When We Was Kids In Chicago

Radio was the big communicator, back when I was a kid. Whole families huddled around the speaker of that hulk. Our minds, working like a cotton picker on a hot summer day. We had imagination. Vivid, plentiful thoughts, moving throughout the story which was being broadcast.

The characters, were like people we somehow knew. People who lived right down the street from us, in the three story apartment building. That apartment building, was a warehouse of eclectic personalities, popping from every floor, and every door.

Old cars, now relics of the past. New, when we were young. Cool cars too, metal so thick, you could hurt your hand just bumping into it. Lasted a long time, and made moving about the big city of Chicago much easier than taking the trolley, bus or EL, short for elevated train.

Oh yes, want to get the scare of a lifetime, ride the EL around one of those sharp corners, thirty feet off the ground. Steel wheels grinding against steel tracks, making sounds so shrill,the devil himself, would cringe. I know my Mom's hands were crimped for a week, when I would grip her hand so tight around those curves.

People wearing clothes that made them all look like gangsters. Suits way to large, cuffs on shirts that could hide a deck of cards, and a pair of dice.

Litter blowing everywhere, down windy streets, sweeping dicarded cigarette packages, and paper, and dirt, like a hurricane unleashed. It is the Windy City, after all.

Another memory comes to mind now, tennis balls being bounced off the lowest step of building's porches. Thump, thump, and crowds of Kids leaping over one another, trying to catch the ball, as it bounced high into the air. No kid would even care to watch that now, much less participate. We did it for hours. Boredom played tricks on the mind.

Did I mention, the best steps to bounce a ball on, were the steps of Peterson's store. To us, it was the candy depot. Apothecary jars, filled with ca ndy of every description. Hands full of candy for pennies. Kids drool when I tell them how much candy, they could have bought back then with two dollars.

We learned young, that after long hours of the thumping noise. People were inclined to buy you some candy, just to make the noise stop for awhile. We weren't too dumb.

Fighting in Chicago was a prerequisite to boyhood. When we would walk down the streets, past the Alleys, fear was constant, as all the really bad boys lurked down that alley way. No place for the faint of heart. We all thought we were tough guys back then. Maybe we really were?

No drugs back then, at least, none of us every heard about them. Our parents made vague references to drugs, in retrospect, but, really, they didn't even know what they were. Although, Pops knew what beer was. He knew all about that. All the World War 2 guys drank beer. Because, they really were tough guys. We didn't know that you could be tough, and not drink, and smoke cigarettes.

Life in the Alleys of Chicago, was not only for tough guys. It was an avenue for commerce as well. The coal man came with the truck, and shovelled coal down a shute into your basement, to keep your furnace going. Thats right coal. Black smoke billowing from everyone's buildings.

Men selling rags, singing a song that was well known to us. Rags, Rags, everyone needs rags, Ragman coming, come and gettem Gosh, they sold everything in those Alleys.< /p>

Milkmen, with horse drawn carts. Oh now, we loved those horses. They were huge with covers over their eyes. As Kids we didn't know what those were. We really didn't care as long as we could pet the horses.

The milkman was kindly, and chipped off chunks of ice, from the big blocks in the wagon, which kept the milk cold. We absolutely loved that. Ice, who would think that a little thing like that would be so important to little Kids. I will always be gratefull to that man for his kindness.

Scissor and knife sharpeners. They all had a song. Singing loudly, I admired them so. They were the best kind of entepreneurs. Business men, who set their own pace, in a world of frantic motion.

There is so much more to those days. So many memories that were the best kind of life experiences, back when we was Kids in Chicago.

Part two, tomorrow night. Look for it under my pen name/ Native American name, Luksi Humma, in the search bar on the left menu.

Au thor:: Luksi Humma
Keywords:: Kids, Chicago, Big City, Alleys, tough guys, old days, simple life, city life, old radio, Kids playi
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Renaissance and Baroque

Renaissance and Baroque are the two most known eras in the history of art. They are so different and yet so similar. In this article I will examine Renaissance and Baroque and will compare and contrast them.

