Ella is a young fairy. For most of her existence, she's had little to worry about. She was just a normal, beautiful fairy-like all of her friends-until one day, blue streaks showed up in her wings. Suddenly, she was shunned by friends and fellow fairies.The elders know of a legend that speaks of a blue-winged fairy. In the well-known prophecy, there is significance to this added color, but Ella always thought the prophecy was mere legend, not truth. She could not have been more wrong, as she comes to realize the prophecy is about her. With this news, Ella must leave her village and go on a quest to seek the meaning behind her newly discovered gift.Ella's only companion is Brogan, a warrior wolf, sent to keep her safe as she searches the wide world for her destiny. There are those who would hurt Ella and Brogan, yet there are also those who await their arrival with joy. The legend of the blue wings is finally coming true. Ella must accept her destiny and learn to be a Blue Wing Princess. Will she live to fulfill the prophecy, or will she fall into fearful darkness, just like all the other blue-winged fairies that came before?

Hysteria is alive and well in our present time and is apparently spreading contagiously: especially the second decade of the twenty-first century has displayed an ever-increasing interest in the term. A quick Google search opens the gates to sheer endless swathes of discussions on hysteria, covering almost every aspect of public discourses. The arts-as it is often in such cases-seem conspicuously involved in and engaged with this hysterical discourse. Surprisingly, while the strong academic interest in hysteria throughout the twentieth century and most prominently at the turn of the century is well known and much discussed, the study of how these discourses have continued well into twenty-first-century art practices, is largely pressing on a blind spot. It is the aim of this volume to illustrate how hysteria was already well established within the arts alongside and at times even separately from the much-covered medical studies, and reveal how those current artistic practices very much continue a century spanning cross-fertilization between hysteria and the arts.

It is thought that every work of art possesses multiple interpretations, depending on each viewer. Analyzing personal assessments of artwork can help enable us to gain an understanding of one another, as well as broaden our own opinions and views. Interpretation of Visual Arts Across Societies and Political Culture: Emerging Research and Opportunities is a detailed reference source that breaks down the ways art can be evaluated, and addresses how this type of analysis can influence an array of social groups and regions. Highlighting relevant topics such as artistic impression, modern art, culture wars, and freedom of expression, this publication is an ideal resource for artists, academics, students, and researchers that are interested in expanding their knowledge of the arts.

PICTURE FRAMING- MODERN METHODS OF MAKING AND FINISHING PICTURE FRAMES by EDWARD LANDON. Contents include: I ABOUT PICTURE FRAMES i II TOOLS AND EQUIPMENT 9 III MOULDINGS 28 IV MTTER CUTTING 34 V JOINING THE FRAME 42 VI INSERTS OR LININGS 51 VII FINISHES 57 VIII DECORATIONS 88 IX REPAIRING DAMAGES 93 X MATS AND MAT-CUTTING 97 XI MOUNTING PICTURES 105 XII PASSE-PARTOUT 116 XIII GLASS-CUTTING 118 XIV ASSEMBLING 121 XV EXPERIMENTAL FRAMES ORIGINAL DESIGNS . . . 134 XVI SOURCES OF SUPPLIES . 141 XVII INDEX 144. CHAPTER ONE. ABOUT PICTURE FRAMES. THE PICTURE FRAME, as it exists today, is derived from the doorway or entrance to temples, palaces and cathedrals. From a functional viewpoint, it might have been more practical to place doors at the sides of these buildings, but the impor tance of the door framing an impressive picture of the interior was never overlooked. The need to enhance a picture or bas-relief with a frame is evidenced from the earliest times. The first decorations were necessarily crude a raised line some times being the only ornament The earliest examples of frame-like decorations or borders bear a great resemblance to door frames. They were composed of two columns surmounted by a con necting entablature and this form persisted into the i5th century. Even the decorations painted by the artists around the edges of pictures before the intro duction of movable frames were similar in form. As a matter of fact, frames without pictures eventu ally came into existence because the desire to embel lish with mouldings was so strong. Rooms in palaces were arbitrarily panelled with mouldings and their vestigial remains are to be seen today in the senselessly panelled walls ofapartments in modern cities. Movable picture frames for easel paintings gained quickly in popularity once they were introduced. About Picture Frames sides the elaborate and intricate wood-carving, ebony, ivory, tortoise shell and mother of pearl were used for inlaid decoration. Gold, silver and every other metal have also been used for frames. With the perfection of the technique of making large sheets of glass which were in turn used to cover and protect pictures, frame-making received a big im petus in the lyth century. In the i8th century, when cheaper mirrors were introduced, frames were in greater demand than ever. This century also saw an invention that was to revolutionize the art of frame decoration that of the development of moulded composition ornaments. The use of this easily handled material, which did away with the need for laborious and expensive hand-carv ing, drove artisans to other fields. Since then, there has been no large group of wood-carvers devoted solely to frame decoration. It is interesting to note that during the Renaissance period, when movable frames were first introduced, book decoration reached its highest form. Undoubted ly, the early carvers and framers, besides using archi tectural designs, took many of their ideas from early illuminated manuscripts. The frames of the Louis periods certainly got their inspiration from typograph ical decorative motifs. Before then, architects and sculptors designed much of the scroll-work, but later goldsmiths were employed for decoration. Over-elabo ration became the order of the day until all forms were lost beneath the gingerbread. With the French revolution, people turned away from all evidences of bourgeois wealthand returned About Picture Frames to a refreshing simplicity. Until 1850 all mouldings were cut from rough boards by hand, but with the invention of laborsaving machinery, frames could be put on the market for what the raw material had cost previously. This country was fortunately spared from the use of moulded ornaments until the advent of the Victorian era...

