A Documentary Film about Jazz Guitar
Touchstone PicturesPresents A 347Films production “TheStoryofJazz”ADocumentaryFilm
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Published on: Mar 4, 2016
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  • 1. A Documentary Film about Jazz Guitar Touchstone PicturesPresents A 347Films production “TheStoryofJazz”ADocumentaryFilm WyntonMarsalis RayBarbee EsperanzaSpalding SpyroGyra Fourplay DianaKrall Edited by Joe Black Music by Miles Davis Wynton Marsalis Herbie Hancock fourplay Watch In Theatres Friday Nov. 7th 2014 Jazz Documentary Poster
  • 2. Admission Members                  Free Under 18                  Free Seniors & Students  $10 Groups of 10+          $12 All other guests        $15 5905 Wilshire Blvd. Los Angeles CA 90036 tel: 323 857-6000 Hours Monday                 11 am–5 pm Tuesday                11 am–5 pm Wednesday           Closed Thursday               11 am–5 pm Friday                    11 am–8 pm Saturday                10 am–7 pm Sunday                  10 am–7 pm To purchase tickets on line: : http://www. lacma.org/visit/plan-your-visit • • After 3 pm for LA county residents M-Fri • On the second Tuesday of each month • On federal holidays, sponsored by Target • For active duty military personnel through September 3rd, 2012. LACMA Calder&Abstraction LACMA Resnick Pavilion November 24, 2013–July 6, 2014 From Avant-GuardTo Iconic He made most of his monumental stabiles and mobiles during this time [when?] at Etablissements Biémont in Tours, France. Calder would create a model of his work, the research department (headed by M. Porcheron, with Alain Roy, François Lopez, Michel Juigner ...) would scale it up to final size, and then experienced boilermakers would complete the actual metalwork — all under Calder’s watchful eye. Stabiles were made in carbon steel sheet metal, then painted in black or in primary colors. Some lightweight mobiles were made of aluminum or duralumin alloy. An exception was Man (L’homme), stainless steel 24 meters tall, which was commissioned by International Nickel Company of Canada (Inco). In 1974 Calder unveiled to the public two sculptures, Flamingo at Federal Plaza and Universe at Sears Tower, in Chicago, Illinois. The exhibition Alexander Calder: A Retrospective Exhibition at the Museum of Contemporary Art, Chicago, opened simultaneously with the unveiling of the sculptures.[36] Originally meant to be constructed in 1979 for the Hart Senate Office Building, Mountains and Clouds was not built until 1985 due to government budget cuts. The massive project, constructed of sheet steel and weighing 35 tons, spans the entire nine-story height of the building’s atrium in Washington D.C. Calder designed the maquette in the last year of his life for the U.S. Senate, and designated his assistant Carmen Segretario to construct the massive stabile. ArtisticWork In 1926, at the suggestion of a Serbian toymerchant in Paris, Calder began to make toys. At the urging of fellow sculptor Jose de Creeft, he submitted them to the Salon des Humoristes. Later that fall, Calder began to create his Cirque Calder, a miniature circus fashioned from wire, string, rubber, cloth, and other found objects. Designed to fit into suitcases (it eventually grew to fill five), the circus was portable, and allowed Calder to hold performances on both sides of the Atlantic. He gave improvised shows, recreating the performance of a real circus. Soon, his Cirque Calder (usually on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. In 1927, Calder returned to the United States. He designed several kinetic wooden push and pull toys for children, which were mass-produced by the Gould Manufacturing Company, in Oshkosh, Wisconsin. His originals, as well as playable replicas, are on display in the Berkshire Museum in Pittsfield, Massachusetts. Throughout the 1930s, Calder continued to give Cirque Calder performances, but he also worked with choreographer. Sculpture The Cirque Calder can be seen as the start of Calder’s interest in both wire sculpture and kinetic art. He maintained a sharp eye with respect to the engineering balance of the sculptures and utilized these to develop the kinetic sculptures Marcel Duchamp would ultimately dub as “mobiles”, a French pun meaning both “mobile” and “motive.” He designed some of the characters in the circus to perform suspended from a thread. For other sculptures, such as Policeman (1928), Calder transforms the graphic, all-black wire into an elegant series of loops and twists to create an animated figure. In 1929, Calder had his first solo show of wire sculpture, in Paris at Galerie Billiet. The painter Jules Pascin, a friend of Calder’s from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian’s studio in 1930 “shocked” him into embracing abstract art. It was the mixture of his experiments to develop purely abstract sculpture following his visit with Mondrian that led to his first truly kinetic sculptures, manipulated by means of cranks and pulleys, that would become his signature artworks. Calder’s kinetic sculptures are regarded as being amongst the earliest manifestations of an art that consciously departed from the traditional notion of the art work as