Man loves to be entertained, to be stimulated, to be challenged. It is such characteristics that make the creative arts a medium to be cherished. Throughout history, art and its fellow medians of architecture and structure, culture and visual entertainment have shaped and reflected our world. We look back upon by gone eras and through photographs of cultural dress codes, buildings and great artworks, we try to imagine ourselves living and breathing like the 'stills in the photographs' and paintings did all those years ago. Art is a reflection of the times, it is not just paint splashed on canvas, but also meretriciously detailed architecture and sculpture that mirrors social discourse, prosperity and technological advancements. But art was and always will be a me ans of representation, of capturing a moment, of displaying in all its naked glory an emotional foray into human nature. Not what man knows, but what man feels, concerns art. All else is science. The period from the 14th century through to the 18th century was littered with artwork that bore trademarks of both controversy and culture, as a result of the changing traditions, cultural trends and technology.

The Renaissance period, French for rebirth started in isolated pockets of Italy before spreading throughout Europe. It directly reflected the changing economic scope and cultural ideals of the European population, that arose in the 14th Century. People began to exhibit wealth on a more grandiose scale. Buildings began to reflect their rich owners, people began to dress more astute and 'emotionless' art was evident through portraiture as individuals clamoured to have a keepsake or snapshot of their own wealth. It became an age of spectacle, yet devoid of emotion. Indiv iduals were driven by wealth and the divide between rich and poor in communities were exposed like a gaping wound. Due to the creation of such inventions as the printing press, books and education became high priority among the 'middle class'. What was once the domain and privileged of those higher in 'modernic hierarchy' became more accessible and in high demand. Books were no longer few but many, and as result the economy boomed.

Perhaps the biggest trademark of the renaissance era, thought to have become evident in the late 15th century, were the architectural brilliance and precision of its buildings. No longer did man feel the overwhelming concern to reflect its architecture through the need to be closer to the heavens and god through religious and spiral buildings, for men revelled now in their own newfound brilliance. Buildings were construed through spatial perfection and mathematical grid to create a sense of perfection through an 'ideal city' perspective. 'Vi ew of an ideal city', by an unknown Central Italian artist, portrays such perfect construction and perspective. Even the canvas itself is seemingly proportioned and balanced in regards to the subject itself. A snapshot of the renaissance period is prominently reflected by the painting through its spacious consumption of the canvas and its lack of human subject matter, as it quaintly exists quite perfectly, yet cold and uninhabited in clear, precise paint strokes. This ideal city and man's wonderous progressions in technology were rudely disrupted by the black plague, a disease that affected over half of the European population, throughout the early Renaissance period of 1350 to 1450. The economy dipped due to loss of trade and interest and once again the world was plunged into incomprehensible depression as the gaping hole between the poor and the rich once again widened.

As a reflection of the ever changing demography, ideals, culture and human uprising, the Baroque e ra of painting and scopic emerged in the 17th century as a unique, evoking and at times controversial way of looking at and presenting objects. The term 'Baroque' is often applied to any form of artwork, representing either time or place, that bears the trademarks of ambiguous representation, feverous movement and emotional bearing and intensity. The word 'Baroque' was possibly derived from a Portuguese word for a misshapen Pearl, and until recently it was used predominantly as a synonym for 'grotesque' or 'absurd'. Although such a label bears strong weight, the Baroque era had lasting power and appeal and to this day it still remains a constant presence worthy of study and analytical expressionism.

Baroque was chiefly represented through its founding artists creations. This is where Renaissance and Baroque differentiate to some extent. Work that distinguishes the Baroque period is 'stylistically complex, even contradictory' whilst Renaissance forms of art were mathema tically precise in their use of vanishing points and grids and often reflected man's prominence in technology and 'public standing'. Expression and emotion are key elements that are both constants and present in Baroque artwork or evoked from the viewer. The form of art didn't necessarily challenge previous ideals, it created an alternative and represented the somewhat suppressed view of the world that many shared during such times of changing disparity in the greater communities health and prosperity. It represented boldly the fantastical views, the darkest desires, it faced the truths and defaced the ideal of 'the presence world' through its ambiguous adjoining of the spiritual and physical worlds.

