Meet Jackie, Chuck, Jonathon, and Jamee-four people intricately linked by the common thread of disability. Roots and Fences tells of their life experiences, as well as their friends and families, from a phenomenological perspective. It's a compelling collection that exposes the reality of life for those with intellectual disabilities and the people who love them. Through these connective stories spanning over 50 years, you will laugh, cry, share in the adventures, meet the families, and perhaps even change your views about those who are labeled "disabled." "As I read, I felt I was reading something epic. Sharon calls it generational. She seems to be in the ideal location to witness all these stories of disability and how they progressed to more positive outcomes. The story starts with Jackie in 1937, then moves through the '60s with Chuck and continues to the present with Jonathon and Jamee. Through all the stories an epic meta-story takes form." - Adam Baez, Special Educator. "Instructive and entertaining, Roots and Fences takes us to a place inside families that encourages us to consider possibilities rather than focus on limitations. Along the way, we are saddened, angered, amused, touched, uplifted, and empowered. Above all, we find reasons to be optimistic about the future of people with disabilities."-Tom Mihail, PhD, Chair of Special Education, Graduate Studies in Education, Purdue University Calumet.

The essays contained in this volume address issues surrounding the use, dissemination, and reception of copies and even deliberate forgeries within the history of art, focusing on paintings, prints and sculptures created and sold from the sixteenth century to the eighteenth century. The essays also probe contemporary sensibilities about the art of "inganno," or deception, sometimes even viewed as pleasurable deception, in the making and viewing of copies among artists and their audiences. Through specific case studies, the contributors explore the fine line between imitations and fakes, distinctions between the practice of copying as a discipline within the workshop and the willful misrepresentation of such copies on the part of artists, agents and experts in the evolving art market. They attempt to address the notion of when a copy becomes a fake and when thoughtful repetition of a model, emulation through imitation, becomes deliberate fraud. The essays also document developing taxonomies of professionals within the growth of the "business of art" from the workshops of the Renaissance to the salons and galleries of eighteenth-century London. As a whole, this volume opens up a new branch of art historical research concerned with the history and purpose of the copy.

Prints changed the history of art, even as that history was first being written. In this study, Sharon Gregory argues that this reality was not lost on Vasari; she shows that, contrary to common opinion, prints thoroughly pervade Vasari's history of art, just as they pervade his own career as an artist. This volume examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, shedding new light not only on aspects of Vasari's career, but also on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective. Investigating how prints were themselves more often interpretive than strictly reproductive, Gregory challenges the long-held view that Vasari's reliance on prints led to errors in his interpretation of major monuments. She demonstrates how, like Raphael and later artists, Vasari used engravings after his designs as a form of advertisement through which he hoped to increase his fame and attract influential patrons. She also explores how contributing illustrations for books by his scholarly friends, Vasari participated in the contemporary exchange of intellectual ideas and concerns shared by Renaissance humanists and artists.

The essays contained in this volume address issues surrounding the use, dissemination, and reception of copies and even deliberate forgeries within the history of art, focusing on paintings, prints and sculptures created and sold from the sixteenth century to the eighteenth century. The essays also probe contemporary sensibilities about the art of "inganno," or deception, sometimes even viewed as pleasurable deception, in the making and viewing of copies among artists and their audiences. Through specific case studies, the contributors explore the fine line between imitations and fakes, distinctions between the practice of copying as a discipline within the workshop and the willful misrepresentation of such copies on the part of artists, agents and experts in the evolving art market. They attempt to address the notion of when a copy becomes a fake and when thoughtful repetition of a model, emulation through imitation, becomes deliberate fraud. The essays also document developing taxonomies of professionals within the growth of the "business of art" from the workshops of the Renaissance to the salons and galleries of eighteenth-century London. As a whole, this volume opens up a new branch of art historical research concerned with the history and purpose of the copy.

Meet Jackie, Chuck, Jonathon, and Jamee-four people intricately linked by the common thread of disability. Roots and Fences tells of their life experiences, as well as their friends and families, from a phenomenological perspective. It's a compelling collection that exposes the reality of life for those with intellectual disabilities and the people who love them. Through these connective stories spanning over 50 years, you will laugh, cry, share in the adventures, meet the families, and perhaps even change your views about those who are labeled "disabled." "As I read, I felt I was reading something epic. Sharon calls it generational. She seems to be in the ideal location to witness all these stories of disability and how they progressed to more positive outcomes. The story starts with Jackie in 1937, then moves through the '60s with Chuck and continues to the present with Jonathon and Jamee. Through all the stories an epic meta-story takes form." - Adam Baez, Special Educator. "Instructive and entertaining, Roots and Fences takes us to a place inside families that encourages us to consider possibilities rather than focus on limitations. Along the way, we are saddened, angered, amused, touched, uplifted, and empowered. Above all, we find reasons to be optimistic about the future of people with disabilities."-Tom Mihail, PhD, Chair of Special Education, Graduate Studies in Education, Purdue University Calumet.

Prints changed the history of art, even as that history was first being written. In this study, Sharon Gregory argues that this reality was not lost on Vasari; she shows that, contrary to common opinion, prints thoroughly pervade Vasari's history of art, just as they pervade his own career as an artist. This volume examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, shedding new light not only on aspects of Vasari's career, but also on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective. Investigating how prints were themselves more often interpretive than strictly reproductive, Gregory challenges the long-held view that Vasari's reliance on prints led to errors in his interpretation of major monuments. She demonstrates how, like Raphael and later artists, Vasari used engravings after his designs as a form of advertisement through which he hoped to increase his fame and attract influential patrons. She also explores how contributing illustrations for books by his scholarly friends, Vasari participated in the contemporary exchange of intellectual ideas and concerns shared by Renaissance humanists and artists.