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Particles and waves : Southern California abstraction and science 1945-1990 / by Duncan, Michael,1953-editor,contributor.(CARDINAL)270850; Iqbal, Sharrissa,editor,contributor.(CARDINAL)899984; Frémontier-Murphy, Camille,contributor.(CARDINAL)899985; Malina, Roger,contributor.(CARDINAL)899986; McCray, W. Patrick,1967-contributor.(CARDINAL)349185; Simms, Matthew Thomas,contributor.(CARDINAL)337249; Weems, Jason D.,1973-contributor.(CARDINAL)899987; Lerner, Adam,1966-writer of foreword.(CARDINAL)206914; Brendel, Bettina,1922-The influence of atomic physics on my paintings.; Malina, Frank J.Electric light as a medium in the visual fine arts: a memoir.; Bassler, Robert,1935-2022.Lenticular polyester resin sculpture: transparency and light.; California State University, Long Beach.Library, Special Collections and University Archives,contributor.; Palm Springs Art Museum,host institution.(CARDINAL)277171; PST ART: Art & Science Collide (Project)(CARDINAL)899619;
Includes bibliographical references and index."Particles and Waves examines how concepts and technologies from the realms of advanced scientific research impacted the development of abstract (or non-figurative) styles of artwork in postwar Southern California. Beginning in the 1920s and 1930s, scientists at institutions near Los Angeles including Mount Wilson Observatory, the California Institute for Technology, and the Jet Propulsion Laboratory in Pasadena, generated groundbreaking experimental research in astronomy and particle physics. During and after World War II, the region remained at the forefront of scientific inquiry in theoretical physics and its applications within aerospace engineering, industrial manufacturing, and communications technologies. Between 1945 and 1990, many artists in Los Angeles produced visually abstract artworks while closely engaging with scientific ideas, mathematical theories, and materials or processes derived from physics and engineering. The exhibition unites several generations of artists working in diverse materials and styles to examine how subfields of scientific investigation inspired a range of non-figurative artworks by practitioners concerned with light, energy, motion, and time. By drawing interdisciplinary connections between the work of early abstractionists and contemporary practitioners, the exhibition considers abstract artwork from Southern California in a new way. Particle and Waves is among more than 50 exhibitions and programs presented as part of Pacific Standard Time. Returning in September 2024 with its latest edition, PST ART: Art & Science Collide, this landmark regional event explores the intersections of art and science, both past and present. PST ART is a Getty initiative"--"Particles and Waves: Southern California Abstraction and Science, 1945-1990 exhibition held at the Palm Springs Art Museum, September 14, 2024- February 23, 2025"-- host institution website.
Subjects: Exhibition catalogs.; Art, Abstract; Art, American; Art and science; Science in art; Light and space (Art movement); Art; Art and science; Art, American;
Available copies: 1 / Total copies: 1
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Chairs in space : the book of the game / by Bell, Larry,1939-artist,author.(CARDINAL)122323; Vinetz, Thomas P.,photographer.; Webb Design Studio,publisher.;
"Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Catalogs.; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Larry Bell, light on surface : ten years of vapor drawings [exhibition] January 15 to February 28, 1988 / by Bell, Larry,1939-artist,contirbutor.(CARDINAL)122323; McClintock, Diana,1961-contributor.(CARDINAL)883367; Otton, William G.,writer of preface.(CARDINAL)853672; Laguna Art Museum (Laguna Beach, Calif.),publisher,host institution.(CARDINAL)185583;
"Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Exhibition catalogs.; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Installations (Art); Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Zones of experience : the art of Larry Bell. by Bell, Larry,1939-artist,contributor.(CARDINAL)122323; Cushman, Dean,contributor.; Frank, Peter,contributor.(CARDINAL)185903; Hall, Douglas Kent,contributor.(CARDINAL)505599; Landis, Ellen J.,writer of introduction.(CARDINAL)883235; Moore, James Collins,1941-writer of introduction.(CARDINAL)884493; Albuquerque Museum,publisher,host institution.(CARDINAL)147278;
Includes bibliographical references (pages 145-159).By the early 1970s most art history students knew the work of Larry Bell. His glass cubes made him world famous; his minimalist work, along with that of his contemporaries Robert Irwin, Ed Ruscha, Billy Al Bengston, Ken Price, and Joe Goode, defined the "L.A. Look." This retrospective includes Bell's evolving zones of experience: the elegant cubes, his monumental glass sculptures, the furniture and games, his vapor drawings and mirage paintings, the light and space explorations including photographs of the leaning room, his recent Sumer/Stickman sculptures, and the Fractions. Zones of Experience spans the artist's work from the early 1960s to the present, and includes a comprehensive biography/bibliography."Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Exhibition catalogs.; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Installations (Art); Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Larry Bell : works from New Mexico. by Bell, Larry,1939-artist,contributor.(CARDINAL)122323; Afif, Steve,contributor.; Raspail, T.,writer of preface.(CARDINAL)882903; Wortz, Melinda,contributor.(CARDINAL)150249; Musée d'art contemporain de Lyon,issuing body,host institution.(CARDINAL)306387;