Such merging of worlds and ideals is represented stunningly in Tiepolo's apocalyptic depiction Apollo and the four Continents. The chaotic, fantastical and somewhat illusionary scene painted upon a ceiling combines the spectacle of the renaissance architectural era with ba roque trademarks of dramatic contrast and eccentricity. The painting appears layered, like a 3D image, and the eye is drawn to certain points in the painting rather than a vanishing point or a central point in the artwork. Heavy detail around the outside of the painting creates the illusion of framing, contrasting colour creates the sense of the sky and heavens and prominent human figures among seemingly chaotic yet relevant splashes of colour create the sense of unrest and movement. It is this trait that leaves the viewers gaze infixed on art of the Baroque era, it forces you to observe, to take notice, to decipher meaning and form. This particular work could be viewed as jigsaw pieces that somehow come together so that no matter what angle it is viewed upon it forms a picture, an event, a suggestion of reality that somehow all intertwine to form a busy, interesting and incomprehensible event. Tiepolo presents 'independent pieces which nevertheless fuse into a harmonic hole '. It is such terms as 'could be viewed' and 'seemingly' that belies the importance of Baroque art and set it apart from so many other regimes of its time. It does what art should, it stirs emotion, it takes the viewer away from reality for an undecided term of time for any one of many reasons depending on its viewer, it takes us on a journey.

All art generates meaning and feeling. Baroque and the Renaissance eras contrast dramatically in both their ideals and their own standing in terms of representation. Baroques heavily art induced presence was achieved through 'human emotions painting on canvas' and its suggestive rather than accurate brush strokes which were, however, brilliant in their application and affect. It delved into the unknown, the spiritual world and attempted to capture a snapshot of emotion. Renaissance art reflected mans stern nature and desire to produce perfection, it was seen as emotionless yet a tribute to our mathematical genius and symmetrical concepts. It represented the 'ideal world' through application of precision in 'human skill painting on canvas' and attempted to create an eternal structural world to capture a snapshot of mans perfection.

Mary Anne Winslow is a member of Essay Writing Service counselling department team and a dissertation Writing consultant. Contact her to get free counselling on custom essay Writing.

Author:: Mary Anne Winslow
Keywords:: article submission, Articles, Writers, Writing, Publishing, Ezine, Email marketing, Email newsletter, Email
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Forbes Magazine The History

One of the most widely respected and important American publications of the last century is Forbes Magazine. Forbes Magazine was founded in 1917 by Scottish immigrant B.C. Forbes (who was, at the time, the leading columnist for the Hearst newspaper chain). Forbes was born in Aberdeen shire in Scotland and moved from Johannesburg, South Africa to New York performing various editorial and writing gigs just before he founded this vastly important business publication.

Forbes is published bi-weekly and contains up to 60 original and concisely-written Articles in each issue which evaluate everything from the companies to the people that run them and has both a politically conservative and pro-business slant. Some of the topics covered in each and every issue of Forbes include Articles on the worlds of industry, finance, international business, marketing, law, taxes, science, technology, communications, investments, entrepreneurships, etc. More than 5 million readers worldwide (and seven local-language editions) can attest to the longevity of this publication for the business world.

Coming up on its 90th Anniversary in 2007, the Forbes Empire remains one of the largest and most successful family businesses of its kind in the world. Steve Forbes, once a political candidate for President of the United States of America, is the magazine's Editor-in-Chief and has a column in each and every issue called Fact and Comment which is quite popular with Forbes readers.

