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Books on the topic 'Cape Cod School of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

New Britain Museum of American Art, ed. The tides of Provincetown: Pivotal years in America's oldest continuous art colony (1899-2011). New Britain, Conn: New Britain Museum of American Art, 2011.

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2

Sharp, Kevin. For spacious skies: Hudson River school paintings from the Henry and Sharon Martin collection. New Britain, CT: New Britain Museum of American Art, 2004.

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3

Deborah, Forman. Contemporary Cape Cod artists on abstraction. Atglen, PA: Schiffer Publishing Ltd., 2015.

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4

Contemporary Cape Cod artists images of land and sea. Atglen, PA: Schiffer Publishing Ltd., 2013.

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5

1941-, Young Allen, and Brender à Brandis G, eds. More than sand and sea: Images of Cape Cod. Athol, Mass: Millers River Pub. Co., 1985.

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6

Sykes, Barbara M'Cready. He painted Cape Cod: The life and works of Charles D. Cahoon. Point Reyes Station, Calif: Floating Island Publications, 1994.

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7

Drawings of old Boston houses and nearby areas on Cape Cod and the North Shore. Cambridge, Mass: Abt Books, 1989.

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8

Clare, O'Connor, Tabb Margo, and Cape Cod Chamber of Commerce, eds. Arts & artisans trails of Cape Cod, Martha's Vineyard & Nantucket. Centerville, MA: Cape Cod Chamber of Commerce, 2006.

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9

Brandis, G. Brender à. At water's edge. Erin, Ont: Porcupine's Quill, 1986.

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10

Michaelis School of Fine Art (University of Cape Town). Michaelis School of Fine Art: Graduate catalogue, 2019. Gardens [South Africa]: Michaelis School of Fine Art, University of Cape Town, 2019.

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11

Art From Cape Cod: Selections from the Cape Cod Museum of Art. Schiffer, 2016.

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12

Gibbs, Christopher. Art from above Cape Cod. Schiffer, 2019.

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13

G. Brender a Brandis (Corporate Author), Allen Young (Editor), and Young Allen (Editor), eds. More Than Sand and Sea Images of Cape Cod: Images of Cape Cod. Inland Book Co, 1985.

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14

(Illustrator), Adam Gamble, and James E. Ownes (Illustrator), eds. Coloring Cape Cod: Martha's Vineyard & Nantucket. On Cape Publications, 2001.

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15

Folk Art of Cape Cod and the Islands. Schiffer, 2014.

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16

Lambert, Adam. The Gallery Guide: Art & Fine Crafts on Cape Cod, Martha's Vineyard, & Nantucket. Cape Cod Life Magazine, 1996.

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17

Reckford, Laura. Arts & Artisans Trails of Cape Cod, Martha's Vineyard, and Nantucket. Cape Cod Chamber of Commerce, 2006.

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18

Wreckage: My father's legacy of art & junk. Bucknell University Press, 2017.

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19

Anne Packard. Fields Publishing, 2006.

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20

Buzan, Barry, and George Lawson. The English School: History and Primary Institutions as Empirical IR Theory? Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190228637.013.298.

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How does the English School work as part of Empirical International Relations (IR) theory? The English School depends heavily on historical accounts, and this article makes the case that history and theory should be seen as co-constitutive rather than as separate enterprises. Empirical IR theorists need to think about their own relationship to this question and clarify what “historical sensitivity” means to them. The English School offers both distinctive taxonomies for understanding the structure of international society, and an empirically constructed historical approach to identifying the primary institutions that define international society. If Empirical IR is open to historical-interpretive accounts, then its links to the English School are in part strong, because English School structural accounts would qualify; they are, in other ways, weak because the normative theory part of the English School would not qualify. Lying behind this judgement is a deeper issue: if Empirical IR theory confines itself to regularity-deterministic causal accounts, then there can be no links to English School work. Undertaking English School insights will help open up a wider view of Empirical IR theory.

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21

Notebooks, Delsee. Cape Cod: South Africa Notebook with Lined College Ruled Paper for Work, Home or School for Whale Watching Fans. Stylish Retro Sunset Whale Tail Journal Diary Vacation Souvenir 8. 5 X 11 Inch Soft Cover. Independently Published, 2019.

