARDINAL)614719; Gregorio, I. W.,1976-contributor.(CARDINAL)619827; Williams, Ismée,contributor.(CARDINAL)416752; Yin, Karen,contributor.(CARDINAL)870595; Fajardo, Anika,contributor.(CARDINAL)556366; Mangal, Mélina,contributor.(CARDINAL)669541; Smith, Eric(Eric A.),contributor.(CARDINAL)611238; Gibney, Shannon,contributor.(CARDINAL)564440; Sim, Tara,contributor.(CARDINAL)629210; Maldonado, Torrey,contributor.(CARDINAL)495854; Kelly, Erin Entrada,contributor.(CARDINAL)351798; Balcárcel, Rebecca,editor.(CARDINAL)816040; Ribay, Randy,contributor.(CARDINAL)411068; Warga, Jasmine,contributor.(CARDINAL)408305;
"When identities cross boundaries, with love that knows no bounds. From platonic and romantic love to grief and heartbreak, these stories explore navigating life at the intersection of identities, and what it means to grow up surrounded by a multitude of traditions, languages, cultures, and interpersonal dynamics. Returning to a father's homeland. Trying to fit in at chaotic weddings and lavish birthday parties where not all are welcome. Processing grief at family gatherings. Figuring out how to share the news of a new relationship with loved ones. This collection celebrates multicultural and multiracial characters at the helm of their own narratives, as they approach life with a renewed sense of hope and acceptance."--
Subjects: Young adult fiction.; Short stories.; Bildungsromans.; Domestic fiction.; Multiracial people;
Available copies: 3 / Total copies: 3
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Forget prayers, bring cake : a single woman's guide to grieving / by Gerson, Merissa Nathan,author.;
Foreword / by Autumn Brown -- Author's note -- Introduction -- Life before death -- Home (alone): What do I need? How do I even know? -- Identifying your needs -- Making your bed your lover, and other tools for navigating hell -- Setting up your grief support -- Co-pilots: making your friends your spouse -- Special requests: how to ask for help -- When to Tinder, when not to: dating while grieving -- Dating standards: the new frontier -- Wills and bills and thrills, oh my! -- Building an after-death checklist -- What to expect when your expecting (grief) -- Understanding trauma -- Life after death -- When the free flow of cake stops: relationships after loss -- Setting new boundaries -- Hello? Is this over yet? -- Extra support: grief groups and grief counselors -- But actually, pray: spiritual practice as life partner -- How to pray -- Compounded grief: fire and brimstone -- Stabilizing your nervous system in a pinch -- The future -- Forget cake, make rituals: memorializing on your terms -- Anniversaries -- How to build a ritual -- If there is such a thing as "completed grief", this is it -- How to be the grief support -- Life after death: finding joy.Though at times it may seem impossible, we can heal with help from our friends and community-- if we know how to ask. This heartrending, relatable account of one woman's reckoning with loss is a guide to the world of self-recovery, self-love, and the skills necessary to meeting one's own needs in these times of pain-- especially when that pain is suffered alone. Grief is all around us. In the world of today it has become common and layered, no longer only an occasional weight. A book needed now more than ever, Forget Prayers, Bring Cake is for people of all ages and orientations dealing with grief of any sort--professional, personal, romantic, familial, or even the sadness of the modern day. This book provides actions to boost self-care and self-worth; it shows when and how to ask for love and attention, and how to provide it for others. It shows that it is okay to define your needs and ask others to share theirs. In a moment in which community, affection, and generosity are needed more than ever, this book is an indispensable road map. This book will be a guiding light to a healthier mental state amid these troubled times.