Each and every year, Forbes publishes its very popular list of the richest people and the biggest companies on EArth (who also, by the way, subscribe to this most accomplished publication). Absolutely no merger, ad campaign or lawsuit of importance on the planet goes unnoticed by Forbes Magazine and the stories in each issue will always vividly focus on the movers and financial innovators that are shaking things up in the business world. Forbes is also the best of the business periodicals that are published today for discovering new investment ideas and more investor focused than other business magazines. So, if you want to make sense of today's incredibly volatile market, then read and you will be as enlightened as the giants of this most respected of industries are

Don't purchase a Magazine Subscription through my site, you wouldn't want to see my ugly mug on Forbes Magazine next top richest people in the world list.

Author:: David Ch ase
Keywords:: Forbes Magazine
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Film Budgets Insider Tips For Film Students

This is my 20th year working in the film industry on over 40 film productions. Throughout that time I have never met a new film school graduate who has a clue about handling the most important aspect of ALL filmmaking - the MONEY! I had always assumed (wrongly, it turns out) that film students just weren't interested in knowing about film budgets. However after a recent survey of film students at a reputable film college we learned that film students DO intuitively understand that knowing the language of film budgeting is crucial to their careers in film. Surprisingly, over 80% were enthusiastic about learning more about film budgeting!

Here's what we discovered from that survey (completed in late September, 2005):

1. Over 80% of film students are not only interested in learning more about budgeting for film productions, they are emphatic about it!

2. In all cases, film students expect to find information about film budgeting from the internet, or as reco mmended reading from their professors.

3. We also learned that there are no references or books available to film schools or film students on this very needed subject.

Those working in the film business recognize how important it is to be familiar with film budgeting, if not technically proficient. The confidentiality of film budgets makes it extremely difficult, even for working filmmakers, to get familiar with film budgeting. (I have a true story in my book about a meeting that I had with Ron Howard in 1993 where he wanted to learn specifics about the budget for his film - in spite of having been in the film business for over 30 years as an actor and budding director).

Learning about film budgets while on-the-job comes at the expense of hard-knocks, expensive film budgeting software and late night self-training with a technical textbook (if you can find one). In the 20 years that I've been working in the film business, I have NEVER shown a film budget to anyone but a select few insiders - Producers, Production Managers, Studios, Bonding Companies, etc. So, exposure to actual film budgets really is an insider's privilege - which I am about to open the door to for my readers. (Keep in mind the figures shown are samples only. The figures are real enough, but are not drawn from my actual past/present/future film productions.)

How can film students get familiar with film budgets while they have the time and opportunity? The only colleges with film budgeting in their syllabus (that I could find after hours of internet searching) was in a specialty course for Production Managers at the New York Film Academy, and through mentors at the American Film Institute (where, I'm proud to say, pArts of my book are being used by a mentor there, who has a long record of produ cing films including a term as Vice President of Production at MGM).

The only solution that I see for film students, and for working film crew, to get familiar with film budgeting is to provide them with the information myself. But, what kind of information, and at what level of detail?

The answer to that rhetorical question is - in as simple a format as possible, yet still be effective. By effective, I mean that any training in the area of film budgeting will actually help you impress producers for those few film jobs, get your script into production, find financing, be rehired for more film contracts, be more cost effective cinematographers, etc. Also, the basic concept of translating creative ideas into a budgeting process is new to most people, especially those educated in film schools, so that concept should be presented first.

Film students don't need to become keen budget technicians. However, they DO need to get enough exposure to film budgets to un derstand the fundamentals, and to be able to communicate to film producers, film studios, bonding companies, banks, financiers, etc. in the same language as would be expected from professional filmmakers.

All of the above is covered in my book, Walk The Talk. I have written a series of 7 free Articles based on my book. They're written for the complete novice, so be patient if you've already been exposed to film budgeting. You can sign-up, FREE, for 7 weeks of Articles at www.talkfilm.biz .

There is a seventh Article that could have been added for those who haven't been exposed to the simple administrative procedures like petty cash, purchase orders, check requisitions, etc. Knowing how to use these forms will put you WAY out in front of the pack of job-hungry film students looking for those few film jobs. You'll need to buy my book at this link Walk The Talk to get that inside advantage. (I have kept the price affordable, specifically with students in mind.)

