Fresco Fine Art Publications – förlag

"Making art is taking an idea, pulling it through your experiences, and realizing an expression of who you are," says John Coleman, adding, "I like to tell stories in my work that help explain who we are and from where we came. Each piece tells an underlying story—a visual mythology written by my hands and spiritual imagination, somehow linking us to the past and bringing us to a greater understanding of our ancestors."Whether working in clay, charcoal, or oils, Coleman draws viewers into the face of history where universal emotions create eternal bonds. His brilliance in communicating poignant moments is documented in this first book about his life and art. Overcoming trials and setbacks, Coleman has become one of the twenty-first century's foremost interpreters of the hero's journey in Native lifeways and the American West.

Inspired by nineteenth-century painters and photographers, Congress passed legislation preserving America’s spectacular natural resources for the enjoyment of all. Today, artists continue to play a significant role in interpreting these iconic panoramas, intimate corners, and diverse wildlife within our national parks. In Art of the National Parks, seventy painters and sculptors offer distinctive visions of eight of the nation’s most beloved wild lands: Acadia, Everglades, Grand Canyon, Grand Tetons, Rocky Mountain, Yellowstone, Yosemite, and Zion. Susan Hallsten McGarry, well-known author and curator, guides readers on a lively journey through the artists’ styles, techniques, and philosophies. Art historian/author Jean Stern, director of the Irvine Museum, discusses the historic artists who put into motion our nation’s conservation consciousness. And Terry Lawson Dunn, biologist and educator, highlights the national parks’ ecological successes and challenges. With more than 450 artworks, this glorious, large-format book is a must for anyone who has hiked the trails, watched a sunset, marveled at buffalo herds, or yearned to experience our nation’s mythic and transformative vistas. It is also an indispensible compendium of artists who are at the forefront of twenty-first-century American landscape and wildlife art. Art of the National Parks is available in seven different book jackets depicting the art and beauty from each national park featured in the book. Featured parks include: Acadia, Grand Canyon, Yellowstone/Tetons, Zion, Everglades, Yosemite, and Rocky Mountain. Special cover requests will be accommodated as stock allows based on cover availability. To ensure special handling, please order direct.

Why does the story of secret Jews fascinate us? What is crypto-Judaism? In recent decades religious practices that were preserved in hiding for centuries have become more widely known. Specifically, families of Spanish Jewish descent have retained elements of Judaism for five hundred years. What incredible religious and cultural tenacity! For many these elements represent a discovered identity that helps to explain mysteries in their lives. Is a person Jewish by genes, cultural heritage, religious practice, or by choice? What survives for a person whose ancestors were Jewish five hundred years ago? Fractured Faiths traces the history of the Sephardic and converso (converted) Jews from their Golden Age to the twenty-first century, in both the land they left behind and in the lands they later settled. Documents, maps, paintings, and objects illuminate the history of Sephardic Jews from Spain to Mexico to New Mexico.

Relational Undercurrents accompanies an exhibition curated by Tatiana Flores for the Museum of Latin American Art in Long Beach, California, which forms part of the Getty Foundation's Pacific Standard Time: LA/LA. This initiative examines the artistic legacy of Latin America and U.S. Latinos through a series of exhibitions and related programs. This exhibition catalog and volume edited by Flores and Michelle Ann Stephens calls attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America. The editors offer an "archipelagic model," which proposes a mapping of the Caribbean from the perspective of its islands as distinct from its continental coasts. The exhibition, organized around the four themes of Conceptual Mappings, Perpetual Horizons, Landscape Ecologies, and Representational Acts, highlights thematic continuities in the art of the insular Caribbean, placing Hispanophone artists in visual conversation with those from Anglophone, Francophone, Dutch, and Danish backgrounds. It includes over eighty artists, among them Tania Bruguera, Allora & Calzadilla, Christopher Cozier, Jorge Pineda, Edouard Duval-CarriÉ, and Ebony G. Patterson. In accompanying essays, curators, critics, and scholars discuss particular artistic traditions in Cuban, Puerto Rican, Dominican, and Haitian art and theorize the broader decolonial and archipelagic conceptual frameworks within which such works are produced. Relational Undercurrents will be on display that the Museum of Latin American Art from September 2017 through January 2018.Publication by the Museum of Latin American Art in collaboration with Fresco Books / SF Design, LLC. Distributed by Duke University Press.