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22

1907-1989, Du Maurier Daphne, ed. Alena: A novel. 2014.

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23

Tkaczyk, Viktoria, Mara Mills, and Alexandra Hui, eds. Testing Hearing. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511121.001.0001.

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Testing Hearing: The Making of Modern Aurality argues that the modern cultural practices of hearing and testing have emerged from a long interrelationship. Since the early nineteenth century, auditory test tools (whether organ pipes or electronic tone generators) and the results of hearing tests have fed back into instrument calibration, human training, architecture, and the creation of new musical sounds. Hearing tests received a further boost around 1900 as a result of injury compensation laws and state and professional demands for aptitude testing in schools, conservatories, the military, and other fields. Applied on a large scale, tests of seemingly small measure—of auditory acuity, of hearing range—helped redefine the modern concept of hearing as such. During the twentieth and twenty-first centuries, the epistemic function of hearing expanded. Hearing took on the dual role of test object and test instrument; in the latter case, human hearing became a gauge by which to evaluate or regulate materials, nonhuman organisms, equipment, and technological systems. This book considers both the testing of hearing and testing with hearing to explore the co-creation of modern epistemic and auditory cultures. The book’s twelve contributors trace the design of ever more specific tests for the arts, education and communication, colonial and military applications, and sociopolitical and industrial endeavors. Together, they demonstrate that testing as such became an enduring and wide-ranging cultural technique in the modern period, one that is situated between histories of scientific experimentation and many fields of application.

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24

Smolla, Rodney A. Confessions of a Free Speech Lawyer. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749650.001.0001.

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This personal and frank book offers an insider's view on the violent confrontations in Charlottesville during the “summer of hate.” Blending memoir, courtroom drama, and a consideration of the unhealed wound of racism in our society, the book shines a light on the conflict between the value of free speech and the protection of civil rights. The author has spent his career in the thick of these tempestuous and fraught issues, from acting as lead counsel in a famous Supreme Court decision challenging Virginia's law against burning crosses, to serving as co-counsel in a libel suit brought by a fraternity against Rolling Stone magazine for publishing an article alleging that one of the fraternity's initiation rituals included gang rape. The author has also been active as a university leader, serving as dean of three law schools and president of one and railing against hate speech and sexual assault on US campuses. Well before the tiki torches cast their ominous shadows across the nation, the city of Charlottesville sought to relocate the Unite the Right rally; the author was approached to represent the alt-right groups. Though the author declined, he came to wonder what his history of advocacy had wrought. Feeling unsettlingly complicit, the author joined the Charlottesville Task Force, and realized that the events that transpired there had meaning and resonance far beyond a singular time and place. Why, he wonders, has one of our foundational rights created a land in which such tragic clashes happen all too frequently?

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25

Chalfa Ruyter, Nancy Lee. La Meri and Her Life in Dance. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9780813066097.001.0001.

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La Meri (Russell Meriwether Hughes, 1899–1988) was a performing artist, choreographer, teacher, and writer who built her career on ethnologic dance from many parts of the world. In the 1920s and 1930s, under the management of her agent-husband Guido Carreras, she toured in Latin America, Europe, Asia, the Pacific, and the United States. Despite the heavy schedule of travel and performances, she was able to obtain instruction in local dance genres, purchase costumes, and obtain recordings of the music in many of the countries. The new material would then be added to her concert programs. In late 1939, touring was no longer possible because of World War II, so La Meri and Carreras settled in New York City. There, she established a school, the Ethnologic Dance Center, and dance companies. She continued performing in New York and on tour in the United States, and, in addition to teaching and concert work, created original choreographies using techniques such as those of India and Spain. In 1960, she moved to Cape Cod, Massachusetts, where she continued her work until 1984, when she returned to San Antonio. In addition to her practical work in dance, La Meri also published writings that set forth her conceptions, understandings, goals and methodologies. This book is both a biography of La Meri and an analysis of the significance of her theory and practice, with attention to her own performance, choreography, writings, and teaching.

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