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A Year among Prodigies, Rebels, and Visionaries at a World-Class Art College
What does it mean to be an artist at a time when the art world is becoming increasingly fragmented and disconnected--when the most highly valued art objects are seemingly the most abstruse, visually vexing, and conceptually difficult, or may not be physical objects at all? How does the art of today connect with the art of the past? These questions and more inform and enliven the pages of Art Schooled.
In this fascinating chronicle Larry Witham takes readers inside the history, culture, economics, teaching, technique, and competition of one of the oldest and most prestigious art colleges in the country, the Maryland Institute College of Art in Baltimore. With rare, privileged access to the personal and professional lives of students, faculty, administrators, and visiting artists, he shows us how young artists develop their talent and vision, learn the ins and outs of the art world, and come to proudly define themselves as artists, even as theory and technology conspire to declare that art as we once knew it is utterly changed.
America's War of Liberation in Canada, 1774-1776
In this dramatic retelling of one of history's great "what-ifs," Mark R. Anderson examines the American colonies' campaign to bring Quebec into the Continental confederation and free the Canadians from British "tyranny." This significant reassessment of a little-studied campaign examines developments on both sides of the border that rapidly proceeded from peaceful diplomatic overtures to a sizable armed intervention. The military narrative encompasses Richard Montgomery's plodding initial operations, Canadian partisan cooperation with officers like Ethan Allen, and the harrowing experiences of Benedict Arnold's Kennebec expedition, as well as the sudden collapse of British defenses that secured the bulk of the province for the rebel cause. The book provides new insight into both Montgomery's tragic Quebec City defeat and a small but highly significant loyalist uprising in the rural northern parishes that was suppressed by Arnold and his Canadian patriot allies. Anderson closely examines the evolving relationships between occupiers and occupied, showing how rapidly changing circumstances variously fostered cooperation and encouraged resistance among different Canadian elements. The book homes in on the key political and military factors that ultimately doomed America's first foreign war of liberation and resulted in the Continental Army's decisive expulsion from Canada on the eve of the Declaration of Independence. The first full treatment of this fascinating chapter in Revolutionary War history in over a century, Anderson's account is especially revealing in its presentation of contentious British rule in Quebec, and of Continental beliefs that Canadiens would greet the soldiers as liberators and allies in a common fight against the British yoke.
This thoroughly researched and action-packed history will appeal to American and Canadian history buffs and military experts alike.
Designed to appeal to expert and backyard birdwatchers alike, this comprehensive guide reveals where, when, and how to watch and enjoy birds in New Hampshire. It not only offers the latest information about the seasonal status and distribution of birds in New Hampshire but also features a thorough introduction to the art and practice of birdwatching, including equipment, ethics, migration, conservation, and most of all, finding that "good bird."
The heart of the book is the detailed descriptions and maps that outline more than 120 birding sites across the state, from the Connecticut River Valley to Jeffreys Ledge and Cashes Ledge far off the coast. Drawing upon his extensive knowledge of the habits and habitats of New Hampshire birds, the author has divided the state into six regions, each with a rich diversity of birdwatching destinations. The guide also features informative accounts of the more than 300 bird species regularly seen in the Granite State, including their preferred habitats and graphs illustrating when each is most likely to be encountered. In addition, Masterson also provides a useful guide to rare and accidental bird sightings.
The essential guide to birdwatching in New Hampshire for beginners and accomplished regional birders.
Maud Howe Elliott and the American Renaissance
Maud Howe Elliott (1854-1948), the daughter of Julia Ward Howe, was a Pulitzer Prize-winning writer and a tireless supporter of the arts, particularly in her adopted city of Newport, Rhode Island. An art historian and the author of over twenty works of fiction and nonfiction, including countless articles and short stories, Elliott is perhaps best known for co-writing a biography of her mother--a major figure in the political and cultural world of New England, a woman's suffrage leader, and a leading progressive political voice. Elliott sought to enhance community and regional life by founding the Art Association of Newport in 1912 (now the Newport Art Museum), which she saw as the culmination of her life's work.
