Dan Pyle is an American artist and a representative of Contemporary Realism. He works in charcoal and his drawings highlight figurative objects in general and the human body in particular. Dan Pyle was born in Wolf Point and grew up in Washington State. Dan Pyle was awarded for his works early on. However, his artistic career began as a dancer with the Pacific Northwest Ballet in Seattle, was influenced by his admiration for black and white photography; this cross fertilization is. Moreover, Pyle’s work is marked by contrasts and the special light of a Jan Vermeer and a William Turner. Thematically, the human body with its muscles and movements are at the forefront of his work, which he is able to present authentically and expressively as a former ballet dancer. After moving to California, Dan Pyle settled in West Hollywood, developing his detailed technique with new and unconventional materials. Pyle's media include paintings in oil and acrylic, during a period, murals for public spaces. After several phases, in which he experimented with and ink and pencil, as well as pastels and watercolors, Pyle found the charcoal as the medium of his choice.
In addition to focusing on the human body there are unexpected and aged objects that he transforms into his charcoal compositions. So, in addition to living figures, old teapots to rusted motorcycles become his models to which he gives a new identity through the use of contrast, negative space and isolation; the anonymity that his art is reflecting are intention at the same time. Pyle's technique with shadows and light seems to make the presence of color superfluous. So only a few of his works show deliberately weak color characteristics. In his current phase, the artist shows himself adventurous and works, e.g. with formats on wood. The substrate with its idiosyncratic structures gives his drawings an additional dimension; when editing his works Pyle aims to include negative space which isolates the subject of the drawing. His original compositions are in his mind's eye, the photography helps Pyle to capture the exact vision that he wants to realize. By avoiding a final photographic sharpness, Pyle's work breaks away from photorealism and takes on its own interpretation of modern realism.
Dan Pyle's works are exhibited in the US and in Europe. With 23 images, the Cosmopolitan Hotel in Las Vegas owns one of the largest private collections. Other exhibitions were held in West Hollywood, Palm Springs, Beverly Hills, Los Angeles, Santa Ana, Long Beach and New York, now in Asia. 2015 Still Point Art Quarterly – Chasing the Light – Best Drawing for "Shadows" 2014 American Art Awards - 1st place, Still Life category for "Weary Traveler" 2013 American Art Awards – 1st place, for "In Pursuit Of Freedom" 2012 American Art Awards – tied 1st place for "Predicament" in charcoal category 2011 1st Prize winner – LarkGalleryOnline - The Rediscovery of Wonder, for "Silver Lining" & "The Accuser" 2015 Art Exhibeo Magazine – Dan Pyle: Time for you and Time for me 2015 Still Point Art Quarterly – spring issue 2014 Artist Portfolio Magazine Issue 17, pages 55–56 2014 Important World Artists, Vol. 1 2014 Hidden Treasures Art Magazine, yearbook 2014 2014 Art of Man magazine #16 – interview 10 pages 2014 Drawing Magazine – spring issue – interview, 2nd prize winner 2013 Art to Art Palette Journal – "Simple is Beautiful", Portrait of Dan Pyle 2013 Artist Portfolio Magazine, anniversary issue 2 page spread 2013 Artist Portfolio Magazine, portraits issue, full page feature 2013 Artist Portfolio Magazine, winter 2 page spread 2013 Still Point Arts Quarterly, ‘Everyday Objects’, Spring issue 2012 Strokes of Genius V: The Best of Drawing—releasing Oct. 2013 2012 Wisdom Crieth Without – Nov./Dec.