Subjects: Self-help publications.; Grief.; Bereavement; Single women;
Available copies: 7 / Total copies: 8
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Sean Scully : LA deep. by Scully, Sean,1945-artist.(CARDINAL)179443; Lisson Gallery (Los Angeles, Calif.),publisher,host institution.(CARDINAL)885576;
Sean Scully returns to Los Angeles almost 50 years after making his US debut there, unveiling a selection of new and older works at Lisson's recently-launched LA space. Celebrating the development of his practice over five decades, this era-spanning exhibition draws formal and conceptual resonances between Scully's earliest grid paintings, which were first shown in Santa Monica in 1975, all the way forward to equally innovative, large-scale works from 2023. Scully's so-called Supergrid series of works began while still a student in London and Newcastle in the UK during the 1960s, progressing towards a sophisticated language of overlapping, interwoven stripes painted between taped boundaries. Influenced by his tutor Ian Stephenson, whose dripped and dotted paintings featured in Michelangelo Antonioni's Swinging Sixties film Blow Up, Scully began working on his own complex, focus-pulling compositions that likewise refused to fully reveal themselves at first sight, allowing only glimpses into its structure and necessitating prolonged viewing times. In epic feats of labor and painterly engineering, Scully built up dozens of horizontal and vertical lines, only to intensify this grid with multiplying layers of crisscrossing diagonals, creating expansive panels that exceeded even his tall frame and bodily span.Perhaps the apotheosis of this period is Scully's monumental work, Blaze (1971), a dizzying matrix of neon pinks, sports-car reds and flame-licked yellows. Subtlety and variation in color treatment followed in the similarly dynamic and optically disorienting square field of Second Order ư (1974), while the space between surface and ground is further disrupted by Final Grey ư (1974), which still features the strips of tape clinging to the work and providing another porous and translucent framework. This knotty, woven texture reappears half a century later in the newest painting here, entitled Dark In (2023). The brushmarks have long ago loosened, widened and now incorporate many more than a single, bold color in each sweep, following more naturalistic and gestural shades and contours in comparison to the sleek, rectilinear lines of the 1970s. Here too the picture plane is broken up, though not by tape, but by an inserted aluminum panel of a newly rotated and concentrated lattice work. Among other newer paintings are two recent triptychs, including the centrally located Guadalupe (2022), which revisits the scale and ambition of Blaze, only now the eye is moved between chunky, rugged blocks of unfathomably deep moss-green and maroon hues, which sit on a buzzing, glowing, chessboard backdrop. In the intervening years between these disparate bodies of gridded paintings, Scully himself moved to the US fulltime in 1975, settling in New York after a long cross-country road trip. He has returned many times since to show in California, with his own written recollections and photographs of these formative visits included in an accompanying catalogue to this exhibition, also featuring texts by art critics Peter Frank and Donald Kuspit. -- Taken from Gallery's website :Sean Scully is one of the most important painters of his generation, whose work is held in major museum collections around the world. While known primarily for his large-scale abstract paintings, comprised of vertical and horizontal bands, tessellating blocks and geometrical forms comprised of gradated and shifting colours, Scully also works in a variety of diverse media, including printmaking, sculpture, watercolour and pastel. Having developed a style over the past five decades that is uniquely his own, Scully has cemented his place in the history of painting. His work synthesises a thoroughly international collection of influences and personal perspectives - ranging from the legacy of American abstraction, with inspiration from the likes of Mark Rothko and Jackson Pollock, and that of European tradition, with nods to Henri Matisse and Piet Mondrian, as well as references to classical Greek architecture. While monumental in scale and gesture, Scully's work retains an undeniable delicacy and sincerity of emotion. Sean Scully was born in Dublin in 1945 and raised in South London. Wanting to be an artist from an early age, Scully attended evening classes at the Central School of Art in London from 1962 to 1965, and enrolled full time at Croydon College of Art, London from 1965 until 1968. He received his Bachelor of Arts from Newcastle University in 1972. He was awarded the Frank Knox Fellowship to Harvard University in 1972, where he visited the United States for the first time. In 1975, he moved to New York full-time. Today, he lives and works between New York and Bavaria. With a career that spans more than five decades, he has received numerous accolades and has been the subject of multiple touring exhibitions. In 2014, he became the first Western