Clever Fresno Girl

This volume features 30 art-related travel articles by the American modern artist, Marguerite Thompson Zorach (1887-1968). The accompanying essay examines her life in Paris, the people she met, and the art she was exposed to.

In an era when ease of travel is greater than ever, it is also easy to overlook the degree to which voyages of the body – and mind – have generated an outpouring of artistry and creativity throughout the ages. Exploration of new lands and sensations is a fundamental human experience. This volume in turn provides a stimulating and adventurous exploration of the theme of travel from an art-historical perspective. Topical regions are covered ranging from the Grand Tour and colonialism to the travels of Hadrian in ancient times and Georgia O’Keeffe’s journey to the Andes; from Vasari’s Neoplatonic voyages to photographing nineteenth-century Japan. The scholars assembled consider both imaginary travel, as well as factual or embellished documentation of voyages. The essays are far-reaching spatially and temporally, but all relate to how art has documented the theme of travel in varying media across time and as illustrated and described by writers, artists, and illustrators. The scope of this volume is far-reaching both chronologically and conceptually, thereby appropriately documenting the universality of the theme to human experience.

The special issue of International Yearbook of Futurism Studies for 2015 will investigate the role of Futurism in the œuvre of a number of Women artists and writers. These include a number of women actively supporting Futurism (e.g. Růžena Zátková, Edyth von Haynau, Olga Rozanova, Eva Kühn), others periodically involved with the movement (e.g. Valentine de Saint Point, Aleksandra Ekster, Mary Swanzy), others again inspired only by certain aspects of the movement (e.g. Natalia Goncharova, Alice Bailly, Giovanna Klien). Several artists operated on the margins of a Futurist inspired aesthetics, but they felt attracted to Futurism because of its support for women artists or because of its innovatory roles in the social and intellectual spheres. Most of the artists covered in Volume 5 (2015) are far from straightforward cases, but exactly because of this they can offer genuinely new insights into a still largely under-researched domain of twentieth-century art and literature. Guiding questions for these investigations are: How did these women come into contact with Futurist ideas? Was it first-hand knowledge (poems, paintings, manifestos etc) or second-hand knowledge (usually newspaper reports or personal conversions with artists who had been in contact with Futurism)? How did the women respond to the (positive or negative) reports? How did this show up in their œuvre? How did it influence their subsequent, often non-Futurist, career?

The potential of visual research methods in the sociology of religion is vast, but largely untapped. This comes as a surprise, however, given the visual, symbolic, and material nature of religion and spirituality. Evidence of religious faith and practice is materially present in everything from clothing and jewelry to artifacts found in people’s homes and workplaces. Not only is religion’s symbolic and material presence palpable throughout society, it also informs attitudes, beliefs, and behaviors of countless people worldwide. Words-and-numbers approaches to social research, however, sometimes miss important dimensions of religion and spirituality in the contemporary world. Seeing Religion is an invitation to a visual sociology of religion. Contributors draw from their current research to discuss the application of visual methods to the study of religion and spirituality. Each chapter stimulates the sociological imagination through examples of research techniques, analytical approaches, and methodological concerns.

Drawing on untapped archives, as well as aggregating a wide range of existing published sources, this book recalibrates the understanding of women artists’ roles, outputs and receptions in London during what was indubitably a vibrant and innovative period in the history of British art, and in which the work of their male contemporaries is so well understood. The book takes its starting point from Alicia Foster’s article “Gwen John’s Self-Portrait: Art, Identity and Women Students at the Slade School,” published in 2000, where the expression “a talented and decorative group” was coined to describe common attitudes towards women artists in the late 19th and early 20th century London. This pejorative attribution strongly implied a status less significant to that of their male counterparts. The author challenges this statement's basic tenet by casting a wide net in examining women’s art education from the Slade School of Fine Art, through to the role of its graduates within a selection of London’s exhibition groups, societies and publications. This book also reconstructs ‘from scratch’ the role of the Women’s International Art Club (WIAC), hitherto entirely overlooked in art historical studies of the era. This book will be of interest to students and researchers in art and cultural history, gender studies,and in sociological studies of pre-War World War Britain.

Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.

The editor and publisher of these volumes, which include not less than several hundred biographies spread across the six books, presents them confidently as a verified and authoritative history of the county - the result of conscientious labor in original research , and of information imparted by pioneers and their descendants , entered upon originally as a pastime and without thought of publication of the collated material. It essays to present county and city historical data that had lasting bearing on the times, but which with many of the picturesque incidents were ignored or overlooked in the publications that have gone before; and lastly it is an endeavor also to fill in the hiatus of the years from 1882 through the first World War, to bring to date the tale of the development and growth of a county which, from a small beginning with a rough and uncouth mining population and hardy pioneers, has become one of the richest, politically best governed and industrially typical of a great state. Incredible as their development and growth have been, through successive industrial epochs, the mind cannot grasp the future of State and County, now that the twin Sacramento and San Joaquin Valleys have reached the zenith of development and production. Today Fresno County is a leading contributor to California's greater riches, enhanced production, and to the unmeasured happiness and prosperity of its citizens. Fresno is one of the state's centers. A remarkable past will be eclipsed by a more wonderful future - it is manifest destiny. This is volume two out of six.

One pink convertible, two estranged cousins, and a fateful summer road trip. When geeky horror movie fanatic Ricki and makeup guru Lana accidentally switch bodies they will have to work together to straighten out their lives and swap back to their rightful body beforecalamity strikes. Freaky in Frenso is a fresh take that is part?Freaky Friday, part romcom, and all heart. Ricki has one goal: save the Starlight Drive-in movie theater from going dark forever. Okay, make that two goals … she may also want a first kiss from her cinema-rescuing partner and major crush, Jake. Lana definitely has only one goal: grow her online makeup channel to keep her momager off her back, even if the posts attract ugly internet trolls. The two cousins couldn’t be more different, but their opposite personalities come crashing to a head when their aunt gifts the girls a vintage cotton-candy-pink convertible.?To share.?Ricki wants the convertible for the drive-in’s grand reopening, but it’s the same day as Digifest, a huge event where Lana needs to shine. After a major fight and a minor electric shock while wrestling over the wheel, Ricki wakes up as Lana, and Lana wakes up as Ricki. Ricki and Lana have only a day to un-swap themselves, a task made even more difficult as they try to keep up appearances on Lana’s channel and with Ricki’s hopefully-soon-to-be-kissed crush. But it turns out experiencing a day as each other—with a mini road trip and Chihuahua wrangling—may be the one thing that help the cousins see each other and?themselves?more clearly. Freaky in Fresno: Addresses topics such as family and friendship, mental health and self-worth, andonline presence Pays homage to beloved 80s movies, hilarious?Freaky Friday?twists, cult horror classics, and scream queens like Jamie Lee Curtis Is perfect for fans of contemporary YA, Christian Riccio, and Morgan Matson