Issue, full page 2012 Still Point Arts Quarterly, Summer 2012 Issue No. 6 – Still Point IV exhibition winners 2011 - International Dictionary of Artist – World Wide Art Books 2008 Scott Brassart, in: Bottom Line Magazine, April Vol. 27, Issue 16 Website of Dan Pyle Short profile Dan Pyle at work
OCLC Online Computer Library Center, Incorporated d/b/a OCLC is an American nonprofit cooperative organization "dedicated to the public purposes of furthering access to the world's information and reducing information costs". It was founded in 1967 as the Ohio College Library Center. OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded by the fees that libraries have to pay for its services. OCLC maintains the Dewey Decimal Classification system. OCLC began in 1967, as the Ohio College Library Center, through a collaboration of university presidents, vice presidents, library directors who wanted to create a cooperative computerized network for libraries in the state of Ohio; the group first met on July 5, 1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization, hired Frederick G. Kilgour, a former Yale University medical school librarian, to design the shared cataloging system.
Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The plan was to merge the catalogs of Ohio libraries electronically through a computer network and database to streamline operations, control costs, increase efficiency in library management, bringing libraries together to cooperatively keep track of the world's information in order to best serve researchers and scholars; the first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26, 1971. This was the first online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data. Between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the governance structure was again modified to accommodate participation from outside the United States.
As OCLC expanded services in the United States outside Ohio, it relied on establishing strategic partnerships with "networks", organizations that provided training and marketing services. By 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on the OCLC Members Council. During 2008, OCLC commissioned two studies to look at distribution channels. In early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic and full-text information to anyone. OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from private libraries worldwide; the Open WorldCat program, launched in late 2003, exposed a subset of WorldCat records to Web users via popular Internet search and bookselling sites.
In October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. WikiD was phased out; the Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988. A browser for books with their Dewey Decimal Classifications was available until July 2013; until August 2009, when it was sold to Backstage Library Works, OCLC owned a preservation microfilm and digitization operation called the OCLC Preservation Service Center, with its principal office in Bethlehem, Pennsylvania. The reference management service QuestionPoint provides libraries with tools to communicate with users; this around-the-clock reference service is provided by a cooperative of participating global libraries. Starting in 1971, OCLC produced catalog cards for members alongside its shared online catalog. OCLC commercially sells software, such as CONTENTdm for managing digital collections.
It offers the bibliographic discovery system WorldCat Discovery, which allows for library patrons to use a single search interface to access an institution's catalog, database subscriptions and more. OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications; these publications, including journal articles, reports and presentations, are available through the organization's website. OCLC Publications – Research articles from various journals including Code4Lib Journal, OCLC Research, Reference & User Services Quarterly, College & Research Libraries News, Art Libraries Journal, National Education Association Newsletter; the most recent publications are displayed first, all archived resources, starting in 1970, are available. Membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding. Newsletters – Current and archived newsletters for the library and archive community.
Presentations – Presentations from both guest speakers and OCLC research from conferences and other events. The presentations are organized into five categories: Conference presentations, Dewey presentations, Distinguished Seminar Series, Guest presentations, Research staff
Jean-Max Albert is a painter, sculptor and musician. He has published theory, artist's books, a collection of poems and novels inspired by quantic physics, he perpetuated a reflexion initiated by Paul Klee and Edgar Varèse on the transposition of musical structures into formal constructions. He created plant architectures which come close to site-specific art, environmental sculpture and generative art. Jean-Max Albert French: was born in Loches, France, he studied at the Ecole Régionale des Beaux-Arts d'Angers at the Ecole Nationale des Beaux-Arts de Paris, with frequent visits to the Louvre, across the river. His student friends introduced him to the works of Claude-Nicolas Ledoux, Louis Kahn, Carlo Scarpa. Albert was a trumpet player, joining Henri Texier’s quintet with Alain Tabarnouval in the beginnings of Free Jazz; the group performed in clubs and concerts. In 1975 he initiated the group show Serres in Magny-in-Vexin. Sculptor Mark di Suvero invited him to the first of many visits to United States.
