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My Brother Joe, the Woodcarver: A Collection of Musings, Revealing the Thoughts and the Philosophy of Joe Barta (1904-1972) (Paperback) newly tagged "art"

My Brother Joe, the Woodcarver: A Collection of Musings, Revealing the Thoughts and the Philosophy of Joe Barta (1904-1972) My Brother Joe, the Woodcarver: A Collection of Musings, Revealing the Thoughts and the Philosophy of Joe Barta (1904-1972) (Paperback)
By Lucy Barta McKay

4 used and new from $1.00

First tagged "art" by StVincentDepaulBooks
Customer tags: art, wood carving, wood working, woodworking book, carving, woodworking, whittling, woodcarving
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My Brother Joe, the Woodcarver: A Collection of Musings, Revealing the Thoughts and the Philosophy of Joe Barta (1904-1972) My Brother Joe, the Woodcarver: A Collection of Musings, Revealing the Thoughts and the Philosophy of Joe Barta (1904-1972) (Paperback)
By Lucy Barta McKay

4 used and new from $1.00

First tagged "art" by StVincentDepaulBooks
Customer tags: art, wood carving, wood working, woodworking book, carving, woodworking, whittling, woodcarving
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The most beneficial Sateen Zebra bedding Collection

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SOURCE : http://goarticles.com/article/The-most-beneficial-Sateen-Zebra-bedding-Collection/5478367/

Barnes art collection nears final days at old home - Reuters

By Dave Warner


PHILADELPHIA |


PHILADELPHIA (Reuters) - After nearly a decade of lawsuits and bitter debate, the world famous Barnes art collection is about to move from its original wooded, suburban setting outside Philadelphia to a bustling boulevard in the city's cultural district.


Workmen are still busy constructing the Barnes' new, modern building in an area of Philadelphia known as Center City that is home to government offices, shops, museums and open-air spaces modeled after the Champs-Elysees in Paris. Once it debuts in spring 2012, the new home is expected to cost $150 million, including expenses to move the collection.


The Barnes, named after Philadelphia physician Albert Barnes, who died in 1951, contains some 800 paintings by famous artists including 181 pieces from Renoir and 69 by Cezanne. The Barnes Foundation, which controls the collection, believes the paintings constitute one of the world's great collections of French impressionist, post impressionist and modern art.


But the Barnes' move from its stately mansion in Merion, a suburb that some civic leaders thought was inconvenient for tourists, has not come without a lot of complaints, and some recent visitors believe it should stay at its original home.


The collection's final day there is set for July 3.


"I am going to miss this so much," said Lynne Rosenbaum, of Marlton, N.J. "I think this is one of the jewels in the museum world," adding that she was "very upset" at the move.


Nearly a decade of litigation has taken place since the change was made public, and a largely critical documentary film, "The Art of the Steal," was released in 2010.


In fact, the legal wrangling has not quite ended. A further court hearing is scheduled for August at which a group called The Friends of the Barnes will ask the court, once again, to order the collection to remain in Merion forever, upholding the terms of Dr. Barnes's will.


But Barnes' watchers believe the odds are against the group because Judge Samuel Ott, who will rule on the suit, has previously decided it could move. So, many Barnes' lovers have been making the trek to Merion one last time in recent weeks.


"For the last two months, we've been packed," said Barnes docent Hildy Jaffe, as she stood in the doorway of the facility's biggest display room with dozens of paintings, including the Card Players by Cezanne that is one of the most popular at the Barnes.


The room famously features a 47-foot long mural called The Dance II by Henri Matisse that dominates the arches on one side of the main gallery.


NEW IS OLD IS NEW, AGAIN


The new building sits on 4.5 acres in Center City that also is home to the famous Rodin Museum and the Philadelphia Museum of Art several blocks away.


It is decidedly modern, but does retain a few architectural features that are strongly reminiscent of the Merion mansion, a 1922 structure made of French limestone. The new building's facade is done in a similar Israeli limestone, according to project director William W. McDowell III.


The interior might seem familiar to visitors, McDowell said, during a walking tour in which he dodged construction workers and wheel barrows.


The main gallery is nearly identical to the one in Merion, he said. The rooms are the same size, the paintings will be hung in familiar positions, and even the white oak floors will be reminiscent of Merion.


The new facility is bigger, though, because it includes additional gallery space for temporary exhibits of borrowed paintings, plus larger meeting rooms and a bigger library.


The 23-room Merion mansion, which sits amid a well-to-do residential neighborhood, will continue to be used as a training facility for those interested in another fascination of Dr. Barnes, horticulture.


It will house classrooms for those wanting to learn more about the plants and trees in the 12-acre arboretum that surrounds the building. It will also house Barnes' offices and perhaps an archive of thousands of Barnes' documents.