artist to have a career-length retrospective in China. Follow the Heart: The Art of Sean Scully 1964 - 2014 included over 100 paintings and travelled from Shanghai to Beijing. Scully was named a member of the Royal Academy of Arts in London in 2013 and has received honorary degrees from institutions such as the Massachusetts College of Art, Boston; the National University of Ireland, Dublin; Universitas Miguel Hernandez, Valencia; Burren College of Art, National University of Ireland; Newcastle University, UK, among others. A series of essays and conversations between Scully and the esteemed art critic Arthur Danto was published by Hatje Cantz in 2014, and a collection of Scully's own writing, selected speeches and interviews, Inner, was released in 2016. -- Full biography available at:
Subjects: Exhibition catalogs.; Scully, Sean, 1945-; Art, Abstract; Art, Abstract; Art, Modern; Art, Modern; Painting, Abstract; Painting, Abstract; Painting, Modern; Painting, Modern;
Available copies: 1 / Total copies: 1
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Gardening basics : a complete guide to designing, planting, and maintaining gardens / by Beckett, Kenneth A.(CARDINAL)324485; Elsley, John.(CARDINAL)390989;
Subjects: Gardening.;
Available copies: 12 / Total copies: 15
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Joan Mitchell, Christine Ay Tjoe. by Mnuchin Gallery,publisher,host institution.(CARDINAL)342307; Mitchell, Joan,1925-1992,artist.(CARDINAL)128702; Christine, Ay Tjoe,1973-artist.(CARDINAL)873349; Press, Clayton,writer of supplementary textual content.(CARDINAL)873543;
Includes bibliographical references (pages 23-25)"Mnuchin Gallery is proud to present Joan Mitchell--Christine Ay Tjoe: an exhibition which sparks a dialogue between, Joan Mitchell and Christine Ay Tjoe, two trailblazers of 20th and 21st century abstraction. On view from February 9 until March 18, 2023, the exhibition features masterworks by both artists from prominent private collections. Joan Mitchell (1925-1992) moved to New York in 1949 and quickly forged a reputation as a preeminent member of the New York School, participating in the landmark "Ninth Street Show" of 1951. Having lived between New York and Paris for several years, Mitchell made the decision to relocate to France in 1959 and later settled in the countryside town of V̌theuil in 1968. Engaging with American and European artistic perspectives, while remaining beholden to neither, Mitchell developed a singular abstract idiom that wed properties of nature, poetry, and deep emotion with lyrical and powerful gestures. As she explained, "I'm not involved with 'isms' or what's l̉a mode. I'm very old fashioned, but not reactionary. My paintings aren't about art issues. They're about a feeling that comes to me from the outside, from landscape."[1] Mitchell's artistic activity was prompted by memory and sensation--she transferred these stimuli onto the canvas through abstract whips of paint which appear as natural and fluid as her sources themselves. Christine Ay Tjoe (1973) was born in Bandung, the capital of Indonesia's West Java province, where she continues to live and work. Her aesthetic sensibility is evolved from the environmental and the socio-cultural diversity of Southeast Asia. Working with oil sticks, Ay Tjoe builds layers of intricately abstract forms that evoke a sense of the natural world. She often uses her hands to energetically manipulate and work this medium into the canvas. Hers, like Mitchell's, is intensely physical work, and her vigorous application of materials functions as a physical manifestation of her most intimate feelings. Her gestural practice seeks to capture the emotions at the marrow of all existence and her paintings use spirituality, religious mythology, and nature as a gateway to understanding the psychological underpinnings of the human condition. These two distinct artists use alternative means to address the same question: "What does it mean to make an abstract painting?" Mitchell and Ay Tjoe both engage with the canvas using a bevy of brushstrokes that vary in degrees of strength and depth. Through this process, they yield deeply introspective paintings that simultaneously allude to the real world with playful titles and harmonic color palettes. The paintings presented in Joan Mitchell-Christine Ay Tjoe underscore how these artists draw from their environments and cultures, as they ultimately seek to transcend generational boundaries and prescribed definitions of Eastern and Western artistic traditions." --Gallery website:
Subjects: Exhibition catalogs.; Mitchell, Joan, 1925-1992; Christine, Ay Tjoe, 1973-; Abstract expressionism; Painting, Abstract; Art, Abstract; Art, Modern; Art, Modern;
Available copies: 1 / Total copies: 1
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The Rose Metal Press field guide to graphic literature : artists and writers on creating graphic narratives, poetry comics, and literary collage / by Ervick, Kelcey,editor.; Hart, Tom,1969-editor.(CARDINAL)783449;