In 1981 he met Sara Holt. They carried out various public art projects. Travels in Europe, North Africa, Middle East. In 1985 he took part to Ars Technica Association connected to the Cité des Sciences et de l'Industrie uniting philosophers, scientists such as Jean-Marc Levy-Leblond, Claude Faure, Sara Holt, Piero Gilardi, Jean-Claude Mocik, reflecting on the relationship between art and new technologies. In 1990, he was commissioned by the architects Wylde-Oubrerie as collaborating artist for the realisation of Miller House in Lexington. Invited to give lectures and workshops for the University of Architecture of Kentucky and for the Art Center of Design in Pasadena. Edgar Varese, in his comments refers to solid geometry and György Ligeti to static music, his experience in the musical field enabled Jean-Max Albert to exchange on these subjects with musicians such as: György Ligeti, Steve Lacy, Barney Wilen, François Tusques. He creates monumental trellis-works: Iapetus which refers to the structure of Thelonious Monk's ‘’Misterioso’’ », which refers to Ligeti’s «static sonorous surfaces».
A book and exhibition followed: Thelonious Monk Architecte. A collaboration with pianist and composer François Tusques results in 80 short films: Around the Blues in 80 Worlds. With Jean-Claude Mocik, he is coauthor of the project Midi-Pile started in 1994. Beside sculptures related to music, he conceived a project dedicated to the vegetation itself, in terms of biological activity; the utopian Calmoduline Monument is based on the property of a protein, calmodulin, to bond selectively to calcium. Exterior physical constraints modify the electric potential of the cellular membranes of a plant and the flux of calcium. However, the calcium controls the expression of the calmoduline gene; the plant can thus. So the basic principle of this monumental sculpture is that to the extent that they could be picked up and transported, these signals could be enlarged, translated into colors and shapes, show the plant’s « decisions »; this permanent show, installed in a public place, would suggest a level of fundamental biological activity.
Portraits of the Loire. He likes to cite Chinese masters of the classical period, mentioned by Matisse who taught the student to identify with his subject: to paint the tree in its expansion, the rock in its rugged massiveness and mentions that the precept can be found in General semantics by Alfred Korzybski: "To be efficient, a language should be similar in its structure to the structure of the event it is supposed to represent"; this idea that an artwork should be autonomous — epoch and author's identity, taking second place — has provoked vigorous discussions with artists friends, notably with painter Joan Mitchell. Around 1973, a meeting with the architect Louis Kahn, led him to compare the relationship between paint and canvas with that of vegetation on trellis. Jean-Max Albert revisited the tradition of trellis-work, 18th-century utopic architecture and created vegetal architecture which came close to Land art and Environmental Sculpture, it was comparable to the work of Gordon Matta-Clark, or Nils Udo, his neighbour in the Wissenschaftszentrum exhibition in Bonn in 1979.
From Vicenza at the Hôtel de Sully, Paris, 1975 until the project O=C=O for the "Parco d' Arte Vivente" in Torino, 2007, Albert created many architectural and vegetal sculptures on trellis-work in the field of Site-specific art, Environmental sculpture and Generative art. While monumental sculpture is meant to be installed within an urban or rustic space, Albert’s Observation Sculpture aims to concentrate the surrounding environment in the sculpture; when looking in the Observation Sculpture through its sights, the space beyond is framed. Combining the different perspectives framed, the little sculpture in bronze, takes shape after the space it is aiming at. An Observation Sculpture proposes a summary of this space concentrated and stuck together in a kind of core, like a geometric model of the site’s character. Albert realized Un carré
William Kentridge is a South African artist best known for his prints and animated films. These are constructed by filming a drawing, making erasures and changes, filming it again, he continues this process meticulously, giving each change to the drawing a quarter of a second to two seconds' screen time. A single drawing will be filmed this way until the end of a scene; these palimpsest-like drawings are displayed along with the films as finished pieces of art. Kentridge was born in Johannesburg to Felicia Geffen. Both were attorneys, he was educated at King Edward VII School in Johannesburg. He showed great artistic promise from an early age, in 2016 became the first artist to have a catalogue raisonné devoted to his juvenilia, he earned a Bachelor of Arts degree in Politics and African Studies at the University of the Witwatersrand and a diploma in Fine Arts from the Johannesburg Art Foundation. In the early 1980s, he studied mime and theatre at the L'École Internationale de Théâtre Jacques Lecoq in Paris.
