The army subsequently commissioned the song writer, Frank loesser, to write a song about a plain ordinary foot slogging dogface and he chose rodger young. This Ziggurat Press twist publication is Feldman's "personal way of honoring all those who fought and died in World War." 350 (Last four copies click image for more. A packet of Letters, by walter Feldman, providence, rhode Island: Ziggurat Press, 1989. 8.25.25 36 unnumbered pages.18 pt Bodoni type. Printed on Nideggen paper by a hand-fed Vandercook press. Spiral bound at top with cloth-covered hardcover wraparound. Paper title on wraparound.
Type used 14 point italic Kentonian. Images were conceived and printed by walter Feldman. The box cover on the special edition has a "mourning cloth" made in the ziggurat studios. Pamphlet style hand sewn binding with red, white and blue ribbon. Cd accompanies edition and is set in case. The sheet music is printed and laid in at the end of the pamphlet. The text is printed and illustrated by walter Feldman. In Feldman's research of the ballad, he found that the young soldier dies in combat on New georgia in the solomon Islands in 1944 and was posthumously awarded the army's Congressional Medal of Honor for his heroic exploits that day.
Type 14-point Bodoni text Wide. Cloth bound with blind-embossed glyph on front board. In simple language juan Ortiz (originally from guatemala, now residing in Mexico city) tells the history of his people from the time of "the serpent God whose name was quezalcoatl" to the coming of the "brown robed men with peculiarly shaved heads who lied and. Ortiz ends his tale with this: "I am making this small codex in the hope that all people of the world may learn to be kind to one another and to share their maize and clean water with one another." 250, click image for more. The ballad of Rodger young. By walter Feldman, providence, rhode Island: Ziggurat Press, 2002. Printed on Twinrocker handmade paper.
Free the great ziggurat of Ur-Nammu, essay
Kirk mangus, ruffled Jar, 2002 local.5 x 11 x 11, this gave me a comparison to the ziggurats and birdhouses. I dont necessarily believe in answers. I am more fond of questions and puzzles. Published in conjunction with the sofa chicago 2014 Lecture kirk mangus: Things sustainable love with Rose bouthillier, Associate curator and Publications Manager, moca cleveland; eva kwong, mangus widow; and Mindy solomon, Owner, mindy solomon Gallery, miami,. Presented by mindy solomon Gallery.
Ziggurat Press, rhode Island (Walter Feldman share this page: books concerning the effects of war by feldman. One of a kind books by feldman. My story, by juan Ortiz, homework providence, rhode Island: Ziggurat Press, 2007. 6.5.5 42 pages. Accordion structure, detached at front board, and attached at back pastedown. Images created by walter Feldman in woodcut, and then transferred to rubber stamps, printed, and individually hand colored. Text printed by offset lithography.
I do this often and take some time away from projects that have come to some critical junction. During a period in1987-88 I started working with bisque ware molds and stamps. I made a series of small earthenware pieces that looked like tiny amphora. I covered these pieces with a shiny copper glaze. I would reduce the glaze as it was cooling and form a red luster on these pieces.
I had been studying Roman Arrentini ware and my head was full of its colors and proportions. I responded to the mathematics of this pottery. I tried to use this math decisively and intuitively, but the making process slows down since considerable time is used to articulate the form. They had a precious quality that was built into their classic proportions, scroll handles, ornate images and their shiny red color. In many cultures, red is often a color of associated with good fortune, hence its appeal. The red had something to do with this precious quality, but so did my cultural bias towards ancient Greek and Roman design. It is not only the recognizable proportions of the pots that is appealing, it is also the soothing mathematics of the human form that is emulated in these ancient designs. The ornate additions resonate opulence even though they are quickly molded, They were added and subtracted with spontaneous glee.
Structures: Pyramids, Stonehenge, and
I began to cover these pieces with small sculptures of birds, bugs and oliver heads as well as drawing on the surface. I did this out of of a reaction to the stepped forms as well as a gnawing feeling that these things could become beautiful in a baroque way or even a decorative way. I wood fired many of them. The intricate mix of ash glaze and charcoal effects with the variety of clays i used, added to the lushness of the pots. They were extremely complex visual and technical things and since they used architectural shapes as the basis for their pottery forms they were also a bit odd. I became indecisive about what to do next to with these series. Kirk mangus, sealife basket, 2005 stoneware, wheel-thrown, kirk's peacock Glaze 9 x 9. My reaction to this dilemma was basically to stand back and try something else. Then I could see if a could learn something about my other work.
It is the close proximity of someone cultures that encourages appreciation and comprehension. For me, i have constantly tried to move between the simplification of my work and my natural urge to create dense layers of images. When I started making things in the seventies, i tried to eliminate most extemporaneous additions to my pots. Since i was drawing and carving on them, It made sense to strip down the form. . I made ziggurats, bumps, hives, stacks of lumps, squares, cylinders, birdhouse shapes and occasionally amphoras. I wanted to create a primordial pot that would be illuminated by my drawings. What began to happen was that simpler pieces had a dramatic surface to work on, but I became more interested in the intricacies of the ziggurats and the birdhouses. I labored over these pots.
usually a breakdown in these intolerances that draw new elements into the artistic scheme of things. The modern world tends to quickly and easily embrace diverse material and make it appreciated by huge audiences. What used to take a century can happen in a decade or a year. This is less an issue of mass media and more an issue of the mixtures of people that populate the globe. Where the mixtures are greatest, the greater the appreciation for disparate forms of beauty. Mass media can only inform.
Style and influence creep in and out of objects, interiors and architecture. Foreign thought wallpaper continually challenges regional taste and spawns exotic hybrid children. This often happens without conscious intellectual decisions. Interesting things become appropriated simply because the best way to appreciate something is to imitate. The artist always gets things a little wrong and misses the original point. When something becomes incorporated, it takes on a life of its own. It also assimilates the background and concerns of the artists who have embraced the new ideas.
Nanna, ziggurat and Khafre's Pyramid, essay, example topics and Well
By kirk mangus, kirk mangus, sea life ziggurat, 2005 stoneware, wheelthrown, kirk's peacock Glaze 18 x 9 x 9, since i draw on nearly every pot I make, i have always been curious about the complexities of drawing, form, and decoration. It is not so much that each one has its own values. It is exactly the opposite. The very nature of making art, and especially making pottery, despises categories and continually transcends the boundaries that are associated with language, tradition and pedantic genres. . There are elemental problems with creating art. The more additions that are added to an existing form, the less visible these details become as the form becomes saturated with extra elements. If a piece is simplified, the decisions become more complex, since each decision alters the work in extreme ways. Art tends to mutate.