Here are the Article titles:

1.MAKING IT! In Film Production

2. Introduction to Film Budgeting

3. Translating Creative Ideas Into the Film Budgeting Process

4. Your PArticipation In Above-the-Line Budgeting

5. Your PArticipation In Below-the-Line Budgeting

6. Your Report Card - Comparing The Budget to Actual Costs

7. Presentation of the Weekly Cost Report - It's As Important As the Dailies

When you read my Articles, print them out. Make your own examples. Reread them. Send me your questions if you get stuck. You'll find that you'll be way out in front of the pack!

(Copyright 2005 - John Gaskin)

John Gaskin opens the door to a confidential topic in the film industry -Film Budgets! Learn the inside tips from a 20 year pro of over 40 film projects all ov er the world. To receive a series of 7 free Artilces visit: http://www.talkfilm.biz

Author:: John Gaskin
Keywords:: film budgets,film students,film jobs,film production
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The Father of Gospel Blues Auto Recovery

Little nine year old Tommie and his family moved to Atlanta, Georgia from the small town of Villa Rica, Georgia in 1908. Tommy was demoted a grade in school and teased by the other children. He felt alienated from his school and also the black Baptist church where his daddy was the pastor and mamma was the pianist.

He spent the afternoons and evenings watching the vaudeville performances where he saw such well known Blues artists as Ma Rainey and Bessie Smith. At age eleven he dropped out of school and took a job at the theater selling soda pop.

He was determined to become famous like Ma Rainey so he learned to play the piano and teaching himself to read music.

At age seventeen Tom moved to Chicago and became quite successful as a Blues piano player and singer in the backroom bars during the prohibition era. He took the professional name of Georgia Tom.

Tom struggled with his conscience over playing the world's music. His mother was always admonishing him that he should devote himself to composing and playing for the Lord. His struggle became so intense that he had a nervous breakdown and had to take two years off and move back to Atlanta to recover.

Sufficiently rested and recovered, Georgia Tom returned to Chicago and began to play for Ma Rainey and her jazz band. However, it was only a matter of time before he once again had a nervous breakdown and had to stop singing in the the bars of Chicago.

He soon determined to devote his music totally to the Lord. He began composing and singing gospel music using the Blues style of music.

To his disappointment, many of the main stream churches refused to allow him to return because his music sounded too much like the world's music. So he returned to the Chicago bars to earn enough money to survive.

Tom married and was expecting his first child within a year. He continued to play both in churches and bars. It was while he was in St. Louis preparing for a concert in a church that he received a telegram informing him that his wife had died during childbirth. He returned to Chicago in time to hold his newborn son but the child died within a few hours.

It was at that moment that he took the vow to devote his music totally to the Lord seriously. It was also during his grief that he composed these words:

Precious Lord, take my hand,
Lead me on, help me stand,
I am tired, I am weak, I am worn.
Thru the storm , thru the night,
Lead me on to the light,
Take my hand, precious Lord, Lead me home.

Thomas Dorsey went on to compose nearly 1000 songs, all gospel with a Blues style. He died in 1993 at the age of 96. He had earned the title of The Father of Gospel Blues.

The instructions to play this gospel Blues song on a harmonica can be found by clicking on Precious Lord

Author:: Jack Earl
Keywords:: Blues, gospel Blues
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The Museum of Lost Wonder

Four Creation Tales

No one really knows where we come from, but as youll see, a lot of people had a good time imagining it. Some of these stories are theories, some are Myths. The theories want to be facts. The Myths want to be truths. Both are useful in combating the dreariness of the waking hours.

Ever since Hegel in the 1800s, philosophers seem to have given up worrying about first causes and ultimate purposes. We at the Museum of Lost Wonder think theyve been missing out on a lot of fun. The following stories are provided to incur doubt, inspire wonder, help spur the imagination, and provide fodder for creating your own Myth.

