Author Archives: Periodicals/Reference Librarian
Animals – Assorted
Spread throughout three folders are the subcategories Animals – Assorted (A-G), (H-N), and (O-Z). These folders are home to about 70 images of animals that do not fall into any of the Picture Collection’s current animal subcategories (there are over 60 subcategories of Animals with thousand of pictures, from Apes and Monkeys to Zebras). Maybe if some of these adorable little creatures find a few more like themselves, they too will have the distinction of having their own folder. I would love to see a folder full of proud platypuses.
Platypus
Sloth
Mountain Tapir
Galagos, commonly known as ‘Bush Babies’ and also called ‘Nagapies’–meaning “Little night monkeys” in Afrikaans
Making a rare appearance above ground, a common European mole prepares to burrow its way back into the security of a subsurface tunnel, using paddle-like appendages to scrape soil and push it rearward or up.
Llama
National Geographic, Volume 219, Issue Number 05, May 2011.
A Kinkajou’s pollen-dusted cheek tells of a late-night nectar binge in an Ochroma, or balsa, tree.
Aardvark
Badger
Anteater
Anteater
National Geographic, September 2005.
Russian Desman
Albino Animals
Faculty Library Orientation (Food – Desserts & Sweets)
Faculty Library Orientation
Tuesday, April 2, 11am
Visual Arts Library, 380 Second Avenue, 2nd floor
All SVA faculty members are invited to a brief tutorial on some of the Visual Arts Library’s most powerful digital tools, and a short tour showcasing its prized print and multimedia collections. The orientation should last no more than an hour. Refreshments will be served. We look forward to meeting you.
For more information, contact the library at reference@sva.edu.
Follow SVA on:
facebook.com/schoolofvisualarts
twitter.com/sva_news
schoolofvisualarts.tumblr.com
youtube.com/user/svaedu
vimeo.com/svaedu
As invocation of, but not a promise as to the quantity, quality or types of refreshments that will be served at the Faculty Library Orientation, please enjoy the following pictures from the Picture Collection’s Food – Desserts & Sweets folder:
Individual Strawberry Jam Cakes. Martha Stewart Living, November 2003
Sealtest Candied Apple Ice Cream. 1956
December 1960. Tutti-Frutti Date Pudding!
McCall’s, September 1973
In Today’s Mail — March 26, 2013
The Visual Arts Library is missing Afterall no. 2. Could anybody out there fill such a void? Otherwise, we have every issue published starting with no. 1 in 1999, and ending, as of this post, with no. 32 (Spring 2013) which arrived in today’s mail.
Afterall, Spring 2013 (Cover)
That is some exceedingly dreamy cotton and polyester.
From the inside cover:
These large editorial meetings create the context (as mentioned in the subtitle: “A Journal of Art, Context and Enquiry”) and help define the lanes of enquiry that end up shaping the content of each issue. The writing is highly informed and critically potent while still maintaining a relatively high level of accessibly.
It is text heavy, but also includes nice reproductions of the work it references:
Poem by Saloua Raouda. 1963-5, wood, 33x17x7.5 cm.
May your work and curiosities bring you into further contact with this publication.
Colors
You may be inclined to disregard The Picture Collection’s Colors folder (pictures of colors?) but if you take the time to delve, you will find a resource that could be of great help to artists seeking inspiration and reference, as well as aid in color theory and color composition. Inside this 79-image folder you will not only find paint swabs and color charts, but also images that show the relation of color through photography, advertisements, and commercial sales. This folder can help an artist choose their pallet for a project. Users can scan hues that they are interested in utilizing and drop them in Photoshop for replication, or color copy selections and concoct a collage physically. A great help for advertising and graphic design students–or really anyone interested in…color…the Colors folder is worth checking out.
Winsor & Newton Ltd.
Dr. Ph. Martin’s Sychromayic Transparent Water Colors
ICI Binding Corporation
House and Garden, July 2000.
‘Vision by Touch’. LIFE Magazine, July 12th, 1964.
