FiberArts features contemporary artists who work with fabric, weaving, sewing, dyes, textiles, embroidery, crochet, knitting, needlework and soft sculpture in order to produce works that boast both fine craftsmanship and fine art. Although expression and decoration with textiles is ancient, it was only fairly recently accepted in the fine arts world. The fibers revolution of the 1960′s led to a huge number of artists, both men and women, exploring and experimenting in a medium which was once labeled “women’s work” or pushed aside from the arts scene as mere craft.
In the library you will find 122 Issues of FiberArts from 1979 to the Summer 2011 issue, which was sadly the last.
Shonen Jump, “The World’s Most Popular Manga”, was a monthly Americanized version of the original weekly Japanese Shonen Jump. The first American Issue (no. 0) came out in November 2002. The magazine featured around 6 different comics, each by a different artist with ongoing stories that continued from one issue to the next. Featured manga titles include Naruto, Yu-Gi-Oh!, Bleach, One Piece, Dragon Ball Z, Slam Dunk, and Yu Yu Hakusho.
The library has a total of 98 Shonen Jump‘s (all but 2) from the first to the final issue.
Remember: manga reads from right to left!
The images that follow are all from the comic YuYu Hakusho by Yoshihiro Togashi, which centers around teenage rebel/gang member/punk Yusuke Urameshi.
The compositions, in fight scenes especially, are extremely dynamic, with onomatopoeia sprinkled all over the place (WHAM!):
The comic is graphically playful — many different textures (halftones, gradients, speckles, marble, probably achieved through Letratone) are juxtaposed side-by-side and flatten the image.
Togashi sometimes entirely changes his drawing style for a single panel and draws a character off-model for comedic or dramatic effect.
American Fabrics and Fashion (also called American Fabrics) was a commercial textile magazine created as a guide for manufacturers in the fabrics industry. In every issue there are dozens of physical fabric samples glued in, so in case you were wondering, “What did the 50′s feel like?”, here is the most literal answer to your question. Accompanying the samples are textile advertisements and sometimes the samples are even incorporated into the ads themselves. For anyone interested in fashion, textiles or all that is tactile, American Fabrics is a publication of great cultural and historical value.
We have 105 Issues of American Fabrics, 1946-1975.
A sign is something that can point you towards an attraction – towards a milkshake, a movie, or a neighboring town — but some signs are so unique, or so bleakly common, that they themselves become attractions (or un-attractions). Check out some of the more unusual signs here at the picture collection – there are 98 pictures and 12 booklets waiting for you.
Wrestling is an ancient art, and a glorious, however cheap hoax. Whether it be sumo, Olympic, or professional, all varieties take skill, athleticism, dedication, and in the case of the latter, bravado and character personification. The sport certainly attracts eccentric competitors. In the picture collection you’ll find 70 wildly gestural pictures (and lots of eyeliner).
Issue 16 of Lid arrived at the SVA Library. This issue, like most, was published with a an array of covers. Ours featured the Misfits on the front cover and Lydia Lunch on the back , both by William Coupon:
Our Religion categories are subdivided:
- Church of Jesus Christ of Latter Day Saints
Christianity is further subdivided:
- Clergy, Monks & Nuns
- Crucifixion & Resurrection
- Madonna & Child
Below is a small sample from Religion – Christianity - Nativity.
High Performance was published by Art in the Public Interest from 1978 to 1997:
Originally a magazine covering performance art, over time it gradually shifted its editorial focus from art that was formally adventurous to art that was socially and culturally adventurous. Back issues of the magazine can still be seen at better libraries around the world. The High Performance archive is in the collection of the J. Paul Getty Trust in Los Angeles (Art in the Public Interest website, accessed 12/18/2013).
In the SVA library, by definition, one of the better, you’ll find all but a few issues of High Performance, 64 in total, from the 2nd issue (1978) to the 76th and final issue (1997).
Accessible in print at the SVA Library and electronically for SVA students via Art Source (MySVA username and password required), Jenni Sorkin’s article in Art Journal, ”Envisioning High Performance“ chronicles High Performance’s history and lasting influence, and provides this description of the magazine’s format for the first five years of its existence:
With the commencement of High Performance, publisher, founder, and editor Linda Frye Burnham invented a standard format for the documentation and dissemination of live and ephemeral artworks, creating single- or double-paged spreads that paired a photograph with an artist-supplied text chronicling the live event. Operating on an open submission policy from its founding in 1978 until 1982, Burnham published any artist who could provide black-and-white photographic documentation, dates, and a description of the performance (Sorkin).
It was important in terms of documentation, ensuring that these performance art pieces, which often only occurred once, could have a life beyond the memories of a small audience that happened to witness them. It also helped define and lend credence to a genre of art that was not receiving serious critical attention, not least of all because the lack of documentation. High Performance helped define performance art both by what it published and also with what it didn’t. By “rejecting outright the inclusion of dance, theater, and music, HP delineated clear boundaries by determining what was not performance art” (Sorkin). Among many other, artists featured include Carolee Schneeman, Pat Oleszko, The Waitresses, Paul McCarthy, Kim Jones, Linda Montano, and Barbara T. Smith.
Please enjoy the following sample from the pages of:
Sorkin, Jenni. “Envisioning High Performance.” Art Journal 62.2 (2003): 36-51. Art Source. Web. 5 Dec. 2013.