The Big Bang Theory Big Bang is a marvelous term coined as a joke by the astronomer Fred Hoyle. (He actually believed in a steady state theory.)

According to this popularly held theory, before there was anything there was less than nothing. Not only was matter and energy created at the first moment, but so was space and tim e. So theres no sense in worrying about what, where, or when it was before it happened because those things didnt exist, not to mention anybody to worry about causing it.

* Day One was the moment of the Big Bang. It was infinitely dense, and time didnt exist yet.

* Day Two is called the Particle Epoch a period of expansion when subatomic particles were formed that lasted only an instant.

* Day Three is called the Grand Unification Epoch where four great forces organized matter. The weak, the strong, the electromagnetic, and gravity. Only 10-32 of a second had passed.

* Day Four is called the Era of Nucleosynthesis where particles formed into atomic nuclei. It lasted 1 to 100 seconds.

* Day Five, the Era of Recombination is when particles and energy linked together to form different matter. This day lasted a million years.

* Day Six is the Era of Galaxy Birth. Gravity condenses baryonic matter into clouds of gas. It lasted a billion years.< /p>

* Day Seven, the Modern Era is 10 to 20 billion years old. Superstructures of galaxies form, stretching as gigantic sheetlike filaments spanning hundreds of billions of light-years. It makes you wonder. If the universe is still expanding, Where is it expanding to? Whats on the other side of a hundred billion light-years?

Genesis Myth

Genesis is from the Greek gignesthai, meaning origin or birth.

This popular Myth also holds that the universe was created in seven days. Myths, unlike theories, elaborate on feelings to explain how things happened. This story credits the beginning of the universe to a very human and moody creator, who, when done, takes the day off. It maps the first geography of the planet and goes on to describe how life began.

Everybody has a job to do. For the first two humans life consists of gardening and naming everything in Eden. The fun doesnt start until, on their time off, they seek wisdom. Once they get wisdom (thats supp osed to make them godlike), all they realize is that theyre naked. The search for wisdom only ends in embarrassment. This embarrassment is the birth of shame . . . which explains all the sorrows to come.

The first couple have two kids. They have jobs too. One becomes a farmer, and the other, a rancher. One kills the other because the creator, having no experience in child rearing, compliments ones work and not the other, which creates jealousy. Shameful. (Must not have been a lot of thinking going on between naps on that seventh day.) The remaining kid has to leave home and goes off to the next town, Nod, to find a wife and start a family of his own.

It makes you wonder. If Eden was the first inhabited place in the world, How did Nod get there? And if were still in the seventh day of Creation . . . When is the creator going to wake up from that nap?

Alternative Theories to the Big Bang

These latest theories contest the validity of the Big Bang. Recent data from our new Hubble telescope find young things at the edge of the known universe when there should only be older cosmic structures. Both of these theories infer that the universe is dynamic with Creation and destruction ongoing and continuous.

The new steady state theory sees galaxies as huge recycling systems that go on forever. Here matter is ejected out of a central neutroid and after millennia of spiraling outward falls back into itself.

In the symmetric theory the engine of the universe is located in black holes. The center of a black hole is so infinitely dense that its gravitation pulls in everything around it. Even itself. This force is so powerful that even time and space become warped, meaningless, and cease to exist. Adjacent to the central black holes are white holes that eject the stuff of the cosmos simultaneously. The known universe seems to be scattered with these holes.

The universe can be imagined as a huge mass of spaghetti, like s ome big, intertwined Mbius strip or even a massive bedsheet with no edges that perpetually folds in and through itself.

It makes you wonder? When did all this infinite Creation and destruction start? And Who cooked it all up in the first place?

Creation Myth This tale is adapted from the Zohar, a medieval commentary on the Kabbalah.

In the beginning is EIN SOF (without end), an undifferentiated light-filled essence without being, which permeates the universe in every direction. Needing to define itself, EIN SOF makes room for Creation by withdrawing into itself. This withdrawal, or TSIMSTUM, creates a vacuum in its center which is called AYIN, or nothingness.