College and university faculty in the arts (visual, studio, language, music, design, and others) regularly grade and assess undergraduate student work but often with little guidance or support. As a result, many arts faculty, especially new faculty, adjunct faculty, and graduate student instructors, feel bewildered and must "reinvent the wheel" when grappling with the challenges and responsibilities of grading and assessing student work. Meaningful Grading: A Guide for Faculty in the Arts enables faculty to create and implement effective assessment methodologies-research based and field tested-in traditional and online classrooms. In doing so, the book reveals how the daunting challenges of grading in the arts can be turned into opportunities for deeper student learning, increased student engagement, and an enlivened pedagogy.

The National Bolshevik Party, founded in the mid-1990s by Eduard Limonov and Aleksandr Dugin, began as an attempt to combine radically different ideologies. In the years that followed, Limonov, Dugin, and the movements they led underwent dramatic shifts. The two leaders eventually became political adversaries, with Dugin and his organizations strongly supporting Putin's regime while Limonov and his groups became part of the liberal opposition. To illuminate the role of these right-wing ideas in contemporary Russian society, Fabrizio Fenghi examines the public pronouncements and aesthetics of this influential movement. He analyzes a diverse range of media, including novels, art exhibitions, performances, seminars, punk rock concerts, and even protest actions. His interviews with key figures reveal an attempt to create an alternative intellectual class, or a 'counter-intelligensia.' This volume shows how certain forms of art can transform into political action through the creation of new languages, institutions, and modes of collective participation.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Career Suicide is about the realities of working in the contemporary art world for most professional artists, the thousands of unfashionable, little-known and underpaid ones who have to do all manner of unfashionable, little-known and underpaid things to survive. It will also answer some of the questions that outsiders often ask about contemporary art, and some that they don't: Why do some artists spend their whole careers doing stupid stuff like mutilating mannequins or painting old bits of wood with baffling phrases? Why does everyone in the art world get paid, apart from the artists? Why do most art students spend years doing their MA, closely followed by them doing sweet FA? Who are the HoWiAs, and what the hell do they think they're doing? How and why did a bunch of paintings that looked like vandalised portraits of SpongeBob get taken so seriously at an international art fair?

This book is based on real life experiences and fictional imaginative visions of the author. These poems reflect the mind of a young adult growing up in many different aspects of life. There are poems of pain, love, sorrow, ambition, race and many other factors that makeup the author's thinking process. "As a writer, one's thoughts an beliefs change overtime, tomorrow the way I see things will change but that's how evolution occurs. Some poems are a documentation of those changes, and as my mindset enhances, so does its thoughts upon which it sits over time."

Kenneth Fly went from town living to the life of a farm boy during the 1940s, 1950s, and early 1960s. It was a life of hard work without luxury. Instead of watching television and playing video games, he grew up working in the fields of North Carolina, handling firearms, operating machinery, and participating in other activities and tasks that are foreign to the youngsters, youth, and even men of today. In this series of personal narratives and anecdotes, Fly recalls those days with detail and humor. Life wasn't always easy, but his mother did whatever was necessary to make a good home and loving environment for her family. His dad was a hardworking master carpenter whose behavior showed anyone watching that life is about morals, hard work, and self-respect. The Fly family is special because they so rarely complained and always managed to stay happy. For them, life wasn't fancy, but relying on common sense and each other made it sweet.

"The ESSENTIAL strategy guide for dominating the t-shirt design business." Jeffrey Kalmikoff, former CCO of Threadless.com What if the most prolific and influential people in the modern t-shirt design scene got together and discussed everything they wish they knew when they started? That's exactly what we have here. Thread's Not Dead is the essential strategy guide to the t-shirt design business. Written by successful graphic designer and diy entrepreneur Jeff Finley of the creative agency Go Media. Learn the secrets and strategies employed by the industry's most successful indie apparel designers and brands. Whether you want to design merchandise for your favorite bands and indie clothing companies or start your own fashion brand, this book has it all. Its goal is to help you dominate the apparel industry. Key topics include design, freelancing, band merchandise, personal branding, marketing, sales, printing & production, retail, business strategy, and e-commerce. Featuring contributions from the people behind Threadless, Emptees, DesignByHumans, Big Cartel, I Am The Trend, Go Media, Jakprints, Glamour Kills, Paint the Stars, Cure Apparel, Fright-Rags, and more