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"Landauer, Susan"
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Of dogs and other people : the art of Roy De Forest
\"Roy De Forest's brightly colored, crazy-quilted jungles dotted with nipples of paint and inhabited by a cast of characters uniquely his own (a perennial favorite being his wild-eyed, pointy-eared dogs) appeal to a broad spectrum of viewers from young to old, from the casual visitor to the most sophisticated art aficionado. OMCA's project aims to reassess De Forest's art-historical position, placing him in a national rather than solely regional/West Coast context. Landauer positions De Forest as part of a bicoastal alternative current of American art that has been poorly documented and deliberately ran counter to better publicized tendencies of the 1960s and 1970s, notably Pop, Minimalism, and post-painterly abstraction. Despite the playfulness of his work, close study of De Forest's art reveals deep layers of meaning. He was a fan of popular science fiction and adventure stories, but he was also well versed in Australian aboriginal art, ukiyo-e prints, poetry, literature, and the history of philosophy. He enjoyed secreting obscure art-historical references into his work: animals might assume postures found in Medieval or Renaissance art, or a drawing that appears to depict a comic-book character may in fact refer to Titian's triple-headed allegory of Prudence. This engaging publication presents gorgeous color reproductions of 150 of De Forest's finest artworks, plus a variety of figure illustrations that illuminate the artist's diverse sources and freewheeling social and creative milieu in Northern California.\"--Provided by publisher.
Book
Reviews : \Clare Falkenstein,\ by Susan M. Anderson, Michael Duncan and Maren Henderson
An essay collection studying the work and career of abstract expressionist sculptor Claire Falkenstein is reviewed (The Falkenstein Foundation, 2012).
Journal Article
Hassel Smith : paintings 1937-1997
\"This book on the Abstract Expressionist painter Hassel Smith illustrates all periods of the artist's many-faceted career. Considered by critics as a \"West Coast underground legend,\" Hassel Smith was an influential member of the experimental school of artists that emerged from post-World War II California. Together with Clyfford Still, Mark Rothko, and Richard Diebenkorn, Smith made his name at the California School of Fine Arts (now the San Francisco Art Institute) and from 1950 until the mid-1960s with successful exhibitions in Europe and on both coasts of the US. While his breakthrough paintings are characterized by their wildly vibrant brushstrokes and explosions of color, Smith was equally adept in a more restrained style, producing in later years the magisterial sequence of \"measured\" abstractions. As an initial burst of fame subsided, Smith continued to paint with unwavering energy. The result is a robust and dynamic body of work that reflects Smith's persistent curiosity and the breadth of his inquiry into the possibilities of painting. Long awaited by followers of the innovative art of the American Far West, this volume presents a full appreciation of Smith's achievement\"--Publisher's description.
Book
Open eye, open palette: the art of Lawrence Ferlinghetti
The phenomenon stretched from Venice Beach to Topanga Canyon and from Big Sur to San Francisco, thriving in the studios of Henry Miller, Kenneth Patchen and their younger peers Ferlinghetti, Wallace Berman, Stuart Perkoff, and George Herms, as well as many now forgotten, whose \"vow to Holy Poverty\" in the face of the intolerant, unethical culture of the Cold War era meant rejecting commercial discourse.3 By his own account, Ferlinghetti's first foray into art began in the late 1940s almost by accident while in Paris working on his doctorate in literature at the Sorbonne. The Audiffred Building was one of the city's most energetic hubs of activity, at various times housing Hassel Smith (whose studio Ferlinghetti had taken over), Frank Lobdell, Ernest Briggs, Jack Jefferson, Sonia Gechtoff, Julius Wasserstein, and Joan Brown. [...]Ferlinghetti served as West Coast correspondent for Art Digest, often writing reviews of exhibitions of San Francisco painters-even being described as the group's \"spokesman.\" [...]he believes that his recent show named after his painting The Lyric Escape (1985) was especially politically powerful.8 The same could be said of his exhibition at the Italian Cultural Institute in San Francisco, filled with sensuous nudes.9 In that show, only one painting contained a specific reference to politics-the single word, \"boobeoisie,\" H.L. Mencken's sniping term used by Ferlinghetti for further comic effect.10 Explaining the political objective of the shows, he said: \"My work is now about finding a way to escape from the present morass of disaster or whatever is descending upon us.\" Many of his paintings feature borrowed texts in graffiti handwriting, whether a passage from James Joyce's Finnegans Wake in City Full Passing Away (2002), the final words of Portrait of an Artist as a Young Man in Welcome O Life! from James Joyce (2008), or a line from Edna St. Vincent Millay's Sonnet XXVIII, \"We rose from rapture but an hour ago,\" wrapping a silkscreen image of Millay in Edna St. Vincent Millay (2008).
Magazine Article
Rapid, topology-based particle tracking for high-resolution measurements of large complex 3D motion fields
Spatiotemporal tracking of tracer particles or objects of interest can reveal localized behaviors in biological and physical systems. However, existing tracking algorithms are most effective for relatively low numbers of particles that undergo displacements smaller than their typical interparticle separation distance. Here, we demonstrate a single particle tracking algorithm to reconstruct large complex motion fields with large particle numbers, orders of magnitude larger than previously tractably resolvable, thus opening the door for attaining very high Nyquist spatial frequency motion recovery in the images. Our key innovations are feature vectors that encode nearest neighbor positions, a rigorous outlier removal scheme, and an iterative deformation warping scheme. We test this technique for its accuracy and computational efficacy using synthetically and experimentally generated 3D particle images, including non-affine deformation fields in soft materials, complex fluid flows, and cell-generated deformations. We augment this algorithm with additional particle information (e.g., color, size, or shape) to further enhance tracking accuracy for high gradient and large displacement fields. These applications demonstrate that this versatile technique can rapidly track unprecedented numbers of particles to resolve large and complex motion fields in 2D and 3D images, particularly when spatial correlations exist.
Journal Article
Indexing by latent semantic analysis
A new method for automatic indexing and retrieval is described. The approach is to take advantage of implicit higher‐order structure in the association of terms with documents (“semantic structure”) in order to improve the detection of relevant documents on the basis of terms found in queries. The particular technique used is singular‐value decomposition, in which a large term by document matrix is decomposed into a set of ca. 100 orthogonal factors from which the original matrix can be approximated by linear combination. Documents are represented by ca. 100 item vectors of factor weights. Queries are represented as pseudo‐document vectors formed from weighted combinations of terms, and documents with supra‐threshold cosine values are returned. Initial tests find this completely automatic method for retrieval to be promising. © 1990 John Wiley & Sons, Inc.
Journal Article