The light withdrew like water in a pond displaced by a stone . . . Descending into the vacuum, it transformed into an amorphous mass . . . For in its simple desire to realize its intention, the emanator relumined the mass with a ray of light . . . As this light began to enter the mass, vessels we re formed. *

There are ten vessels, or SEPHIROTH. Each holds a particular essential quality of their creator. Out of this configuration of vessels four worlds are organized: Emanation, Creation, Formation, and Actualization. As the light breathes energy into these vessels, the first, and strongest, vessel withstands the force, but the others shatter, or SHEVIRAH. The pieces of these vessels fall to the ground with essences of light within them. All the pieces get trapped in material existence.

Our jobs as humans is to reconstruct these shattered remains by TIQQUN, or mending. Thus restoring these essence-filled vessels to their original divinity.

It makes you wonder. Why couldnt EIN SOF make unbreakable vessels? And why are we left to pick up all the pieces?

* From the Essential Kabbalah by Daniel C. Matt

The Reverberating Yawn or How to Get Something From Nothing

Yes, you can do this at home!

Try This With a Friend. No tools require d.

Find a quiet and comfortable place to sit. Position yourself within two feet of your friend. Start by taking a deep breath and make a smooth, even ooooooo sound. The exact note isnt important as long as its a sound you can easily hold for a while. At the same time, your friend should also take a deep breath and try making a tone that matches yours. Practice this a few times until you find yourselves making the same tone. Once you think youve got it, listen carefully. When you are very close to creating exactly the same note, you should start hearing a third tone. This will sound like a warbling sound. The warble will start out slow and will get faster and faster in frequency as you get closer to making the exact sound. Youll both think that the other person is making the warbling sound! Youre not. The phenomena is called binaural beats and is caused by similar frequencies canceling each other out near the same harmonic.

From the book The Museum of Lost Wonder by Jeff Hoke Published by Weiser Books; August 2006;$49.95US; 1-57863-364-8 Copyright 2006 Jeff Hoke

Jeff Hoke has been creating museum exhibits for the last twenty-five years and has recently been awarded the 2003 Curator's Award for Exhibit Design at the Monterey Bay Aquarium in Monterey, California, where he currently holds the position of Senior Exhibit Designer. Created by Jeff Hoke, an award-winning artist and former curator of the Field Museum, The Museum of Lost Wonder is not just a book, it's an experience.

Author:: Jeff Hoke
Keywords:: Creation,Science,Myth,Religion
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What is a Limited Edition Print?

Limited edition refers to the number of prints that are available for that particular artwork. The number of prints in a limited edition is determined by the artist, printer and when applicable, the publisher. Limited edition prints that are printed by hand and that are thus original artworks are usually fairly small in quantity. In South Africa most limited editions consist of less than a hundred prints. The print number of a limited edition is usually written in pencil in the bottom left hand corner of the print.

In a limited edition print you will get the following: numbered prints, artists proofs, workshop proofs and printers proofs. There will also be a Bon a tirer print, which is the approval to print. The printer usually keeps the B.A.T. The tradition of limited edition prints is to have the numbered prints, for example one to forty and then to have the various proofs editioned in addition to the numbered ones. This means that the artist will ha ve a copy of the print and that the workshop and printer will also have a collection of the limited edition work that they have done. Collectors will often approach the printer directly to try to buy their copy of the limited edition once the numbered prints are sold out.

The limited nature of the limited edition is ensured by the original plate, block or stone being defaced or destroyed to ensure that no second editions can be printed. It is important to check whether the studio and printer that printed a print you may be interested in, have integrity prior to investing in a limited edition print. All prints produced at The Artists Press have documentation sheets that anyone may look at which detail the exact amount of prints. To find out more about limited edition prints go to www.artprintsa.com

Tamar Mason, artist and writer focussing on original prints and limited editions from Southern Africa

Author:: Tamar Mason
Keywords:: limited edition prints, south african art, Lithographs, south african artists, investment art
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