Nancy Whipple Grinnell has written an informative and inspiring biography that will appeal to a broad regional readership, finally securing Elliott's place in the pantheon of American cultural benefactors.
Fifteen Thousand Years on One Square Mile
"Ceremonial time" occurs when past, present, and future can be perceived simultaneously. Experienced only rarely, usually during ritual dance, this escape from linear time is the vehicle for John Mitchell's extraordinary writing. In this, his most magical book, he traces the life of a single square mile in New England, from the last ice age through years of human history, including bear shamans, colonists, witches, local farmers, and encroaching industrial "parks."
The Nineteenth-Century Ecological & Cultural Transformations of Cape Cod
In just over a century Cape Cod was transformed from barren agricultural wasteland to bountiful fishery to pastoral postcard wilderness suitable for the tourist trade. This complex social, ecological, and scientific transformation fundamentally altered how Cape Codders used and managed their local marine resources, and determined how they eventually lost them. The Cape Cod story takes the usual land-use progression--from pristine wilderness to exploitation of resources to barren wasteland--and turns it on its head. Clearing the Coastline shows how fishermen abandoned colonial traditions of small-scale fisheries management, and how ecological, cultural, and scientific changes, as well as commercial pressures, eroded established, local conservation regimes. Without these protections, small fish and small fishermen alike were cleared from Cape Cod's coastal margins to make room for new people, whose reinvention of the Cape as a pastoral "wilderness" allowed them to overlook the social and ecological dislocation that came before.
Tropical Storm Irene, Vermont's Flash Floods, and How One Small State Saved Itself
On August 28, 2011, after pounding the Caribbean and the U.S. Eastern seaboard for more than a week, Hurricane Irene finally made landfall in New Jersey. As the storm headed into New England, it was quickly downgraded to a tropical storm. And by Sunday afternoon, national news outlets were giving postmortems on the damage. Except for some flooding in low-lying areas, New York City--Irene's biggest target--had escaped its worst-case scenario. Story over.
But the story wasn't over. As Irene's eye drifted north, its bands of heavy rains twisted westward over Vermont's Green Mountains. The mountains forced these bands upward, wringing the rain out of them like water from a sponge. Streams and rivers were transformed into torrents of brown water and debris, gouging mountainsides, reshaping valleys, washing out roads, pulling apart bridges, and carrying away homes, livestock, and automobiles. For weeks, mountain towns were isolated, with no way in or out, and thousands of people were left homeless. In the immediate aftermath of the disaster, it fell on the shoulders of ordinary Vermonters to help victims and rebuild the state.
Deluge is the complete story of the floods, the rescue, and the recovery, as seen through the eyes of the people who lived through them: Wilmington's Lisa Sullivan, whose bookstore was flooded, and town clerk Susie Haughwout, who saved the town records; Tracy Payne, who lost her home in Jamaica--everything in it, and the land on which it sat; Geo Honigford in South Royalton, who lost his crops, but put his own mess on hold to help others in the town; the men who put U.S. Route 4 back together at breakneck speed; and the entire village of Pittsfield, completely isolated after the storm, and its inspirational story of real community.
In this masterful intellectual and cultural biography of Denman Ross (1853-1935), the American design theorist, educator, art collector, and painter who taught at Harvard for over 25 years, Marie Frank has produced a significant artistic resurrection. An important regional figure in Boston's fine arts scene (he remains one of the largest single donors to the collections of the MFA to this day), Ross was a friend and colleague of Arthur Wesley Dow, Bernard Berenson, Jay Hambidge, and others. He gained national and international renown with his design theory, which ushered in a shift from John Ruskin's romantic naturalism to the formalist aesthetic that characterizes modern art and architecture. Ross's theory attracted artists, Arts and Crafts artisans, and architects, and helped shape architectural education, scholarship, and museum practices. This biography of an important intellectual figure is also a fascinating and illuminating guide to a pivotal point in American cultural history and a reminder of the days when Boston was America's salon.