Pittsburgh Paints Catalog
Pittsburgh Paints Catalog
American Craft
This bimonthly magazine—founded in 1941—was originally known as Craft Horizons but later changed to American Craft in 1979. It is dedicated to the advancement of the “age-old human impulse” to create things by hand. With an emphasis on nature and primitive art, Craft Horizons drew harsh contrast to the mass-produced products of its time.
The magazine celebrates the use of unconventional materials, emerging and veteran artists, and helped define Craft as a concept, documenting the way it has evolved and sustained into the present day. Issues typically include insight on upcoming exhibitions, book reviews, events, and craft-related films as well as organizations and schools engaged in advancing the craft medium. It also gives novice writers and artists a place to showcase their work, as the magazine takes freelance writings and photography submissions for consideration towards each issue. Readers are also occasionally able to purchase affordable and innovative handmade goods featured in the magazine.
Funded by the nonprofit organization, The America Craft Council, American Craft is currently in its 72nd volume of publication and has over 14,000 issues (including the 38-year publication of Craft Horizons), making it one of the largest collections of art, craft, and design books in the country.
The Visual Arts Library is fortunate to own 46 of these volumes–dating back to 1962-and our current subscription ensures that our collection will grow with the publication.
American Craft, Volume 71, Issue Number 06. December/January 2012
Some artists view craft primarily as an activity, rather than an object. Left: Anne Wilson’s “Wind Up: Walking the Warp, Houston” (2010). Six dancers wound thread through the steel frame in this performance-turned-installation. Middle: Kelly Lamb (supported on her left by B Teamer Jeff Zimmerman) learns how to dance on molten glass as part of the performance art group’s 1997 “Tricks” video. Right: Mung Lar Lam hangs her geometric sculptures, made with cotton cloth, an iron, and starch, during an “Ironings” performance in 2010.
American Craft, Volume 71, Issue Number 06. December/January 2012
Randi Solin, a Washington D.C. born artist, studied at the New York State College of Ceramics. Solin creates abstract expressionist art she sees as “closer to paintings than fragile bud vases.”
Craft Horizons, Volume 22, Issue Number 05. September/October 1962
Left: Blue and white porcelain vase with relief decoration, 9 3/4″ high, from Bennington, Vermont, c. 1850. Right (top): Hard paste porcelain vase, 15″ high, embossed with gold and jewel work by Union Porcelain Works, Greenpoint, New York, c. 1884. [Left Page:] Right (bottom): porcelain pitcher, 8 1/4″ high, with relief decoration–Niagara Falls design–by United States Pottery Co., Bennington, Vermont, c. 1853-1858. [Right Page:] Left (top): painted vase, 8 3/4″ high, produced by Rockwood Pottery, Cincinnati, Ohio, and decorated by Artus Van Briggle, c. 1990. Left (bottom): blue “art nouveau” bowl, 5″ high, by Artus Van Briggle, Colorado Springs, Colorado, c. 1915. Right: hand-carved pale yellow “art nouveau” vase, 10 7/8″ high, by William Grueby, Boston, Massachusetts, c. 1910.
Craft Horizons, Volume 22, Issue Number 05. September/October 1962
Left: “Bottle Garden” by Sari Dienes of Stony Point, New York.
Craft Horizons, Volume 22, Issue Number 04. July/August 1962
Nicholas Vergette’s mixed media architectural murals. Left: Mosaic of ceramic and wood set in unglazed clay, 6′ x 4′. Center: Mosaic of blue, green, and orange shapes, 54′ x 26′. Right: Ceramic and wood mosaic, 6′ x 4′.