Artist Robert Gratiot refers to his work as ""painterly photo-realism,"" and he readily reveals his complete commitment to this reference by rendering his subjects with photographic accuracy. His mastery of painterly methods and of various drawing techniques highlights his astounding eye-to-hand coordination. Gratiot precisely conveys a particular scene through meticulously produced details, each down to the smallest and expertly handled. But it is more than that-he regards each small section of a painting as an abstraction, and then assembles these tiny abstractions to build the realistic whole. His paintings are obviously the product of the considerable efforts of a very gifted and extremely meticulous painter.""The genuine revelation is how deeply personal and individual these pieces are for Robert Gratiot. This is a surprise, particularly considering the impersonal nature of his subjects. However, each is deeply felt and carries hidden moods and veiled stories, which until he shared them, were known only to Gratiot.""-Michael Paglia

The majesty of Earth's most magnificent features was the domain of Wilson Hurley (1924-2008). In paintings of natural wonders throughout the galaxy, he was committed to expressing his love of the richness of reality. His journey to become a revered twentieth-century American landscapist is brought to life in this intimate biography. Written for appreciators, collectors, and working artists, Hurley's goals and procedures - from thumbnails to plein air field studies and finished studio paintings - are elucidated in depth, including a commission that resulted in five monumental triptychs of our nation's most prized vistas installed at the National Cowboy and Western Heritage Museum.

Relicarios - finely crafted, bi-faced lockets of gold or silver - are artifacts of the Spanish Colonial era. These exquisite jewels containing devotional imagery protected by glass may include paintings on vellum, nacre, alabaster, copper, or ivory; prints; or miniature sculptures of boxwood, ivory, alabaster, or tagua. Although tons of relics were imported from Europe, particularly by Jesuits, in general only high-status individuals wore relicarios containing relics. Relicarios attest to colonists' dedication to their favourite Virgins and saints as well as fealty to church and crown. As powerful amulets they protected wearers in a precarious world. Relicarios reflects forty years of the author's research, including correspondence and interviews with relicarieros, art historians, curators, collectors, silversmiths, anticuarios, and clergy as well as the author's collection of several hundred examples. Photos commissioned from leading art photographers in the Americas were mostly unpublished until this handsome volume.

Explores the poetry of economics and politics using the metaphor of the Greek god Atlas, who carries Earth on his shoulders as punishment for being unhospitable to Perseus. In developing this metaphor, Pietroni stresses the need to introduce and understand the gods and goddesses of compassion.

This final volume in Professor Pietroni's impressive collection explores the concept of leadership. In developing its theme, the book introduces the myth of the great leader and details the attributes of the compassionate leader.

Often compared to art by the fabled Taos Society of Artists, Jerry Jordan’s paintings are distinguished by loads of paint, vibrant pigments, animated brushwork, pulsing patterns, and titles that speak to the soul.

Abstract art has a stunning presence in New Mexico. As a premier international art hub, the state is renowned for its artistic diversity, creative excitement, and cosmopolitan ambiance. The most sophisticated art lovers and collectors come from all over the world to experience the galleries and museums that exhibit abstract art. Today's creativity is built on centuries of Pueblo Indian design and Territorial Spanish elegance. More than a hundred years ago, prominent artists from the East Coast discovered the area and brought their energies to the task of founding the storied art colonies of Taos and Santa Fe. The light and the striking landscape proved fertile ground for innovative ideas and bold experimentation, then and now. Abstract Art presents a thoughtful sampling of the range and sheer variety of abstract art being produced in New Mexico today. Over 200 full color images reflect the vigor and originality of artists whose work compares favorably with that being produced in major metropolitan art centers. Stuart Ashman's essay covers the development of modern art in the state. He also selected the artists to appear, such as Eugene Newmann, Janet Lippincott, Kevin Tolman, Sally Anderson, Richard Hogan, Alan Paine Radebaugh, and Pascal. These artists are presented individually in profiles by Suzanne Deats.