Includes bibliographical references (pages 83-93).Préface = Preface / Thierry Raspail -- Première Personne du Singulier = First Person Singular / Larry Bell -- Larry Bell: de l'autre côté du miroir = Larry Bell: through the looking glass / Steve Afif -- L'Exposition: = The Exhibition: -- Mirage Paintings -- Vapor Drawings -- Corner Lamps -- Chairs in Space/The Game -- First and Last -- Larry Bell: vue d'ensemble = Larry bell: an overview / Melinda Wortz --Liste des oeuvres exposées = Exhibition list -- Biographie/Bibliographie = Biography/Bibliography -- Oeuvres dans les collections publiques = Work in public collections."Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Exhibition catalogs.; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Installations (Art); Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Time machines / by Bell, Larry,1939-artist,interviewee.(CARDINAL)122323; Bell, Larry,1939-interviewee.(CARDINAL)122323; Carson, Juli,author.(CARDINAL)787131; Gartenfeld, Alex,editor,curator,writer of foreword,interviewer.(CARDINAL)884648; Moreno, Gean,1972-editor,curator,author.(CARDINAL)886360; Tumlir, Jan,1962-author.(CARDINAL)886371; Institute of Contemporary Art, Miami,issuing body,publisher,organizer,host institution.(CARDINAL)884721; Prestel Verlag,publisher.(CARDINAL)354847;
Includes bibliographical references.For nearly six decades, Larry Bell has been capturing light -- in glass, on paper, or with Mylar sheets. This book traces Bell's innovative experiments -- from his roots in Venice Beach to this most recent forays into public sculpture. It pays special tribute to the architectural, spatial and design explorations Bell undertook during the 60s, 70s, and 80s -- experiments that often took the form of ephemeral and immersive installations. Generously illustrated, this book reveals how Bell explored the technological possibilities made available in postwar America, and asserts his position as one of America's most adventurous living artists. Exhibition: Institute of Contemporary Art, Miami, USA (01.11.2018-10.03.2019)."Throughout his career Larry Bell has made investigations into the properties of light on surface. By experimenting with the nature of surface and its relationship to space, Bell has devised a methodology characterised by spontaneity, intuition and improvisation. Bell began his career in 1959 and his earliest works consisted of abstract, monochrome paintings on paper and shaped canvases whose outlines corresponded to the silhouette of a box drawn in isometric projection. Panes of glass and then mirrors were substituted for parts of the painted design and this exploration of spatial ambiguity eventually evolved into sculptural constructions made of wood and glass. These works represent the genesis of Bell's later glass cubes and standing glass-panel wall sculptures. From 1963 onward, Bell began exploring the passing of light through the cube sculptures, deploying a technique of vacuum deposition whereby thin films were added to the clear glass panels. Bell found that these glass cubes, presented on transparent pedestals, offered the viewer the essence of the captured light, becoming, in the process, tapestries of reflected, transmitted and absorbed light. Challenging notions of mass, volume and gravity in one single measure, the cubes appeared to float on the light between the floor and the work. From 1968 to 1969 Bell commissioned the building of a coating device in order to produce work on a more environmental scale. During the plating process, thin metal films are deposited onto another material, mainly glass, resulting in a coating that allows light to be reflected, transmitted and absorbed simultaneously. He began creating sculptural installations with large sheets of glass that were rendered partly mirrored and partly transparent through the vacuum deposition procedure, thereby making the glass surfaces almost disappear and volumes become weightless. The colours which become visible are known as 'interference colour'; an illusion which results when light hits the sculptures' surface. Throughout this period, Bell produced interior wall environments, such as The Black Room for both the Museum of Modern Art, New York (1969) and the Tate Gallery (1970). In 1978 Bell began experimenting with depositing the coatings on paper, finding in the process that the paper did not transmit light but only reflected or absorbed it. This body of work, known as 'Vapor Drawings', continues to this day. In the early 1980s Bell began combining different surface qualities as layers within the 'Vapor Drawing' oeuvre, such as Mylar and laminating film, to create the so-called 'Mirage works' - a mirage being an illusion which results from a combination of heat and light. Bell's more recent 'Light knot' sculptures developed from these 'Mirage works', eschewing their paper and laminate film and using only Mylar. These fluid works are composed of pliable, curvaceous-shaped sheets of polyester film that have been coated with metals and quartz. Highly reflective, the sheets are twisted into a knot and hung from a ceiling. Ceaselessly in motion, propelled by any slight air movement, these undulating sculptures act like a series of mirrors that reflect the viewer and their immediate spatial surroundings." -- Full biography at:
Subjects: Essays.; Exhibition catalogs.; Illustrated works.; Interviews.; Bell, Larry, 1939-; Bell, Larry, 1939-; Bell, Larry, 1939-; Cube in art; Glass art; Glass in art; Glass sculpture, American; Glass sculpture; Installations (Art); Light and space (Art movement); Minimal sculpture; Sculpture, Modern; Sculpture;
Available copies: 1 / Total copies: 1
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Art and visual perception : a psychology of the creative eye / by Arnheim, Rudolf.(CARDINAL)143431;
Includes bibliographical references (pages 487-501) and index.Balance -- Shape -- Form -- Growth -- Space -- Light -- Color -- Movement -- Dynamics -- Expression.
