Le présent ouvrage collige mille symboles créés au Québec par des graphistes québécois. Ces symboles, diffusés ici et ailleurs dans le monde, ne représentent qu'une petite partie de la création de ces dernières années. D'abord un document de référence préalable à une recherche de création pour un nouveau symbole, il poursuit aussi l'objectif de stimuler la créativité dans le monde du graphisme

    For a quarter century, Tim Miller has worked at the intersection of performance, politics, and identity, using his personal experiences to create entertaining but pointed explorations of life as a gay American man—from the perils and joys of sex and relationships to the struggles of political disenfranchisement and artistic censorship. This intimate autobiographical collage of Miller's professional and personal life reveals one of the celebrated creators of a crucial contemporary art form and a tireless advocate for the American dream of political equality for all citizens.
    Here we have the most complete Miller yet—a raucous collection of his performance scripts, essays, interviews, journal entries, and photographs, as well as his most recent stage piece Us. This volume brings together the personal, communal, and national political strands that interweave through his work from its beginnings and ultimately define Miller's place as a contemporary artist, activist, and gay man.

Ce deuxième répertoire contient une majorité de logotypes et quelques sigles classés selon le style typographique, le genre et la parenté des formes. Il démontre clairement le dynamisme et l'excellence du graphisme québécois. Il présente ce qui a été fait et stimule la créativité de ceux et celles qui oeuvrent dans le domaine. Il y a de nombreuses divergences d'interprétation de ce que devrait être une image de qualité.

Cultural property and its stewardship have long been concerns of museums, archaeologists, art historians, and nations, but recently the legal and political consequences of collecting antiquities have also attracted broad media attention. This has been the result, in part, of several high-profile trials, as well as demands by various governments for the return of antiquities to their countries of origin. These circumstances call out for public discussion that moves beyond the rather clear-cut moral response to looting, to consider the implications of buying, selling, and exhibiting antiquities. To whom should they belong? What constitutes legal ownership of antiquities? What laws govern their importation into the United States, for instance? What circumstances, if any, demand the return of those antiquities to their countries of origin? Is there a consensus among archaeologists and museum directors about these issues? These and other pertinent issues are addressed in the essays and responses collected in this volume. Delivered at a 2007 symposium by eminent museum directors and curators, legal scholars, archaeologists, and historians and practitioners of art and architecture, these papers comprise a rich and nuanced reference work.

Addiction to alcohol, tobacco, and other drugs is one of the major public health issues of our time. It accounts for one of every five deaths in the United States and costs approximately one-half trillion dollars per year in health care expenditures and lost productivity. Its human costs are untold and perhaps uncountable. Addiction and Art puts a human face on addiction through the creative work of individuals who have been touched by it. The art included here presents unique stories about addiction. Many pieces are stark representations of life on the edge. Others are disturbing contemplations of life, meaning, and death. Some even reflect the allure of addiction and a fondness for substance abuse. A panel of addiction scientists, artists, and professionals from the art world selected the 61 pieces included here from more than 1,000 submissions. Accompanied by a written statement from the artist, each creation is emblematic of the destructive power of addiction and the regenerative power of recovery. Stunning and occasionally unsettling, this unique portfolio reveals addiction art as a powerful complement to addiction science.

The role of the workshop in the creation of African art is the subject of this revelatory book. In the group setting of the workshop, innovation and imitation collide, artists share ideas and techniques, and creative expression flourishes. African Art and Agency from the Workshop examines the variety of workshops, from those which are politically driven or tourist oriented, to those based on historical patronage or allied to current artistic trends. Fifteen lively essays explore the impact of the workshop on the production of artists such as Zimbabwean stone sculptors, master potters from Cameroon, wood carvers from Nigeria, and others from across the continent.

Joanna Grabski and Carol Magee bring together a compelling collection that shows how interviews can be used to generate new meaning and how connecting with artists and their work can transform artistic production into innovative critical insights and knowledge. The contributors to this volume include artists, museum curators, art historians, and anthropologists, who address artistic production in a variety of locations and media to question previous uses of interview and provoke alternative understandings of art.

"This volume has much to recommend it -- providing fascinating and stimulating insights into many arenas of material culture, many of which still remain only superficially explored in the archaeological literature." -- Archaeological Review

"... a vivid introduction to the topic.... A glimpse into the unique and changing identities in an ever-changing world." -- Come-All-Ye

Fourteen interdisciplinary essays open new perspectives for understanding African societies and cultures through the contextualized study of objects, treating everything from the production of material objects to the meaning of sticks, masquerades, household tools, clothing, and the television set in the contemporary repertoire of African material culture.

Presenting the unique vision of an American original . . .   Alexandre Hogue, a renowned artist whose career spanned from the 1920s to his death in 1994, inherited the view of an America that imagined itself as filled with limitless potential for improvement, that considered high art and great ideas accessible to ordinary working people, and that saw no reason for an intellectual chasm between a learned elite and the masses. He always viewed himself as a radical, yet his passion stemmed from a deeply conservative idea: that art, culture, and nature should form a central force in the life of every human being. His well-known Dust Bowl series labeled him as a regionalist painter, but Hogue never accepted that identity. His work reveals the spirit of Texas and the Southwest as he experienced it for nearly a century. In his later years Hogue worked in forms of crisply rendered nonobjective and calligraphic one-liner paintings. Bringing to light new information regarding the Erosion and Oil Industry series, this book gives special attention to lesser known, post-1945 works, in addition to the awe-inspiring Moon Shot and final Big Bend series. Each series—from the hauntingly beautiful Taos landscapes and prophetic canvases of a dust-covered Southwest to his depictions of the fierce geological phenomena of the Big Bend—serves as a paean to the awesomeness of nature. Houston-based curator and critic Susie Kalil grew close to Hogue from 1986 to 1994, a time during which she interviewed him, considered his oeuvre with him, and came to share his vision of the nature and purposes of art. In Alexandre Hogue she reveals Hogue as he presented himself and his work to her. Collections with Alexandre Hogue's paintings: Musee National D'Art Moderne, Pompidou, Paris DallasMuseum of Art Museum of Fine Arts, Houston The GilcreaseMuseum, Tulsa The Philbrook Museum of Art, Tulsa University of Tulsa Tulsa Performing ArtsCenter Smithsonian Institution (NationalMuseum of American Art), Washington, DC OklahomaMuseum of Art, Okla City The SheldonMuseum of Art, University of Nebraska, Lincoln PhoenixArt Museum University of Arizona, Tucson Art Museum of SouthTexas, Corpus Christi Panhandle Plains Historical Museum, Canyon, Tx. StarkMuseum, Orange, Tx Southern MethodistUniversity, Dallas SpringfieldArt Museum, Springfield, Missouri WeatherspoonArt Museum, University of North Carolina at Greensboro The Federal Reserve Bank, Dallas The Williams Companies, Tulsa