Indian artists from all over the nation have deep ties to New Mexico. A great many live and work in the state. Countless others have attended and/or taught at the renowned Institute of American Indian Arts (AIA) in Santa Fe, NM. All have exhibited their work at Pueblo and Indian art exhibitions, in major galleries, or at the annual Indian market hosted by the Southwestern Association of Indian Arts (SWAIA) in Santa Fe.Almost without exception, Native artists draw upon their heritage for inspiration, and usually for form and content as well. Some create their art using traditional mediums and designs; others explore modern, sometimes unorthodox Subjects, styles, and mediums. The visions expressed in their art mirror the diverse experiences of indigenous peoples living in America today.Ndn presents examples drawn from the panorama of Native American art. Charleen Touchette's lively essay brings a contemporary perspective to Indian art. She also selected the artists to be included in Ndn, some of whom are Allan Houser, R. C. Gorman, Arlo Namingha, Margarete Bagshaw-Tindel, Kevin Red Star, Anita Fields, and Joel McHorse. Each artist is presented individually in profiles by Suzanne Deats.

Western Traditions is a new book on the art of the American West, an art that attracts not only great artists but passionate collectors, not only nostalgia buffs who revel in the history of the frontier but pragmatists who know that the life of the working cowboy is a solid reality in today's ranching industry. Featuring more than fifty celebrated painters and sculptors, Western Traditions paints a broad picture of this fine art category, showing where it has been, where it is now, and where it is going. Featuring such prominent artists as Glenna Goodacre, Gordon Snidow, Dave McGary, William Acheff, and Gary Niblett, this book belongs in every private and public art library, for it is an important reference as well as a rip-roaring good read.

The fourth title in the innovative New Mexico Artist Series, 3-D art/techne spotlights once again the extraordinary art and artistic life in New Mexico today. 3-D art/techne explores the work of more than thirty artists based in New Mexico who use traditional skills in non-traditional ways or who use non-traditional materials in traditional ways. Recognising that many people who work this way produce three-dimensional work, the book will focus on those who produce free-standing objects and those who may work on the wall but project out from it as well. Ranging from metal, wood, stone, clay and fiber to assemblage and glass, these works of art pose post-modern questions about modernist considerations of form and function. Among those featured are Tom Waldron, Barbara Zusman, Gail Rieke, and Tracy Krumm.

Thomas W. Leavitt writes, ""All of Lilly Fenichel's paintings are related to nature, even when they are abstract to the point of being non-objective. And be it cloud forms or structures emerging from the picture plane, the predominant mood has been serious and often sombre. She appears to have been burdened by her awareness of nature, exploring its qualities deeply yet warily"". ""Just You Just Me"", Fenichel's newest work, however, is an invitation to celebrate the most joyous of nature's gifts and of human experience: sensual, physical love. Born in Vienna, Fenichel fled the Nazi's with her family in 1939, living briefly in England, then moving to Los Angeles where she studied art at Chouinard Art Institute and City College. At the California School of Fine Arts (later the San Francisco Art Institute) as an abstract expressionist, Fenichel later worked with Elmer Bischoff, Hassel Smith, David Park, and Edward Corbett, who later became a part of the Taos Moderns group. Fenichel visited Corbett in Taos, later moved there and became a significant member of the Taos art community, developing enduring friendships with artists Bea Mandelman and Louis Ribak.

The Art of Ann Templeton explores the world and work of Ann Templeton. With over 120 full-color plates, the book illustrates her use of materials and techniques, her travels, and her approach to workshops, as well as her take on what it is to live the life of an artist. Primarily a plein air painter, Ann Templeton has developed techniques over 30 years of painting to capture the landscape quickly and to interpret it with her unique vision of color and design. She has introduced many students to her award-winning techniques in workshops she has taught. Her studio is in Ruidoso Downs, New Mexico.

The old world character of New Orleans is at once elegant, cultured, and refined, yet dilapidated, boisterous, and vulgar. To document these abundant eccentricities, Jackie Brenner is drawn to Subjects that expose the night people of her hometown with Bourbon Street and its strip clubs as the perfect tease. To gain entry into this darkened, shadowy world was difficult. Friday nights, better known as date night in the Crescent City, were chosen to penetrate the fantasy, harshness, and humanity of the stripper's world; to become a witness to the reality of their "otherwordly" existence. These are women who find the amount of money that can be earned too hard to pass up regardless of the consequences. They are a little bit of everyone just trying to make it through the day using whatever resources are available. When she began this project, Brenner was expecting the strippers to be mere objects and she finished it knowing these ladies as human beings. Jackie Brenner's enigmatic images now serve as historical record of the time before Hurricane Katrina's devastation created another obstacle in the path for all of us who are addicted to the character of New Orleans. Just as these women struggle to survive, so will New Orleans, as her people fight to preserve, rebuild and insure the integrity of her survival.