Meanwhile, officials at the Greater Philadelphia Tourism Marketing Corp. are looking forward to next spring when the new facility is scheduled to open.


"I think it will encourage more (hotel) stays," said Meryl Levitz, president of the corporation.


Aside from the art, she said that "Physically, (the facility) is just so beautiful."


The corporation, however, has no forecasts as to how many more visitors the Barnes might draw to Center City, and Levitz knows of no studies done by others, either.


(Editing by Bob Tourtellotte)


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Build an art collection by staying true to yourself - Times Daily

“I always tell people, if you like it and you want it, you will find a place for it,” Waterman said, laughing.

The walls of her downtown Florence home are filled — and she's adamant about having more than one piece on a single wall — with unique pieces she and husband Daniel have gathered from their travels, from wooden carvings from east Africa to brass and bronze metalwork from India. The Waterman home is its own museum of treasures.

“It's pretty eclectic, I guess,” she said. “I think the main thing is that we really like very original art, something that's a little different and a little unique. I just always appreciate the work that goes into it and how people visualize things and tell sort of a story about their lives and what influences them.”

Purchasing art doesn't have to be intimidating. Building a collection means learning more about the art world and about what you like, and finding a theme — whether it's subject matter, medium, artists or style — that ties the works together. In Waterman's case, the theme is there is no theme, and that can work for a collection, too.

Collecting is “more methodic than just starting out there with no guidance,” said Catherine Evans, curator of photography at the Columbus Museum of Art in Columbus, Ohio. There needs to be “some narrowing or defining of what resonates with you.”

A good place to start is by consulting with gallery owners, museum curators and artists, who often are eager to share their knowledge. Beth Batton, curator of the collection at the Mississippi Museum of Art in Jackson, encourages people to visit museums and galleries and figure out what medium they like. Then seek out good examples.

“Educate your eye,” she said. “If you find you really like photography, try to understand the techniques.”

Waterman frequents arts festivals in the Shoals, from First Fridays every Friday in downtown Florence to the annual Arts Alive festival in Florence each May to the recent Helen Keller Festival. The Kennedy-Douglass Center for the Arts in Florence and the Tennessee Valley Museum of Art in Tuscumbia also have numerous exhibits throughout the year, many with items available for purchase.

“When we moved to Alabama about 10 years ago, we were very interested in finding Alabama artists and Southern artists,” Waterman said. “We try to purchase one item every year from Arts Alive and have been able to pick up some really interesting things.”

She, like Route of Art gallery owner Jaime Weaver, is attracted to what is called outsider art — some of it funky, but all of it having a story to tell.

“A lot of it, you're not necessarily selling the piece, it's the person's story,” said Weaver in an interview in the fall shortly before she opened her gallery in downtown Florence.

A personal connection to a work always is important, but sometimes, said artist and collector Jean Schulman, you should go with your gut.

“I collect anything that I like,” said Schulman, of Florence, whose collection spans the globe, was built throughout the past 50 years and at one time was on display at the Kennedy-Douglass.

It contains watercolors, oil paintings, drawings, prints, pottery and photography. Some pieces come from her former students; she started the art program at Muscle Shoals High School and taught there for 20 years.

“I collected because I like the pieces, and I didn't want to leave them,” she said. “I was not thinking about, ‘Oh, I want to buy this because it's really good and it's going to be worth something.' I don't think I've parted with a single piece I've ever bought.”

As you shop around and are drawn to specific works, figure out why those pieces of art move you, said Aprile Gallant, curator of prints, drawings and photos for the Smith College Museum of Art in Northampton, Mass. The theme you choose can be broad, she said, and can focus on an activity, place or era.

Having a focus gives a collection coherence and personality and also can help art buyers choose more wisely, Batton said.

“It keeps you from spending money on an impulse purchase,” she said.

“You don't have to have a huge income to be able to start an art collection.”

And any type of art, at any price, can make for a great gift, Waterman said. One of Schulman's students once purchased a painting of hers to give to his mother for Mother's Day. He paid in $5 monthly increments.

“It starts somebody's collection,” Waterman said. “You can start small, and it will just continue to grow.”

The Associated Press contributed to this report.

Sarah Carlson can be reached at 256-740-5722 or sarah.carlson@TimesDaily.com.

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Andersons give major art collection to Stanford - The Almanac Online

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By Rebecca Wallace
Embarcadero Media

A veritable arts district is burgeoning at Stanford University, with a new building slated to be built to house a major donation of 20th-century American art.

Harry W. and Mary Margaret Anderson of Atherton and their daughter Mary Patricia Anderson Pence have announced that they're donating 121 works by 86 artists including Jackson Pollock, Richard Diebenkorn, Willem de Kooning and Mark Rothko.

