Prufer, Olaf H & Baby, Raymond SBiblio.com
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1967057702Columbus OH: Ohio Historical Society 1967. Second Printing . Paper Back. Very Good -/No Jacket. 4to - over 9¾" - 12. 68pp.; SC beige w/white-photocover; rubbed w/wear on edges&corners; 1"chipbttm.spine; cleantight pgs. "The study presented here is the result of a two-year survey of Palaeo-Indian remains in the state of Ohio undertaken with the assistance of grant from the National Science Foundation NSF G-17925." b/w photos illus. maps. <br/> <br/> Ohio Historical Society unknown
1963008560Ohio Historical Society 1963. Soft cover. Very Good. VERY NICE CLEAN COPY! Name on front cover no other marks or writings pages bright and clean binding sound. Light wear to bottom corner. Carefully packaged and shipped in box. Includes b/w photos detailed drawings and maps. 67 pp P Ohio Historical Society paperback
grand in-8° broché. Nombreuses illustrations. Bel exemplaire. [BL-9]
Very Good English Paperback. 4to. (29 x 24 cm). In English and Turkish. [xiii], 182, [1] p., color and b/w ills. El/leMarmara University Faculty of Fine Arts Exhibition of Graduation Projects Academic Year, 2005-2006.= El/le. Marmara Üniversitesi Güzel Sanatlar Fakültesi 2005-2006 Akademik Yili Diploma Projeleri Sergisi. [Exhibition catalogue]. Prep. Inci Deniz Ilgin, Begüm Akkoyunlu, Zeynep Ögel. For the artist, there is a particularly productive relationship between the hand and the object. The hand must wield the brush masterfully; its skill must predominate when shaping the mass of clay. The fingers must find the way to elicit the finest sound from the strings of the violin, the keys of the piano. Here the hand searches for thought and feeling; the instant it finds what it has sought - in spite of its appetite - it must rise from the banquet table of sound or colour or form, otherwise, like every other thing that loses its equilibrium, it becomes subject to damage. The hand of the designer takes heed of the relationship between hand and object. Perhaps his relationship with the object develops as it passes through the filter of his relationship with the hand, because in the person-object relationship, holding and using are significantly predominant. But whether we are discussing art or design, if there is no relationship with creative potential in the relationship between matter and product, the hand is nothing more than a useful tool. From this aspect, the hand is the confessor of the heart, the brain and the aggregation that anticipates the creative potential... The collaboration between the Fine Arts Faculty of Marmara University and the Pera Museum was based upon the condition that the ten divisions of this Faculty would be included in the exhibition and that it would be comprised from the works of the graduating class. It was certain that this interdisciplinary exhibition would display an energetic and extremely colourful totality. It was important to present the exhibition within the framework of a shared theme that would unify these varying techniques and disciplines. Ultimately the discussions on this subject led to the choice of the title "el/le", because of the breadth of its meaning. In the "EL/LE" exhibition, painting, sculpture, graphic arts, ceramics, industrial products, interior design, textiles, photography and cinema come together in the opulence generated by the traditional arts of the hand. The "hand" is interpreted by the hands of artists and designers. What aspects of the hand will be beautified through the abundant energy of these creators? This exhibition provided the conclusive answer to that question.
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