He hoped to become an actor, but he reflected later: "I was fortunate to discover at a theatre school that I was so bad an actor I was reduced to an artist, I made my peace with it.". Between 1975 and 1991, he was acting and directing in Johannesburg's Junction Avenue Theatre Company. In the 1980s, he worked on series as art director; as someone, ethnically Jewish in South Africa, Kentridge has a unique position as a third-party observer. His parents were lawyers, famous for their defence of victims of apartheid. Kentridge developed an ability to remove himself somewhat from the atrocities committed under the regimes; the basics of South Africa's socio-political condition and history must be known to grasp his work much the same as in the cases of such artists as Francisco Goya and Käthe Kollwitz. Kentridge is of expressionist lineage: form alludes to content and vice versa; the feeling, manipulated by the use of palette and media, among others plays an vital role in the overall meaning as the subject and narrative of a given work.
One must use one's gut reactions as well as one's interpretive skills to find meaning in Kentridge's work, much of which reveals little actual content. Due to the sparse and expressive qualities of Kentridge's handwriting, the viewer sees a sombre picture upon first glance, an impression, perpetuated as the image illustrates a vulnerable and uncomfortable situation. Aspects of social injustice that have transpired over the years in South Africa have become fodder for Kentridge's pieces. Casspirs Full of Love, viewable at the Metropolitan Museum, appears to be nothing more than heads in boxes to the average American viewer, but South Africans know that a casspir is a vehicle used to put down riots, a kind of a crowd-control tank; the title, Casspirs Full of Love, written along the side of the print, is suggestive of the narrative and is oxymoronic. A casspir full of love is much like a bomb that bursts with happiness - it is an intangible improbability; the purpose of a machine such as this is to instil "peace" by force, but Kentridge points to the fact that it was used as a tool to keep lower-class natives from taking colonial power and money.
By the mid-1970s, Kentridge was making drawings. In 1979, he created 20 to 30 monotypes. In 1980, he executed about 50 small-format etchings which he called the "Domestic Scenes"; these two extraordinary groups of prints served to establish Kentridge's artistic identity, an identity he has continued to develop in various media. Despite his ongoing exploration of non-traditional media, the foundation of his art has always been drawing and printmaking. In 1987, he began a group of charcoal and pastel drawings based tenuously, on Watteau's Embarkation for Cythera; these important works, the best of which reflect a blasted, dystopic urban landscape, demonstrate the artist's growing consciousness of the flexibility of space and movement. In 1996-1997, he produced a portfolio of eight prints titled Ubu Tells the Truth, based on Alfred Jarry's 1896 play Ubu Roi; these prints relate to the Truth and Reconciliation Commission in Kentridge's South Africa after the end of apartheid One of the stark and somber prints from this portfolio, in the collection of the Honolulu Museum of Art, is illustrated.
The Six Drawing Lessons, delivered as part of The Norton Lectures series at Harvard University in 2012, consider the work in the studio and the studio as a place of making meaning developed. A series of large drawings of trees in Indian ink on found encyclopedia pages, torn up and reassembled, analyzes the form of different trees indigenous to southern Africa. Drawn across multiple pages from books, each drawing is put together as a puzzle – the single pages first painted the whole pieced together."My drawings don't start with a'beautiful mark'," writes Kentridge, thinking about the activity of printmaking as being about getting the hand to lead the brain, rather than letting the brain lead the hand. "It has to be a mark of something out there in the world. It doesn't have to be an accurate drawing, but it has to stand for an observation, not something, abstract, like an emotion." Between 1989 and 2003 Kentridge made a series of nine short films that he gathered under the title 9 Drawings for Projection.