Prescriptions for Change
In the past decade, the mass media discovered disability. Spurred by the box-office appeal of superstars such as the late Christopher Reeve, Michael J. Fox, Stephen Hawking, and others, and given momentum by the success of Oscar-winning movies, popular television shows, best-selling books, and profitable websites, major media corporations have reversed their earlier course of hiding disability, bringing it instead to center stage.
Yet depictions of disability have remained largely unchanged since the 1920s. Focusing almost exclusively on the medical aspect of injury or illness, the disability profile in fact and fiction leads inevitably to an inspiring moment of "overcoming." According to Riley, this cliche plays well with a general audience, but such narratives, driven by prejudice and pity, highlight the importance of "fixing" the disability and rendering the "sufferer" as normal as possible. These stories are deeply offensive to persons with disabilities. Equally important, misguided coverage has adverse effects on crucial aspects of public policy, such as employment, social services, and health care.
Powerful and influential, the media is complicit in this distortion of disability issues that has proven to be a factor in the economic and social repression of one in five Americans. Newspapers and magazines continue to consign disability stories to the "back of the book" health or human-interest sections, using offensive language that has long been proscribed by activists. Filmmakers compound the problem by featuring angry misfits or poignant heroes of melodramas that pair love and redemption. Publishers churn out self-help titles and memoirs that milk the disability theme for pathos. As Riley points out, all branches of the media are guilty of the same crude distillation of the story to serve their own, usually fiscal, ends.
Riley's lively inside investigation illuminates the extent of the problem while pinpointing how writers, editors, directors, producers, filmmakers, advertisers and the executives who give their marching orders go wrong, or occasionally get it right. Through a close analysis of the technical means of representation, in conjunction with the commentary of leading voices in the disability community, Riley guides future coverage to a more fair and accurate way of putting the disability story on screen or paper. He argues that with the "discovery" by Madison Avenue that the disabled community is a major consumer niche, the economic rationale for more sophisticated coverage is at hand. It is time, says Riley, to cut through the accumulated stereotypes and find an adequate vocabulary that will finally represent the disability community in all its vibrant and fascinating diversity.
A delightful account of Edward Hopper’s sojourns in Vermont with his wife, Jo, illustrated by the watercolors and drawings that he made there Edward and Jo Hopper first discovered Vermont in 1927, making day trips from the Whitney Studio Club’s summer retreat for New York artists in Charlestown, New Hampshire. In 1935 and 1936 the Hoppers again traveled to Vermont, this time from their summer home in Cape Cod, in Edward’s continuing search for new places to paint. During these quests they identified the White River and what Edward considered to be Vermont’s “finest” river valley, and they returned there for longer visits in 1937 and 1938, boarding at Robert and Irene Slater’s Wagon Wheels farm in South Royalton. These “vacations” were a change from the usual tempo of their lives, a break from the studio-bound easels, canvas, and oils, and an opportunity to paint something different, to be in a new place and paint en plein air. Over the course of his Vermont sojourns, Edward Hopper produced some two dozen paintings, watercolors that are among the most distinctive of his regional works, strongly characterized by place. In this accessible volume, Bonnie Tocher Clause tells the story of the Hoppers’ visits to Vermont, their stays on the Slater farm, and their introduction to farm life. She locates the sites shown in Hopper’s Vermont paintings, identifies two watercolors not previously recognized as Vermont scenes, and traces the development of Hopper’s singular interpretations of the Vermont landscape. In Edward Hopper in Vermont, Clause details the provenance of the Vermont paintings through the years, tracking the history of sales leading to the works’ ultimate homes with private collectors and museums. Showcasing all the Vermont paintings in color, this volume will delight both fans of Hopper’s work and those who are fascinated by the story of the creation, collection, and business of producing great art.