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Notes:

• Catalog of the collection, by M. A. Richards: p. 108-119.
• Includes bibliographical references.

Subjects:

• Avnet, Lester — Art collections — Catalogs.
• Avnet, Joan — Art collections — Catalogs.
• Museum of Modern Art (New York, N.Y.) — Catalogs.
• Drawing — 20th century — Catalogs.

Requested by Augsburg Archives

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Notes:

• Catalog of the collection, by M. A. Richards: p. 108-119.
• Includes bibliographical references.

Subjects:

• Avnet, Lester — Art collections — Catalogs.
• Avnet, Joan — Art collections — Catalogs.
• Museum of Modern Art (New York, N.Y.) — Catalogs.
• Drawing — 20th century — Catalogs.

Requested by Augsburg Archives

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Notes:

• Latest issue consulted: 2006.
• English, French, and German.

Subjects:

• Posters — Periodicals.

Requested by Kurpiers, R.

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Notes:

• Includes bibliographical references and index.
• Introduction: Twenty-first-century comics — Scott McCloud (2007) — Charles Burns (2008) — Lynda Barry (2008) — Aline Kominsky-Crumb (2009) — Daniel Clowes (2010) — Phoebe Gloeckner (2010) — Joe Sacco (2011) — Alison Bechdel (2006 & 2012) — Françoise Mouly (2008 & 2010) — Adrian Tomine (2012) — Art Spiegelman & Chris Ware (2008).
• Never before has graphic storytelling been so prominent or garnered such respect: critics and readers alike agree that contemporary cartoonists are creating some of the most innovative and exciting work in all the arts. For nearly a decade Chute has been sitting down for extensive interviews with the leading figures in comics, and now she offers fans a chance to share her ringside seat. Chute’s in-depth discussions reveal a creative community that is richly interconnected yet fiercely independent, its members sharing many interests and approaches while working with wildly different styles and themes.

Subjects:

• Cartoonists — United States — Interviews.
• Cartoonists — United States — Biography.
• Comic books, strips, etc. — United States — 21st century.
• United States. fast (OCoLC)fst01204155
• USA. (DE-588)4078704-7 gnd
• 2000 – 2099 fast
• Interviews. fast (OCoLC)fst01423832

Requested by Koehler, B

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Notes:

• Includes bibliographical references (pages 317-336) and index.
• Animation and history / Esther Leslie — Animating the instant : the secret symmetry between animation and photography / Tom Gunning — Polygraphic photography and the origins of 3-D animation / Alexander R. Galloway — A living, developing egg is present before you : animation, scientific visualization, modeling / Oliver Gaycken — André Martin, inventor of animation cinema : prolegomena for a history of terms / Hervé Joubert-Laurencin translated by Lucy Swanson — First principles of animation / Alan Cholodenko — Animation, in theory / Suzanne Buchan — Film as experiment in animation : are films experiments on human beings? / Gertrud Koch translated by Daniel Hendrickson — Frame shot : Vertov’s ideologies of animation / Mihaela Mihailova and John MacKay — Signatures of motion : Len Lye’s scratch films and the energy of the line / Andrew R. Johnston — Animating copies : Japanese graphic design, the Xerox machine, and Walter Benjamin / Yuriko Furuhata — Framing the postmodern : the rhetoric of animated form in experimental identity-politics documentary video in the 1980s and 1990s / Tess Takahashi — Cartoon film theory : Imamura Taihei on animation, documentary, and photography / Thomas LaMarre — African American representation through the combination of live action and animation / Christopher P. Lehman — Animating uncommon life : U.S. Military malaria films (1942-1945) and the Pacific theater / Bishnupriya Ghosh — Realism in the animation media environment : animation theory from Japan / Marc Steinberg — Some observations pertaining to cartoon physics or, The cartoon cat in the machine / Scott Bukatman.

Subjects:

• Animated films — History and criticism.
• Animated films — Social aspects.
• Animation (Cinematography)

Requested by Kurpiers, R

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Notes:

• Includes bibliographical references (pages 221-235) and index.
• This comprehensive history of Japanese animation draws on Japanese primary sources and testimony from industry professionals to explore the production and reception of anime, from its early faltering steps, to the international successes of Spirited Away and Pokémon –Publisher’s website.
• Introduction: what do we talk about when we talk about anime? — Kid Deko’s new picture book: early cartoons in Japan 1912-21 — The film factories: animation technique and technology 1921-37 — The shadow staff: Japanese animation at war 1931-48 — The seeds of anime: Japanese animation industries 1946-62 — Dreams of export: Tōei Dōga and MOM Production 1953-67 — Warrior business: Tezuka’s anime revolution in context 1961-72 — The brown screen: trended change in Japanese animation 1966-83 — The third medium: the transformation of ownership and access 1977-96 — The Pokémon shock: anime goes global 1984-97, 1997-2006 — The digital engine: new technologies in animation 1983-2012 — Epilogue: the end of anime’s first century.