Craft Horizons, Volume 22, Issue Number 01. January/February 1962
Polish woodcarving, truly sculptural in its vigorously expressed from, captured the imagination of viewers in a comprehensive exhibition of Polish folk craft in every medium at the Brooklyn Museum, New York, November 28-January 14. In toys, kitchenware, animals, religious and secular figures, peasant carvers throughout the country practice an art that is at once traditional and contemporary. One of the most interesting centers of creative activity is the School of Kenar, located in the mountains of southern Poland, which gives training only in woodcarving and sculpture. There, craftsmen are producing work of such inventiveness and formal strength that it belongs with the sophisticated and informed sculpture of the international art community.
American Craft, Volume 72, Issue Number 01. February/March 2012
Top left: The crowd at the second Toledo Museum of Art glass workshop in June 1962. Front row, from left: Rosemary Gulassa, Harvey Leafgreen (a retired Swedish glass-blower recruited to help teach), June Wilson, Robert C. Florian, and Harvey K. Littleton. Back row, from left: John Karrasch, Octavio Medellin, Clayton Bailey, Stanley Zielinski, Norm Schulman, Diane Powell, Edith Franklin, and Erik Erikson. Bottom left: Fritz Dreisbach’s “Rich Golden Amber Mongo,” 1989 14 x 12 in. dia. Right: Harvey K. Littleton’s “Gold and Green Implied Movement,” 1987 31.25 x 19 x 14 in.
American Craft, Volume 72, Issue Number 02. April/May 2012
Kansas City Art Institute graduate and fiber artist, Yulie Urano’s knitted works serve as an exploration of her dual cultural identity. Urano uses her hands as knitting needles and knits her garments directly onto her body. Left: “Soft”, 2009, cotton. Top left: “Green”, 2010, cashmere. Middle left: “Orange”, 2010, cashmere. Right: “Grey”, 2010, silk.
American Craft, Volume 72, Issue Number 03. June/July 2012
From the humble wax crayon, Christian Faur creates sophisticated photo-realistic portraits.
American Craft, Volume 72, Issue Number 03. June/July 2012
Jiyoung Chung’s sculptural art re-envisions an ancient paper making technique. Left: Chung’s pieces are hung several inches away from the wall, creating dimension; the shadows they cast and subtle movements they make have a haunting effect. Middle left: “Whisper-Romance VI-II”, 2007, handmade paper, paper yarn, 2.8 x 2.1 feet. Right page: Right: “Whisper-Romance IV: Perspective”, 2007, handmade paper, paper yarn, 2 x 1.5 feet. Middle: “Whisper-Romance II-XXX”, 2007, handmade paper, paper yarn, 3.1 x 2 feet. Left: “Whisper-Romance: The Life”, 2009, handmade paper, paper yarn, 2.9 x 2 feet.
American Craft, Volume 73, Issue Number 02. April/May 2013
Michael Janis’s glass works, which employ the late-Renaissance technique of mirror anamorphosis, distorted images surround a silvered glass cylinder, in which the images may be seen in an undistorted form. Left: “The Optimism of Language”, 2012, fused glass, glass powder, silver, steel, 2 feet dia. x 7 feet. Right: “Lessons Learned and Unlearned”, 2012, fused glass, glass powder, silver, steel, 2 feet dia. x 7 feet.
American Craft, Volume 73, Issue Number 02. April/May 2013
In striking sculpture, Michael Peterson expresses the imagery and the energy of the natural world. Right: “Coastal Stack V”, 2008, madrone burl, 4 x 2.8 x 2.5 feet.
American Craft, Volume 71, Issue Number 06. December/January 2012
TV’s Nick Offerman stays grounded in craft.
Craft Horizons, Volume 39, Issue Number 01. February 1979
Monoprint from a series by Peter Voulkous, 29 1/8″ x 20 1/2″, executed at Institute of Experimental Printmaking, San Fransisco (1978).
American Craft, Volume 65, Issue Number 06. December/January 2006
Denise and Samuel Wallace, “Walrus-Man Bolo/Pendant”, 1993, fossil ivory, sterling silver, 14k gold, 3 1/2 inches high, limited edition 5/5, collection of Brendelle Walden. Photo/Kiyoshi Togashi.
SVA Library Picture & Periodicals Collections 