Bøker utgitt av Hallie Ford Museum of Art,US

Encompassing the geographic regions of Mesopotamia, Syria and the Levant, and Anatolia and Iran, this book explores several themes found in the art of the ancient Near East: gods and goddesses, men and women, and both real and supernatural animals.

Louis Bunce: Dialogue with Modernism explores and assesses the art and life of the iconic Pacific Northwest modernist painter and printmaker who engaged with American and European modern art from Surrealism to Post-Modernism. Based in Portland, Oregon, Louis Bunce maintained strong ties with artists of the New York School, counting Jackson Pollock as colleague and friend. In his fifty-year career, Bunce (1907-1983) created a wide-ranging body of work that both reflects and illuminates twentieth-century modernism. He pioneered serigraphy as a fine art in the Northwest and as a painter infused painterly abstraction with references to the topography and light of the Northwest.

Mel Katz is a highly regarded Portland sculptor and teacher whose work is firmly rooted in the principles of geometric abstraction. He moved to Portland, Oregon, in 1964 to teach at Portland State University, where he taught for the next thirty-two years. He helped found the Portland Center for the Visual Arts in 1971, one of the first alternative artist spaces in the country. Originally trained as a painter, Katz has produced a remarkable body of work over the past fifty years that reflects his unique journey from painter to sculptor, working in many different media, including polyurethane, fiberglass, wood, formica, steel, and aluminum.Katz has been featured in numerous one-person and group exhibitions throughout the United States, including the First Western States Biennial. He was the subject of a major retrospective exhibition at the Portland Art Museum in 1988 and was included in the traveling exhibition, Still Working, in 1994. His work is included in the collections of the Hallie Ford Museum of Art, Portland Art Museum, the Jordan Schnitzer Museum of Art, the Seattle Art Museum, the Tacoma Art Museum, the Oregon Arts Commission, the City of Seattle, and many national corporations.

Richard C. Elliott (1945-2008) was a nationally recognized mixed media artist who lived and worked in Ellensburg, Washington. Born in Portland, Oregon, Elliott received his BA degree from Central Washington University in Ellensburg in art and economics. During the 1970s, he made meticulous drawings of his friends and other subjects, weaving light and form together to capture a particular moment in time. By the early 1980s, however, he no longer felt that he could express what he wanted to about light and natural structure through drawing. He began to explore primary colors and light active materials, and by 1987, decided to focus on the safety reflector as his medium of choice.During the 1990s and early 2000s, Elliott created a broad range of work that combined safety reflectors with two-dimensional geometric designs: site specific installations, reflectors mounted onto wood and canvas, and numerous public art commissions, including the Hallie Ford Museum of Art. He even experimented with neon in his ongoing exploration of light. During the last year of his life, he turned his attention to a series of computer-generated prints utilizing thousands of different colors and geometric designs.

Manuel Izquierdo (1925-2009) was a major talent and charismatic personality in Oregon's modern art movement in the second half of the twentieth century. This book tells his story.

CrowΓÇÖs Shadow Institute of the Arts at 25 explores the first twenty-five years of a remarkable nonprofit printmaking and traditional arts studio based on the Confederated Tribes of the Umatilla Indian Reservation in eastern Oregon, the only such center located on a reservation community in the United States. Art historian Prudence Roberts, drawing from conversations with CSIA founder, the artist James Lavadour, narrates the instituteΓÇÖs history from its beginnings through the establishment of a professional quality printmaking program and an international reputation. Native American art scholar heather ahtone and curator Rebecca Dobkins trace the development of indigenous printmaking in North America, further contextualizing this story. Over sixty color plates will illustrate selected work from the dozens of artists, indigenous and non-indigenous, who have completed residencies at CSIA since its founding, including luminaries of contemporary Native American art Rick Bartow, Joe Feddersen, Jeffrey Gibson, Edgar Heap of Birds, James Lavadour, Lillian Pitt, Wendy Red Star, and Marie Watt.

Offers the first comprehensive view of Watt's work, covering a period extending from the mid-1990s to the present

Pander creates works that are profound in their seriousness, dramatic intensity, and expressive power

A book on the contemporary painter and printmaker James B Thompson. It places Thompson's work in the context of landscape painting as a whole and offers the viewer with an insight into the meaning of the works themselves.

Chronicles the life and times of the highly regarded Portland painter and teacher, who taught for 36 years at the Pacific Northwest College of Art (formerly the Portland Art Museum School) and served as interim dean during a critical period in the college's history.

Reveals the cultural and historical importance of Maggiori's collection assembled in his villa near Monte San Giusto

Johanson's art is concerned with memory and recollection, dream and fantasy, biography and autobiography, physical and imaginative detachment yet sensual engagement. He is also the painter of fires that break out in city buildings or spew from volcanoes, and he often sets fire's rampage alongside human lassitude and seeming indifference.

Catalog of an exhibition held at the Hallie Ford Museum of Art, Willamette University, Salem, Oregon, June 10-Aug. 5, 2006.

Frank Boyden is a highly regarded Oregon ceramic artist and printmaker who has created a stunning body of work based on the flora and fauna of Oregon. Boyden has explored a wide variety of themes in his prints, including animals, the landscape, and the human figure. This work places Boyden's work within the context of regional and American art.