Subjects:

• Animation (Cinematography) — Japan — History.
• Animated films — Japan — History.
• Photography.

Requested by Kurpiers, R

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Subjects:

• Architecture — Caricatures and cartoons.
• American wit and humor, Pictorial.

Requested by Kurpiers, R

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Notes:

• Based on the facsim. series, Original drawings by Rembrandt Harmensz van Rijn, published 1888-1911.
• Includes bibliographies.

Subjects:

• Drawing, Dutch.

Requested by Swanson, J.

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Notes:

• Catalog of an exhibition held at the Whitney Museum of American Art, New York, May 23-Oct. 6, 2013 Dallas Museum of Art, Nov. 17, 2013-Feb. 16, 2014 Walker Art Center, Minneapolis, Mar. 15-June 22, 2014.
• Includes bibliographical references (p. 228-229) and index.
• Hopper’s drawings / Carter E. Foster — Hopper in Paris and Soir bleu / Carter E. Foster — A view from the bridge / Daniel S. Palmer — City pendants: Early Sunday morning and Nighthawks / Carter E. Foster — New York movie / Carter E. Foster — Office at night, the El train, and urban voyeurism / Carter E. Foster — Hopper’s walls / Mark W. Turner — The road / Nicholas Robbins — The bedroom / Carter E. Foster.
• Edward Hopper (1882-1967) is recognized as one of the most well-known American artists of the 20th century. His distinctive style, combining subtle observations of the world with his imagination, has not only influenced other artists but also photographers, filmmakers, and popular culture. Although Hopper is primarily known for his oil paintings, including such iconic works as Nighthawks (1942) and Early Sunday Morning (1930), this important publication is the first comprehensive exploration of his drawings and working methods. In 1967, Hopper’s widow, Josephine Nivison Hopper, bequeathed her husband’s artistic estate to the Whitney Museum of American Art, including a fascinating collection of more than 2,500 drawings spanning his entire career. This group of works has never been the subject of in-depth study and many have never been reproduced before. Hopper kept these drawings for personal reference as he revisited various themes throughout his career. Carter E. Foster examines how Hopper used his drawings to develop his paintings, arguing that the artist’s work can only be fully understood after careful study of these preparatory sketches. Foster also argues that Hopper was, in many ways, a traditional draftsman who methodically developed schematic ideas into detailed studies to refine content. However, the steps toward this refinement are unique to Hopper and reveal how he turned the mundane into poetic images with universal appeal. –Publisher’s website.

Subjects:

• Hopper, Edward, 1882-1967 — Exhibitions.
• Whitney Museum of American Art — Exhibitions.
• Drawing — New York (State) — New York — Exhibitions.
• Hopper, Edward, 1882-1967.
• Hopper, Edward — dessin. rero
• Tentoonstellingscatalogi (vorm) gtt

Requested by Kurpiers, R

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Notes:

• Includes bibliographical references (p. 207-211) and index.
• Part biography, part history, part artistic commentary, this volume looks at major figures in the field of animation and discusses how their contributions have affected the course of the industry–and in many cases, popular culture as a whole –Back cover.
• Art Babbitt : working with idealism — John Hubley : the modernist — John Kricfalusi : the throwback — Terry Gilliam : the accidental animator — Max and Dave Fleischer — Frank Tashlin : Mr. Everything — Matt Groening : the populist hippie — Ray Harryhausen : the stop-motion master — Ed Benedict : the reluctant influencer — Lotte Reiniger : shadowplayer — Lillian Friedman : the patient trailblazer — Henry Selick : sharing hope through the darkside of the story — George Newall and Tom Yohe : the entertaining educators — The FMPU : animating our way to victory (and education) — Joe Grant : the constant — Bill Scott : writer and moose advocate — Michael Maltese : the storyman.

Subjects:

• Animators — United States — Biography.
• Animated films — United States.
• Animated television programs — United States.

Requested by Redmond, D