In 1989, he began the first of those animated movies, Johannesburg, 2nd Greatest City After Paris. The series runs through Monument, Sobriety, Obesity & Growing Old, Felix in Exile, History of the Main Compla
Charcoal is the lightweight black carbon and ash residue hydrocarbon produced by removing water and other volatile constituents from animal and vegetation substances. Charcoal is produced by slow pyrolysis — the heating of wood or other substances in the absence of oxygen; this process is called charcoal burning. The finished charcoal consists of carbon; the advantage of using charcoal instead of just burning wood is the removal of the water and other components. This allows charcoal to burn to a higher temperature, give off little smoke; the production of wood charcoal in locations where there is an abundance of wood dates back to a ancient period, consists of piling billets of wood on their ends so as to form a conical pile, openings being left at the bottom to admit air, with a central shaft to serve as a flue. The whole pile is covered with moistened clay; the firing is begun at the bottom of the flue, spreads outwards and upwards. The success of the operation depends upon the rate of the combustion.
Under average conditions, 100 parts of wood yield about 60 parts by volume, or 25 parts by weight, of charcoal. The operation is so delicate that it was left to colliers, they lived alone in small huts in order to tend their wood piles. For example, in the Harz Mountains of Germany, charcoal burners lived in conical huts called Köten which are still much in evidence today; the massive production of charcoal was a major cause of deforestation in Central Europe. In England, many woods were managed as coppices, which were cut and regrown cyclically, so that a steady supply of charcoal would be available forever; the increasing scarcity of harvested wood was a major factor behind the switch to fossil fuel equivalents coal and brown coal for industrial use. The modern process of carbonizing wood, either in small pieces or as sawdust in cast iron retorts, is extensively practiced where wood is scarce, for the recovery of valuable byproducts, which the process permits; the question of the temperature of the carbonization is important.
Charcoal made at 300 °C is brown and friable, inflames at 380 °C. In Finland and Scandinavia, the charcoal was considered the by-product of wood tar production; the best tar came from pine, thus pinewoods were cut down for tar pyrolysis. The residual charcoal was used as substitute for metallurgical coke in blast furnaces for smelting. Tar production led to rapid local deforestation; the end of tar production at the end of the 19th century resulted in rapid re-forestation of affected areas. The charcoal briquette was first invented and patented by Ellsworth B. A. Zwoyer of Pennsylvania in 1897 and was produced by the Zwoyer Fuel Company; the process was further popularized by Henry Ford, who used wood and sawdust byproducts from automobile fabrication as a feedstock. Ford Charcoal went on to become the Kingsford Company. Charcoal has been made by various methods; the traditional method in Britain used a clamp. This is a pile of wooden logs leaning against a chimney; the chimney consists of 4 wooden stakes held up by some rope.
The logs are covered with soil and straw allowing no air to enter. It must be lit by introducing some burning fuel into the chimney. If the soil covering gets torn by the fire, additional soil is placed on the cracks. Once the burn is complete, the chimney is plugged to prevent air from entering; the true art of this production method is in managing the sufficient generation of heat, its transfer to wood parts in the process of being carbonised. A strong disadvantage of this production method is the huge amount of emissions that are harmful to human health and the environment; as a result of the partial combustion of wood material, the efficiency of the traditional method is low. Modern methods employ retorting technology, in which process heat is recovered from, provided by, the combustion of gas released during carbonisation.. Yields of retorting are higher than those of kilning, may reach 35%-40%; the properties of the charcoal produced depend on the material charred. The charring temperature is important.