Michael Dunbar has balanced his sharply escalating renown as a sculptor with two decades as the coordinator of the arts and architecture program for the State of Illinois, which has enabled him to mentor the careers of hundreds of artists for over twenty years. Each of Dunbar's precisely crafted sculptures is a new entity rather than an abstraction of an existing one. They are concerned with ideas such as time, connection, and interaction. His formal influences include trestles, clocks, and navigational instruments as well as the cultural concepts of the heartland. His works are installed at universities, corporate headquarters, and sculpture parks throughout the country. A 21 by 18 by 30-foot piece, Euclid's Cross, was recently reviewed in Sculpture Magazine. An even more massive work is scheduled to go up at the confluence of three rivers in the Midwest. This monograph is an indispensable addition to educational and private art libraries.

Painted Dialogue celebrates in the form of an artistic retrospective the past twenty-plus years of paintings of Michael Von Helms. A non-figurative abstractionist, Von Helms describes his paintings as dialogs between his inner self and a higher power. Upon entering his studio, Von Helms forgets everything but that which is before him and draws no references from anything but the canvases on which he paints. He surrenders himself to the journey for he says, ""In the end it is not about attaining, but more about attempting. In my attempt I come face to face with the old realities of myself, and then, through 'hard payment,' rearrange and reconfigure simultaneously my inner self and the two dimensional surface of the work in progress."" The evolution of Von Helms' work has moved from the straight, simple yet dramatic petroglyph-like images of the '80s into the sophisticated, energetic bold-color canvasses of the '90s. Today, he may repaint a single canvas as many as five times, giving his paintings a surface of thick and thin overlays with a palpable sense of edge and energy. Von Helms says, ""When my process is pushed hard enough, long enough, the work and I seem to turn around a point and slip into a state of resolution. The curtain comes down, the play is finished. For the moment, all confusion, unknowing, and tension has been exhausted. Darkness is made visible. The emotions within me, the world outside, and the painting are all, at last, united. There is communication. It becomes a kind of salvation.

For Twenty years, Gene and Rebecca Tobey worked together as husband and wife and artistic partners. They are best known for their creations of ceramic and bronze sculptures of abstracted animal forms. In their art, bear, buffalo, elk, and other majestic animals stand in dynamic, timeless attitudes. Their work is a sculptural statement about the dominant personality of the animal. Magic occurs as the sculptures' surfaces become canvases upon which the Tobeys have carved, drawn, painted, and scratched graffito drawings of other animals, human figures, scenes of starry night skies, mountain ranges, and symbols and geometric shapes, all on beautifully patinated surfaces. In the pages of ""Partners in Art"", Rebecca Tobey shares her insights into their creative and collaborative process and shows the creations she and Gene forged during their two-decade partnership. In 2006 Gene Tobey passed away after battling leukemia. Rebecca Tobey lives in Santa Fe, New Mexico, and continues their legacy of creation and spirit.

Anna Tomczak's studio is her ""safe haven,"" her sanctuary, and a space into which she invites others. Throughout her artistic journey, Tomczak has discovered kindred spirits in her colleagues.She describes friend and fellow photographer, Merry Moor Winnett, with whom she was a darkroom-mate and, together, they explored the possibilities of hand painting black-and-white photographs. Tomczak notes other important artists in her life, including Margaret Ross Tolbert and Phil Parker, both of whom she met through ""Mother Art"" Dorothy Johnson, art supervisor and initiator of the Volusia County Florida Artists-in-Schools Residency Program.Tomczak has fostered artistic development by hosting workshops in her studio and leading trips abroad. She has been influential in artist-residencies in public schools and the Southeast Museum of Photography, Daytona Beach Community College, Florida.

This lavishly produced book, packaged in a handsome slipcase, showcases the work of twenty-five contemporary photographers who have strong ties to New Mexico. Noted photographer Thomas Barrow has chosen two hundred images. These images represent the state of photography, both in New Mexico and in the art world today.