a static object and integrated the ideas Multiple Page Document In addition to sculptures,Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking after moving to Paris in 1926, and continued to produce illustrations for books and journals. His many projects from this period include pen-and-ink line drawings of animals for a 1931 publication of Aesop’s fables. As Calder’s sculpture moved into the realm of pure abstraction in the mid- 1930s, so did his prints. The thin lines used to define figures in the earlier prints and drawings began delineating groups of geometric shapes, often in motion. Calder also used prints for advocacy, as in poster prints from 1967 and 1969 protesting the Vietnam War. As Calder’s professional reputation erupted in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. By 1973, Braniff International Airways commissioned him to paint a full-size DC-8-62 as a “flying canvas.” In 1975, Calder completed a second airplane, this time a Boeing 727–291, as a tribute to the US Bicentennial. Alexander Calder'’s Life and Career In 1915, Calder decided to study mechanical engineering, and enrolled at the Stevens Institute of Technology in Hoboken, New Jersey. He was a member of the Delta Tau Delta fraternity and excelled in mathematics.In the summer of 1916, Calder spent five weeks training at the Plattsburg Civilian Military Training Camp. In 1918, he joined the Student’s Army Training Corps, Naval Section, at Stevens and was made guide of the entire battalion. Calder received a degree from Stevens in 1919. For the next several years, he held a variety of engineering jobs, including working as a hydraulic engineer and a draughtsman for the New York Edison Company. In June 1922, Calder found work as a mechanic on the passenger ship H. F. Alexander. While the ship sailed from San Francisco to New York City, Calder worked on deck off the Guatemalan Coast and witnessed both the sun rising and the moon setting on opposite horizons. He described in his autobiography, “It was early one morning on a calm sea, off Guatemala, when over my couch—a coil of rope—I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other.” The H.F. Alexander docked in San Francisco and Calder traveled up to Aberdeen, Washington, where his sister lived with her husband, Kenneth Hayes. Calder took a job as a timekeeper at a logging camp. The mountain scenery inspired him to write home to request paints and brushes. Shortly after this, Calder decided to move back to New York to pursue a career as an artist. Calder moved to New York and enrolled at the Art Students’ League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Brothers and Barnum and Bailey Circus. Calder became fascinated with the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, visited the Académie de la Grande Chaumière and he established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Joan Miró, Jean Arp, and Marcel Duchamp. Calder and Louisa returned to America in 1933 to settle in a farmhouse they purchased in Roxbury, Connecticut, where they raised a family (first daughter, Sandra born 1935, second daughter, Mary, in 1939). In 1955 Alexander and Louisa Calder travelled around in India for three months, where Calder produced nine sculptures as well as some womens jewellery. In 1962, Calder settled into his new workshop Carroi, which was of a futuristic design and overlooked the valley of the Lower Chevrière to Saché in Indre-et-Loire (France). He did not hesitate to offer his gouaches and small mobiles to his friends in the country, he even donated to the town a stabile trônant, which since 1974 is situated front of the church: an anti-sculpture free from gravity. Throughout his artistic career, Calder named many of his works in French. During World War II, Calder attempted to join the Marines as a camofleur, but was rejected. Instead, he continued to sculpt, but a scarcity of metal led to him again producing work in carved wood. Calder set about creating new works such as Seven Horizontal Discs (1946), which he was able to dismantle and send by mail despite the stringent size restrictions imposed by the postal service at the time. Once the war was over, Calder began to cut shapes from sheet metal into evocative forms and would hand-paint them in his characteristically pure hues of black, red, blue, and white. Calder created a small group of works from around this period with a hanging base-plate, for example Lily of Force (1945), Baby Flat Top (1946), and Red is Dominant (1947). Largely comprising a range of hanging and standing Mobiles, his 1946 show at the Galerie Louis Carré in Paris made a huge impact, as did the essays for the catalogue which was especially written, at the artist’s invitation, by French philosopher Jean- Paul Sartre and curator James Johnson Sweeney. By the late 1950s, Calder produced mobiles almost exclusively for close friends and family. In 1951, Calder devised a new kind of mobile/stabile combination, related structurally to his constellations. These “towers,” affixed to the wall with a nail, consist of wire struts and beams that jut out from the wall, with moving objects suspended from their armatures. After 1965, an intermediate maquette, usually about one-fifth the