Subjects: Art.; Art; Visual perception.;
Available copies: 2 / Total copies: 2
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The artful garden : creative inspiration for landscape design / by Van Sweden, James,1935-2013.(CARDINAL)779096; Christopher, Thomas.(CARDINAL)775508;
Space and form. A sculptor's garden: a visit with Grace Knowlton -- Light and shadow. Sculptor Robert Adzema -- Making the scene: the painterly approach to garden design. Robert Dash: the outdoor exhibition -- Rhythm and movement. A conversation with Lawrence and Anna Halprin ; Conversations with Yo-Yo Ma and Julie Moir Messervy -- Texture: the fabric of the garden. Design insights from Piet Oudolf ; A conversation with Jack Lenor Larsen -- Layering for mystery and enticement. A conversation with Martha Schwartz.
Subjects: Art and design.; Gardens;
Available copies: 8 / Total copies: 8
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Composing pictures / by Graham, Donald W.(CARDINAL)192191;
Bibliography: page 401.The picture: The subject -- The surface -- Perspective planes and picture sections -- Sectional perspective -- Graphic elements: Point, area, line -- Changing functions of line and area -- Active and passive line and area -- Light and dark: Illumination and contrast -- Value -- The graphic accent -- The matrix -- The passage -- Measuring depth: Measuring depth in nature -- The picture box -- Plan and elevation -- Echoing plan in elevation -- The horizon -- The whirling plan -- Multiple station points -- Graphic movement: Action and movement -- Perspective movement and picture movement -- Movement of shape and color -- The straight line: The straight line in drapery and growth forms -- The picture line -- Divisions of the surface -- Directing the eye: Scanning -- Centers of interest -- Space: Seeing space in nature -- Generating graphic space -- Scale -- Designing for film: Action in pictures -- The storyboard -- Film graphics.Composing Pictures lucidly explains the principles and approaches of how pictures are put together, and covers all factors that affect composition in traditional and contemporary art, in both still and moving pictures. A wide range of topics are covered with insights to drawing, color, power of borders, surface, symbol, dark and light, space in nature and space in pictures. It goes into the difference between movement and action, multiple station points, drapery as manifestation of forces, and the screen as a graphic surface among other topics in the section on film graphics. Understanding how a picture is made, rather than a discussion by dissection method, is thoroughly explored stressing how graphic forces work in pictures. Seemingly ordinary topics are met with new and insightful approaches. The book contains hundreds of diagrams as well as many works of great artists spanning almost all historical ages, cultures and styles. It is designed to be easily used with graphic content accompanying related text on each page.
Subjects: Composition (Art);
Available copies: 0 / Total copies: 1
On-line resources: Suggest title for digitization;
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Brown Bohemians : honoring the light and magic of our creative community / by Vernon, Vanessa,author.; Ashley, Morgan,author.; Pruitt, Wendy,author.;
Brown Bo'hemians captures the essence and voice of an underrepresented demographic: creative people of color. Influenced by a deeply held belief that stories sculpt our collective narrative, a group of authors and artists came together to create this first-of-its-kind collection. Inspired by their unique tastes and experiences in fashion, lifestyle, and art, Brown Bo'hemians brings a vital and virtual movement, born on social media, to life and into print. People of color are the originators of all things, yet are all too often overlooked. Each of our stories is unique, but collectively they contribute to the rebuilding of community, and counter hundreds of years of colonialism, narrow minded and harmful media representation, non-inclusive and conformist beauty standards, and a systemic, historical lack of recognition for our contributions. Brown Bo'hemians reclaims a small piece of a space that has always been rightfully ours. Created to recognize and elevate the underrepresented and the undervalued, Brown Bo'hemians is food for the creative spirit that most needs it: you.
Subjects: Artists, Black.; African American artists.; Blacks;
Available copies: 1 / Total copies: 1
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