Charcoal contains varying amounts of hydrogen and oxygen as well as ash and other impurities that, together with the structure, determine the properties. The approximate composition of charcoal for gunpowders is sometimes empirically described as C7H4O. To obtain a coal with high purity, source material should be free of non-volatile compounds. Common charcoal is made from peat, wood, coconut shell, or petroleum. Sugar charcoal is obtained from the carbonization of sugar and is
A Charcoal burner is someone whose occupation is to manufacture charcoal. Traditionally this is achieved by carbonising wood in kiln; as an occupation it has died out in the first world countries. Charcoal burning is one of the oldest human crafts; the knowledge gained from this industry still contributes to the solution of energy problems today. Due to its historical and cultural importance, charcoal burning and tar distilling were incorporated in December 2014 into the register of the Intangible Cultural Heritage in Germany by the Kultusministerkonferenz. Since the Iron Age, high temperatures have had to be produced for iron smelting, for glassmaking and for the working of precious metals. Charcoal has been used to do this for centuries and, in order to produce it, entire forests were felled. With the increasing use of stone coal from the 18th century, the charcoal burning industry declined. In ancient times, charcoal was manufactured in kilns. Logs were arranged in a conical heap around posts, a fire shaft was made using brushwood and wood chips and covered with an airtight layer of grass and earth.
The pile was ignited inside the fire shaft and, at a temperature of between 300 and 350 °C, the carbonization process began. The process took six to eight days - in large kilns several weeks - during which time the charcoal burner had to control the draught, being careful neither to allow the pile to go out nor let it go up in flames. By observing the smoke exiting the kiln, the charcoal burner could assess the state of the carbonization process. If the smoke was thick and gray, the wood was still raw. In earlier times, charcoal burners led an lonely life, they had to live near the kiln in a charcoal burner's hut. During the Middle Ages, charcoal burners were ostracised, their profession was considered dishonourable and they were accused of evil practices. Today there is a certain denigration of this former occupation. In the German language to have a charcoal burner's faith is to have blind faith in something; that aside, the continuing requirement to keep the kiln at the right temperature in all weathers meant that the job must have been arduous, lonely and, at times, dangerous.
Charcoal burning is still carried out commercially in parts of the world. It is rare in Europe, but still practised in Romania, Poland and Switzerland. Other places where it is still common are the tropical rain forests of South Africa. In the 20th century, charcoal burners in remote areas like the Harz Mountains and the Thuringian Forest, still used Hillebilles, a large contraption of beechwood boards, used as alarm and signal device; this is commemorated in the name of a mountain ridge in the Harz, called Hillebille. Today the tradition of this old craft is preserved in clubs and societies; the best known are the European Charcoal Burners' Society and the Glasofen Charcoal Burners' Society. Saint Alexander of Comana is known as "the charcoal burner", he is said to have taken up the job of charcoal burner to avoid worldly acclaim. A. A. Milne's poem "The Charcoal Burner" appeared in Now We Are a collection of verse, it begins: The Charcoal Burner has tales to tell. He lives in the forest, alone in the forest.
And the sun comes slanting between Lyn. Woodcolliers and Charcoal Burning. Horsham/Singleton: Coach Publishing House/Weald and Downland Open Air Museum. ISBN 0-905259-05-X. Dietrich, Vincenz. Das Ganze der Verkohlung in stehenden Meilern oder die sogenannte italienische Köhlerei, nach den 30jährigen praktischen Erfahrungen und Betriebsresultaten zu Hieflau und Obersteiermark bearbeitet. Graz: Kienrich. Hasel, Karl. Forstgeschichte: Ein Grundriss für Studium und Praxis. Remagen: Kessel. ISBN 3-935638-26-4. Kelley, D. W.. Charcoal and Charcoal Burning. Shire Album. 159. Aylesbury: Shire Publications. ISBN 0-85263-731-4. Strauch, Thomas. "Von Köhlern, Rußbrennern und Harzsammlern: Historische Waldberufe rund um die Holzverwertung". Jahrbuch zum Bergmannskalender. Deutsche Steinkohle: 173–80. European Charcoal Burning Society Alte Waldberufe – der Köhler. Michaela Vieser, Irmela Schautz: Ohne Köhler kein Fortschritt at Spiegel Online on 22 June 2012 Willkommen bei den Köhlern von Romoos Charcoal Land Dole pri Litiji