The university plans to open the Anderson Gallery in late 2014, near the Cantor Arts Center, the under-construction Bing Concert Hall, and the planned McMurtry Building for Art and Art History on campus, said Lisa Lapin, assistant vice president for university communications.

She described the art collection "as one of the most valuable and significant to be donated to any university."

Of the new gallery, she said: "The site plans are still being worked out. We need to retain an architect and do a design, so we don't know the cost yet."

Harry and Mary Margaret, who are known as "Hunk" and "Moo," have been assembling their collection for almost 50 years, Ms. Lapin said. It contains work by a variety of modern and contemporary artists, representing such movements as abstract expressionism, California funk art and Bay Area figurative art.

Works slated to be donated -- indoor sculpture and paintings -- include the 1947 painting "Lucifer" by Jackson Pollock, Wayne Thiebaud's 1962 oil "Candy Counter," the 1973 painting "Ocean Park #60" by Richard Diebenkorn, and the 1985 painting "Before, Again IV" by Joan Mitchell.

"The Andersons' contribution is historic and their desire to share this remarkable collection with the world reflects their philosophy that art can inspire all of us," Stanford President John Hennessy said in a press release.

In the same release, Harry and Mary Margaret were quoted as saying, "Throughout our adult lives, we have always been closely associated with colleges and universities, and in making this gift to Stanford we anticipate the students, the public and the entire art community will have the opportunity to fully engage the collection."

The Andersons described the donated pieces as the core of their collection. Some will come from the array that has been exhibited for years at the Quadrus office complex off Sand Hill Road in Menlo Park.

The couple have been collecting art since the mid-1960s, starting with such early modernists as Picasso and Matisse and then concentrating on post-World War II American art. They have lent their works to special exhibitions at the Cantor Arts Center, the San Francisco Museum of Modern Art and other museums.

==I Go to aacollection.com for more about the Anderson Collection.

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Building an art collection means educating the eye, not breaking the bank - Washington Post

Corbin, who developed an interest in art while in college, began buying art — often by Mississippi artists — after he had established his career as an accountant. He vividly recalls where he bought most of the pieces.

“I had no idea I was collecting art,” says Corbin. “I bought some pieces I liked. More and more, it became what I did.”

Purchasing art can be intimidating, but the joy of owning a collection of original works is worth it, Corbin and others say. Building a collection means learning more about the art world and about what you like, and finding a theme — whether it’s subject matter, medium, artists or style — that ties the works together.

Collecting is “more methodic than just starting out there with no guidance,” explains Catherine Evans, curator of photography at the Columbus Museum of Art. There needs to be “some narrowing or defining of what resonates with you.”

A good place to start is by consulting with gallery owners, museum curators and artists, who often are eager to share their knowledge.

“That’s their profession,” said Corbin. “I haven’t seen a time when they didn’t want to talk about it.”

Jumaane N’Namdi, director of the G.R. N’Namdi Gallery in Chicago, which focuses on contemporary abstract art, considers it part of his job to create the next generation of collectors. He tries to make people feel welcome in the gallery.

“It’s OK to just go in there and walk around in circles,” he says.

He urges potential buyers to do research. “That doesn’t mean go read art books, because that’s not realistic,” he says. “Visit galleries. Allow yourself to grow with art.”

He has organized a club for potential collectors who want to learn more. Members attend lectures, meet artists and gather to discuss art.

“I’m trying to introduce a culture,” says N’Namdi. “It’s bigger than, ‘Are you going to get something today?’”

Many museums also sponsor clubs dedicated to helping people learn more about art.

Members of the Mississippi Museum of Art in Jackson, for instance, can join a New Collector’s Club, which offers private tours, visits with artists and other events. Beth Batton, curator of the museum’s collection, encourages people to visit museums and galleries and figure out what medium they like. Then seek good examples of it.

“Educate your eye,” she says. “If you find you really like photography, try to understand the techniques.”

Figure out why certain pieces of art move you, adds Aprile Gallant, curator of prints, drawings and photos for the Smith College Museum of Art in Northampton, Mass. The theme you choose can be broad, she says, and can focus on an activity, place or era.

Having a focus gives a collection coherence and personality, and also can help art buyers choose more wisely, Batton says.

“It keeps you from spending money on an impulse purchase,” she says.

Buyers who know what they want can find pieces at a variety of prices. “You don’t have to have a huge income to be able to start an art collection,” Batton says.

Corbin considers his collection priceless not because of its monetary value but because of the pleasure it brings him.

“I still have some of the original paintings I bought for $10,” he says. “I still enjoy them.”

It doesn’t necessarily cost much more to buy an original work of art than it would a reproduction, Gallant says.

“It’s worth the time and energy to have something like that in (your) life,” she says. “It’s sad that art is so intimidating to people. People who love art wish it was a part of more people’s lives.”

Copyright 2011 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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