final size, was often fabricated to test the wind resistance and to refine the structure. In the 1930s, the Berkshire Museum in Pittsfield, Massachusetts gave Calder his first public commission, a pair of mobiles designed for the Museum’s new theater. In the 1950s, Calder increasingly concentrated his efforts on producing monumental sculptures (his self-described period of“agrandissements”).Notable examples are .125 for JFK Airport in 1957, La Spirale for UNESCO in Paris 1958 and Man (L’Homme), commissioned forExpo67inMontreal,Canada. Calder’s largest sculpture until that time, 20.5 meters high, was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics “Cultural Olympiad” events in Mexico City. Calder made his first outdoor works in his Roxbury, Connecticut studio, using the same techniques and materials as his smaller works. Exhibited outside, Calder’s initial standing mobiles moved elegantly in the breeze, bobbing and swirling in natural, spontaneous rhythms. In fact, the first few outdoor works were too delicate for strong winds, which forced Calder to rethink his fabrication process. In 1936, he responded to the problem, changing his working methods. He began to create smaller scale maquettes that he then enlarged to monumental size. The small metal maquette, the first step in the production of a monumental sculpture, was already for Calder a sculpture in its own right. The larger works were made under his direction, using the classic enlargement techniques used in different ways by traditional sculptors, including his father and grandfather. Calder began to draw his designs on brown craft paper, which he enlarged using a grid. His large- scale works were created according to his exact specifications, while also allowing him the liberty to adjust or correct a shape or line if necessary.
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Doxie’s Award-winningABBYY® OCR brand technology recognizes the text in your documents, creating searchable PDFs. Search all your text, then copy and paste with ease. © Apparent Corporation. 121 Dry Avenue Cary, North Carolina 27511 USA. Switchboard: +1 919-468-0340 www.itsapparent.com.                        OS Compatibility: Mac OS X All Doxie models are supported with OS X 10.6 and later, including OS X 10.8 “Mountain Lion”. Windows Doxie Go & Doxie One are fully supported with Windows XP, Vista, Windows and Windows8.Windows8users:Doxie(DX100). 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  • 7. vv Also available from Dorling Kindersley Dorling Kindersley Publishing, Inc. 95 Madison Avenue New York, NY 10016 guitarmusic ∙ history ∙ players richard chapman forward by eric clapton guitarmusic∙history∙playersrichardchapman An unrivaled history of the guitar – the coveted instruments, the music it has inspired, and the artists who have shaped its evolution. Features over 300 guitar legends – from Andrés Segovia and Django Reinhardt to Jimmy Page and John Mclaughlin. Encompasses the guitar’s absorbing history and genres, including classical, folk, blues, jazz, rock, and beyond. Includes transcriptions of outstanding solos by Charlie Christian, the Beatles, and Eric Clapton. Conyains evocative photography of key players, instruments, amplifiers, and effects devices. Richard Chapman is widely recognized as one of the leading figures in the guitar world and an authority on the history of the guitar and it’s music. He fell in love with the instrument when he was eleven and, as an entirely self-taught player, was inspired by modern, avant-garde, jazz, and classical music as well as pop and rock developements of the 1960’s. He left school at fifteen to become a professional musician, performing jazz and contemporary music. He developed his own approach to teaching emphasizing helping guitarists to improve and learn about harmony. Richard is the guitar, jazz and popular music consultant to the auctioneers Christie’s in London and New York. He is the author of the widely acclaimed international bestseller The Complete Guitarist, also published by Dorling Kindersley. He has frequently appeared on radio and television in the US and abroad and has contributed to many projects including the Microsoft Multimedia Guide to Musical Instruments. He is currently recording a solo CD of his work to be titled Twelve Colours. In this encyclopedic history, leading authority Richard Chapman combines superb images and insightful narratives to trace the story of the world’s favorite instrument. Featuring over 300 pivitol players and groups as Merle Travis, Sabicas, Wes Montgomery, Jeff Black and more. For our complete visit WWW.dk.com ISBN 0 - 7894- 5963 - 9 $ 24.95 Guitar Book Cover
  • 8. Pierce Street AnnexCosta Mesa Friday & SAturday October 26-27 Indie Band Concert Poster
  • 9. Multiple Page Document
  • 10. Recreational Equipment Incorporated t: 949.201.8478 F: 949.364.6999 andrewskylerrei.info.com 21 Main Street, Portland, Oregon 78453 Recreational Equipment Incorporated 21 main street Portland, Oregon 78453 Andrew Skylar Regional Sales andrewskylerrei.info.com t: 949.201.8478 F: 949.364.6999 21 main street Portland, Oregon 78453 Recreational Equipment Incorporated REI Logo

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