Since they began collaborating in 1993. John Wood and Paul Harrison have accumulated a series of playful and beguiling video works which are distinguished as much by their droll sense of humour as their unerring economy of execution. Played out against a minimalist, monochrome backdrop, or within the sealed-off space of the monitor itself, each of the works involves the presence of one of the artists, either as the butt of an extended sight-gag or as the trigger for a spiralling, visually surprising conceit. This publication, which features an essay by Charles Esche, documents Wood and Harrison's work to date, including single-screen works and installations.
An illustrated study that tells the story of Georgia's folk pottery tradition, the forces that shaped it, and the families and artisans who continue to keep it alive provides a new preface that summarizes the past decade of southern folk pottery. Reprint.
You know clay from art class, but do you know where clay comes from? Follow along as Clay shares the tale of how he's made, what artists can do with him, and how he's been used in the art world! 'Hey! I'm Clay' is the first in a series of books about where art materials come from! Written by John Szablewski, a certified visual arts educator in New York State. Szablewski teaches visual arts classes to students in Kindergarten through 8th Grade. 'Hey! I'm Clay' has been a class favorite in Szablewski's art classes, and now, here's your chance to add it to your home library! Visit www.JohnSzablewski.com. @artwithmr.szablewski
A complete catalog of the Atlanta History Center’s permanent folk art exhibition, this richly illustrated volume defines and documents the folk arts of the lower southeastern United States. The objects, crafting processes, and performances represented here illustrate the unique qualities of the community-learned traditional arts of the South. John A. Burrison examines a multitude of traditional art forms, many of which still thrive today. Intricately constructed miniatures of covered wagons, sorghum-syrup mills, and pottery workshops speak of a life of subsistence farming. Decorated baskets represent the cultural exchanges of Native Americans, European Americans, and African Americans. Intricate wrought-iron gates, musical instruments, quilts, and such curiosities as face jugs combine beauty and utility--the dual nature of most folk art--with southern flair. An illuminating introduction by Burrison, the curator of the exhibit and an expert folk art collector, presents highlights of his thirty years of research and collecting experience, offering a behind-the-scenes glimpse of the exhibition. A concluding section looks at the adaptations and innovations shaping the future of southern folk arts.
First published in 1983, Farm Buildings gives a fascinating account of what has been happening in and around farm buildings since medieval times, and describes their structure, their function and their style. This is followed by a long section in which sixty-eight representative types of Welsh and English farm buildings are commented on by the author and illustrated by John Penoyre. John Woodforde emphasizes that just as people increasingly enjoy looking at old farm buildings, so too some farmers are coming to appreciate them with a new eye, noting that they possess in their yards assets whose value is greater in several ways than they used to think. This book will be of interest to students of architecture, history and agriculture.
This is the first volume of a two-volume study of medieval England covering the period between the Norman Conquest and the Black Death. The book opens with a summary portrait of the English economy and society in the reign of William I. It goes on to examine in detail the population increase from 1086 to 1349 and to investigate the structure of society where relationships were rooted in the dependence of man upon man.
As the 20th century began, swamps with immense timber resources covered much of the Missouri Bootheel. After investors harvested the timber, the landscape became overgrown. The conversion of swampland to farmland began with small drainage projects but complete reclamation was made possible by a system of ditches dug by the Little River Drainage District--the largest in the U.S., excavating more earth than for the Panama Canal. Farming quickly took over. The devastation of Southern cotton fields by boll weevils in the early 1920s brought to the cooler Bootheel an influx of black and white sharecroppers and cotton became the principal crop. Conflict over New Deal subsidies to increase cotton prices by reducing production led to the 1939 Sharecropper Demonstration, foreshadowing civil rights protests three decades later.
The bestselling classic guide to off-grid green living, now with a brand new foreword from Hugh Fearnley-Whittingstall. John Seymour has inspired thousands to make more responsible, enriching, and eco-friendly choices with his advice on living sustainably. The Self-sufficient Life and How to Live It offers step-by-step instructions on everything from chopping trees to harnessing solar power; from growing your own vegetables and fruit, and preserving and pickling your harvest, to baking bread, brewing beer, and making cheese. Seymour shows you how to live off the land, running your own smallholding or homestead, keeping chickens, and raising (and butchering) livestock. While we aren't all be able to move to the countryside, we can appreciate the importance of Seymour's message, as he shows us the value of living within our means and making the most of what we have, to use skills that have been handed down through generations. With refreshed, retro-style illustrations and a brand-new foreword by Hugh Fearnley-Whittingstall, this new edition of Seymour's classic title is a balm for anyone who has ever sought solace away from the madness of modern life.
With recipes for mixing, testing, applying, and firing hundreds of high-fire glazes, this fully illustrated reference will help all ceramists gain a better understanding of glazes and the factors that make them work."--Book Jacket.
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