Colorado Abstract examines the establishment of abstraction in the art of Colorado during the late twentieth and early twenty-first centuries.For this groundbreaking study, Michael Paglia and Mary Voelz Chandler begin with the first generation of artists active in the 1930s and conclude with the modernists of the 1970s and 80s. Paglia focuses on the history of abstraction in Colorado, and Chandler's essays document the artistic development and vision of more than fifty contemporary artists who are creating abstract paintings and sculptures today.

Reiki is a logical choice for healing. Ancient civilizations recognized that "life force" energy flowed through all life, connecting all life. Today, however, our culture has lifted science and technology above this original foundation for perceived optimum health. As a society we treat disease rather than support health. And yet, The New York Times said that in 2007, 48 percent of American adults used at least one alternative or complementary therapy, and that number continues to grow.Gay Stinnett, Reiki Master/Teacher, and Carin RoaldSet have come together to speak for the practice of Reiki through word and image. Stinnett, through her writings, and RoaldSet, through her photography, explain and elucidate the practice of Reiki. Stinnett writes that "Reiki is a gift. It can fill our lives with joy and wonder. The inspiring energy of Reiki can create a shift that evolves into life-changing events."Stinnett's writings move through her life as she is drawn closer and closer to Reiki before embracing it as a professional practitioner. RoaldSet's photography enhances the visual images that Stinnett evokes.

Jefferson D. Rubin was a brilliant young artist whose devotion to humanistic art embraces the poetry of sculpture that descends from ancient and Renaissance antecedents. A Colorado native, he studied in the United States and Italy, and was founder, director, and principal maestro of La Scuola Classical Sculpture School in Denver. Rubin exhibited in galleries and museums across the country and abroad, and his rare pieces are prized in many private collections. Rubin wrote, 'I gave my heart to nature and my soul to art. I imagined myself as a prehistoric man, an Indian and an Italian...I carved the stone as if it were fossilized semen...the rhythm, the breath, the metamorphosis of life. I carved by hand. I was primitive. I loved art and lost myself in time'. He died in a tragic mountain accident in 1995 at the age of 36. The Jefferson D. Rubin Memorial Fund exists to keep alive the idealism of the human form and spirit in classical sculpture. That was the purpose of La Scuola and the soaring vision of its founder and his muse. In the book's introduction Marian Granfield offers her insights into the classical-inspired work of Jefferson D. Rubin and shares their first meeting and the close friendship that grew between them.

In the history of art only a select number of artists distinguish themselves as originators of a personal idiom that reverberates beyond place and time. John Nieto is one of those originals. His eye-dazzling paintings rank him among the vanguard of contemporary American colorists.Recognized worldwide for his signature blend of expressive colors, dynamic brushwork, and powerful compositions, Nieto is an American artist who speaks in a universal Language. His personal story, told here for the first time, is a journey of discovery. His paintings combine reverence for his heritage with a sophisticated worldview. They are also autobiographical.Nieto depicts Native peoples as icons of dignity and unity. His buffalo, bears, and coyotes are symbols of survival. Each is captured in pulsating saturated hues that affirm the vibrant spirituality inherent in all living things.

For thirty years, Sarah Bienvenu's experiences painting and exploring New Mexico's mountains, canyons, and deserts have given her a unique ability to disentangle and interpret these past layers of change. She finds beauty in nature's ability to reveal accidental compositions through patterns and asymmetry: "I look to the land to tell me how best to paint it, using the natural abstract shapes I see." Being attuned to such abstractions--the undulations of a dry riverbed, the jaggedness of rock against sky--is where abstraction becomes detail: detail of texture, detail of shape, detail of light and color and composition.Watercolors provide the perfect medium for matching the immense variation and subtlety of Bienvenu's Subject. A closer look reveals that each individual element, as in nature, harmonizes with the collective whole. Realism is discovered in consonance: from a cast of light to a balance of colors.

Tom Kirby's art interest began at a young age, first by emulating his father, a second generation Abstract Expressionist painter. Kirby draws inspiration for his work from extensive travels throughout Europe, Southeast Asia, Japan, and North Africa. His work is distinctly modern yet deeply influenced by past masters, most importantly, Caravaggio, and is a synthesis of expressionistic and minimalist influences.Since the late 1980s, Kirby has exhibited his work nationally and his art can be found in private collections worldwide. He received his B.F.A. in painting from the College of Santa Fe in New Mexico in 1989, and later taught printmaking in the college's art department.