Sunday, March 26, 2017

Photo Studio Reservation Website

Visit the link below to reserve at time slot:

- Choose the date and time you would like to reserve the studio

- You will need to register with the site to confirm your reservation. They just need your
first name, last name, and email address. Once you register once you won’t need to do
it again and the process will be faster for you.

- After you register with the site you will be able to confirm your appointment.

- An email confirmation will be sent to you via the email you had provided the site.

- Once your reserved time comes around see Russell Maycumber in the Woodshop for the Studio Key Card. This will be the only way to get into the studio so make sure you keep the card on you if you leave the studio during your reserved time.

- When you are finished in the studio make sure you return it to a neutral working space and bring the key back down to Russell Maycumber. Russell will do a check of the space to make sure you have left it ready to be used by another student. 

Map Relief Resources

Looking for aerial photos of a particular place?
Get the newest aerial photography on the web! We provide 1-2 year old aerial photos of the USA.

Wednesday, March 15, 2017

Map Relief, In Process, Student Work

Paper Folding, Christian

Foam blocks cut with scissors, Michelle

Paper Cutting, Heather

Windsor Newton Inks on Foam Board, Tyler

Monday, March 13, 2017


I don't have source for this artifact. 
However, the video below shows another textile and offers a source. 

1920, Paper Doll Baby Bobby.

The march toward gender-specific clothes was neither linear nor rapid. Pink and blue arrived, along with other pastels, as colors for babies in the mid-19th century, yet the two colors were not promoted as gender signifiers until just before World War I—and even then, it took time for popular culture to sort things out.In 1927, Time magazine printed a chart showing sex-appropriate colors for girls and boys according to leading U.S. stores. In Boston, Filene’s told parents to dress boys in pink. So did Best & Co. in New York City, Halle’s in Cleveland and Marshall Field in Chicago.
Today’s color dictate wasn’t established until the 1940s, as a result of Americans’ preferences as interpreted by manufacturers and retailers. “It could have gone the other way,” Paoletti says.
So the baby boomers were raised in gender-specific clothing. Boys dressed like their fathers, girls like their mothers. Girls had to wear dresses to school, though unadorned styles and tomboy play clothes were acceptable. 
Above text source Go to link to read full article.


Lascaux Cave, Yellow Ochre

Paintings inside Tomb, Ancient Egypt, 15th century BC

Yellow Badges, Jews required to wear in Nazi-occupied Europe.
Read about it here, Holocaust Encyclopedia.

Bermuda Buttercup

Yellow Ochre quarry in France.

Yellow School Bus

Wednesday, March 8, 2017

Serene Ng, Artist

source link here

Joan Lurie, Artist

My interest is in exploring ways of building structural forms in ceramics. Many ideas for the forms come from architecture while the inherent organic quality of the clay always brings the work back to soft forms more reminiscent of biological and natural things. My work mixes the hidden worlds of microscopic views with a fascination for cellular structures in modernist architecture. These influences reappear in my work as ever-changing associations to man-made and natural objects. It is in the back and forth between the natural and artificial or the repetitive systems of the built world and the randomness and complexity of organic systems, that my work finds its meaning.

My work is made from porcelain and porcelain paper-clay. I begin by combining thrown forms into a basic shape and then adding bands of clay to the exterior creating an armature in reverse on the outside of the form. I then cut away some of the underlying form and begin adding to the bands with paper-clay. During this process, a logic appears allowing the pieces to find their own structure.


Mona Waterhouse, Artist

Marco Tirelli, Artist

Marco Tirelli grew up at the Swiss Institute in Rome, surrounded by visiting scholars and artists. His father was the manager and he family lived there (at the Institutes’s 19th Century Villa Maraini) in an apartment. His talent as a draftman took little time to show and he was already assigned a studio at the Villa Maraini at the age of 15.
Living at the Villa Maraini was a strong influence on his personal and artistic development : “So I’m a rather strange Roman,” he said. “I grew up here, but I never felt entirely part of it. And this has had a big effect on my work because I’ve always sensed a tension between places, real places, and what lies unseen beyond.”
Tirelli studied set design with Totj Scialoja at the Fine Arts Academy in Rome and he is an admirer of theatrical designer Adolphe Appia, whose work is echoed by Tirelli’s geometric and dramatic painting.
The metaphysical visions of the artist are expressed in a wide variety of styles and media: from paintings of geometric objects with dramatic lighting and contrasts, to drawings and sketches, to tiny sculptures of scenes. A collection of his work has been presented at the 2013 Art Biennale of Venice.
Barbara Rose wrote in her column in the Wall Street Journal: “An accomplished painter, sculptor and draftsman, Mr. Tirelli treats the theme of memory in a precise and evocative manner. Drawings of the images he uses in his metaphysical abstract paintings alternate with three-dimensional maquettes of imaginary buildings that suggest a metaphysical time and place.”
source link here

Louise Nevelson, b. 1899 Ukraine, d. 1988 New York City

Selerdor Designs

source link here

Beatus Map, 1109

This world map comes from a beautifully illuminated copy of Beatus of LiĆ©bana's ‘Commentary on the Apocalypse of St John’, a religious text from the 8th century held in high esteem by medieval Christians. This copy was made at the Spanish Monastery of San Domingo de Silos in 1106, a time when the monastery’s scriptorium was producing some of its finest work.
Adam and Eve are shown with the serpent against a dark green background representing the verdant Garden of Eden.
Its picture of a world centred round the Mediterranean Sea is virtually unchanged since the 8th century and reflects an even older world-view inherited from Roman times. Beyond the Red Sea is a hint of an undiscovered fourth continent that some ancient thinkers - among them, Pliny, the 1st-century Roman author - had suggested must exist in order to balance the known land masses of Europe, Asia and Africa.

Relief Map

Source Unknown.
Please e-mail if you can provide source. 

The History of Cartography by Harley and Woodward

AN ITALIAN CHART IN THE CATALAN STYLE. Made in 1482 by Grazioso Benincasa, (...) The repeated coats of arms beneath a cardinal's hat are those of Raffaello Riario, for whom the chart was made. n Size of the original: 71 x 127.5 cm

COSMOGRAPHICAL MAP: THE LAND OF EGYPT WITH THE GODDESS NUT. South is at the top inthis cosmographic representation found on the cover of a stone sarcophagus from Saqqara. It dates from the Thirtieth Dynasty, ca. 350 B.C. Diameter of the interior circle: 72 cm. The god of the air, Shu, can be seen below the stars, above the circular earth. 

After Malcolm M. Willcock, A Companion to the lliad (Chicago: University of Chicago Press, 1976)

A visualization of the shield of Achilles, described in Homer's Iliad. It is thought to represent a type of cosmographical chart,
bringing together elements of the natural and human world, although not in a spatial relationship. 

Drawn by the Majorcan Gabriel de Valseca in 1447, this style is midway between the two extremes of Catalan flamboyance and Italian austerity. Flags, town vignettes, and wind disks are typically Catalan, the lack of inland detail typically Italian. Size of the original: 59 x 94 cm. 

COMPOSITE PETROGLYPH MAP FROM BEDOLINA, VALCAMONICA. (North Italy) The earlier figures and later additions have been removed to reveal a complex topographical map.

Ptolemaic World Map