Includes bibliographical references.Broadening the boundaries: A preface -- Foreword / Tom Hart -- Introduction. Creating graphic literature: The magic of image and text / Kelcey Ervick -- Lines and mark-making. Drawing a breath: Abstraction, minimalism, and lines in comics / Leonie Brialey ; My kid could do that!: Abstract comics and the art of play / Nick Francis Potter ; The poetic line and the comics panel: The conscious uncertainty of poetry comics / Bianca Stone ; Communicating and communing: Using technology to make and share art / Tom Hart -- The panel and the page. The problem of the page: Manifesting imagination through panels and page spreads / Marnie Galloway ; Merging traditions: Composing graphic poetry inspired by Japanese Emaki picture scrolls / Naoko Fujimoto ; Juxtaposition as composition in comics poetry: Mapping where the mind went / Alexander Rothman ; Comics magic: The poetics of page design / Trinidad Escobar -- Story structure and style. "Exercises in style" : Working with constraints to uncover your comics' potential / Matt Madden ; Storyboarding and second-guessing: How to find your story's structure / Kristen Radtke ; The fragmented narrative: Using abstraction to deepen emotion / Aidan Koch ; Satirical comics: Finding the right format for humorous cultural commentary / Keith Knight ; Surrealist storytelling: Artistic experimentation and spontaneity through improvisation / Scott Roberts -- Creating characters. "Released from forms" : Using found photos and mixed media to compose characters / Oliver Baez Bendorf ; Comics selfies: Creating dynamic characters in a single panel / Sharon Lee De La Cruz ; Drawing the news: Portraying real-life characters in comics journalism / Josh Neufeld ; Beyond memoir: Creating a comics alter ego / Justine Mara Andersen -- Power of Place. A geography of comics: Uncovering layers to reveal the bedrock of story / Arwen Donahue ; Capturing the light: Rendering place with historical accuracy and a wash of ink / Thi Bui ; Stories from the fringe: Mapping the landscape of memory with comics / Zeke Peña -- Voice and Visual language. "Oh, now I get it" : Using concrete imagery to make the abstract accessible in poetry comics / Lauren Haldeman ; Dialogue: The art of miscommunication / Mira Jacob ; Exploded view: Using diagrams and directions to construct new stories / Dustin Parsons ; Material losses: Collage comics as elegy / Mita Mahato -- Transforming archival materials. Disobedient texts: Mining the archives for (voluntary and involuntary) collaborators / Deborah A. Miranda ; Controlled chaos: On turning what's discarded into continuously surprising art / David Dodd Lee ; Round about reality: Digging in the infinite archive when the horse is in motion / Eleni Sikelianos ; The old becomes the new: Transforming books through erasure and collage / Lawrence Sutin -- Teaching resources. Teaching graphic literature in the creative writing class / Kelcey Ervick ; Materials for making graphic literature ; Elements of a comic ; Alternate table of contents by form.The fourth volume in the immensely popular Field Guide series, gives readers unprecedented insight into the techniques of 28 of today's most innovative creators of poetry comics, graphic narratives, and text + image hybrids. With original craft essays, corresponding exercises, and full color examples of their work, each contributor offers reflection and instruction informed by their own methods and processes.
Subjects: Essays.; Instructional and educational works.; Comic books, strips, etc.; Comic books, strips, etc.;
Available copies: 2 / Total copies: 2
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Family guy. [videorecording] by Benjamin, H. Jon.(CARDINAL)547036; Borstein, Alex.(CARDINAL)483778; Brennan, Johnny.; Chevapravatdumrong, Cherry.(CARDINAL)483779; Goodman, David A.; Green, Seth,1974-(CARDINAL)747287; MacFarlane, Seth,1973-(CARDINAL)340363; Shin, Peter.; Smith, Shannon.; Vallow, Kara.; Fuzzy Door Productions (Firm); Twentieth Century Fox Home Entertainment, Inc.(CARDINAL)340075; Twentieth Century-Fox Television, Inc.(CARDINAL)340274;
Voices: Seth MacFarlane, Alex Borstein, Seth Green, H. Jon Benjamin, John G. Brennan.Once again, the Family Guy alliance travels far, far beyond the beyond the boundaries of good taste to bring you an outrageous intergalactic journey. Join them for one last outer space adventure, as Han Solo (Peter), Chewbacca (Brian) and Princess Leia (Lois) battle against the Evil Empire. Meanwhile, Darth Vader (Stewie) and the Emperor (Carter) try to recruit Luke Skywalker (Chris) to the dark side of the Force with taco nights and T-shirts. Filled with outlandish humor and exploding spaceships, Family Guy united for a final sci-fi spoof!--Container.Rating: Not ratedDVD; region 1, widescreen (1.78:1) aspect ratio, 5.1 Dolby Digital, dual layer, NTSC.
Subjects: Animated television programs.; Animated television programs.; Television comedies.; Television series.; Video recordings for the hearing impaired.; Dysfunctional families; Kenobi, Obi-Wan (Fictitious character); Leia, Princess (Fictitious character); Skywalker, Luke (Fictitious character); Space flight; Vader, Darth (Fictitious character); Familias problemáticas;
Available copies: 2 / Total copies: 4
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