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With an unprecedented array of media and digital tools at their disposal, today's artists are faced with unlimited possibilities for creative experimentation. Never before has there been such innovation in the way art can be conceptualized, produced and presented.Art Revolution is on the cutting-edge, exploring how artists are reinterpreting, reinventing and redefining everything from the surfaces on which they work to the way viewers interact with their finished pieces. This book ventures off the beaten path to track the creative directions and signature styles of twenty-one of today's most visionary artists, including Dave McKean, David Mack, Marshall Arisman and Cynthia von Buhler.Brilliantly illustrated with inventive examples of two-dimensional, three-dimensional, digital and new media art, Art Revolution will inspire you to break out of the confines of traditional thinking, push your content to a higher level, and revolutionize your personal approach to art.
With an unprecedented array of media and digital tools at their disposal, today's artists are faced with unlimited possibilities for creative experimentation. Never before has there been such innovation in the way art can be conceptualized, produced and presented. Art Revolution is on the cutting-edge, exploring how artists are reinterpreting, reinventing and redefining everything from the surfaces on which they work to the way viewers interact with their finished pieces. This book ventures off the beaten path to track the creative directions and signature styles of twenty-one of today's most visionary artists, including Dave McKean, David Mack, Marshall Arisman and Cynthia von Buhler. Brilliantly illustrated with inventive examples of two-dimensional, three-dimensional, digital and new media art, Art Revolution will inspire you to break out of the confines of traditional thinking, push your content to a higher level, and revolutionize your personal approach to art.
The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world--its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era--combined with a revolution in information technology, raise fundamental questions about the education of today's artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists--among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat--about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century--and what it shouldn't be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead. ContributorsMarina Abramovic, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Cl mentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle
The Art, Science, and Craft of Great Landscape Photography teaches photographers how to convert their visual peak experiences-moments of extraordinary natural beauty that evoke a sense of wonder and awe-into stunning images that elicit the same awestruck emotion in their viewers. Randall is an experienced wilderness photographer, and whether you want to venture into the mountains for once-in-a-lifetime shots of raw nature, or simply hone your landscape photography skills from the safety of your back deck, Randall explains the art, science and craft of creating astounding images.Randall begins by focusing on the art of landscape photography. He describes his three-step process for composing a photograph and shows how good composition is an organic process that begins with rules but ultimately transcends them. Randall then explores the science behind successful landscape photographs, which requires understanding key concepts from geography, optics, vision, and psychology. These concepts include:Understanding how the position of the sun at sunrise and sunset varies throughout the year, which will help you plan when and where to shoot.Understanding optics to predict where rainbows will appear, how polarizers will interact with reflections, and where to find spectacular light.Understanding how to use topographic maps and computerized mapping tools to help you find the most promising shooting locations in the wilderness. Understanding how our visual system analyzes images and the psychology of how we view art. These insights will help you produce successful photographs. Exposure is a central aspect of the craft of landscape photography, and Randall tackles the challenges of this topic from every angle-from tips on calculating exposures in the field, to achieving correct exposure in high-contrast lighting situations, to the best digital darkroom techniques.Great landscape photography can be mastered with practice and by applying the techniques taught in this book. The Art, Science, and Craft of Great Landscape Photography is intended for those who already understand the basics of photography and who are ready to master the finer nuances of creating magnificent landscape photographs.Foreword by Reid CallananDirector, Santa Fe Photographic Workshops
Paige wants to enter her painting in the art show, but thinks someone has stolen it. It isn't where she thinks she put it.
In this groundbreaking and original work of scholarship, four of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth century, an age when artists in the United States, Europe, and elsewhere sought to overturn the traditions of the past and expectations of the present in order to invent new practices and forms. Adopting a unique year-by-year approach, Foster, Krauss, Bois, and Buchloh present more than 50 short essays, each focusing on a crucial event the creation of a seminal work, the publication of an artistic manifesto, the opening of a major exhibition to tell the story of the dazzling diversity of practice and interpretation that characterizes the art of the period. All the turning points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' texts are more than 300 of the most important works of the century, many reproduced in full color. The book's flexible structure and extensive cross-referencing allow readers to follow any one of the many narratives that unfold, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. Boxes give further background information on the important figures and issues. In their insightful introductions, the four authors explain the different methods of art history at work in the book, providing the reader with the conceptual tools for further study. A roundtable discussion at the close of the book considers the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.
In this groundbreaking and original work of scholarship, four of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth century, an age when artists in the United States, Europe, and elsewhere sought to overturn the traditions of the past and expectations of the present in order to invent new practices and forms. Adopting a unique year-by-year approach, Foster, Krauss, Bois, and Buchloh present more than 100 short essays, each focusing on a crucial event the creation of a seminal work, the publication of an artistic manifesto, the opening of a major exhibition to tell the story of the dazzling diversity of practice and interpretation that characterizes the art of the period. All the turning points and breakthroughs of modernism and postmodernism are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' texts are more than 600 of the most important works of the century, many reproduced in full color. The book's flexible structure and extensive cross-referencing allow readers to follow any one of the many narratives that unfold, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. Boxes give further background information on the important figures and issues. In their insightful introductions, the four authors explain the different methods of art history at work in the book, providing the reader with the conceptual tools for further study. Two roundtable discussions one at midcentury, the other at the close of the book consider the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.
This comprehensive and authoritative textbook illustrates art from the 1940's and stresses the individuality of the artists in relation to their political, social, and cultural contexts. The book focuses on the meaning of the major works and innovations. It features nearly 600 illustrations (approximately half in color) representing art since 1940, both in Europe and America. It explores the full range of periods, artists, and movements: New York in the Forties; Calder, Hofmann, Gorky, Motherwell, De Kooning; Existentialism (Pollock, Newman, Rothko, David Smith); The New European Masters of the Late Forties (Dubuffet, Giacometti, Bacon), plus so much more. For anyone interested in Postwar Art.
Not meant to be worn, art shoes are pure fantasy, constructed of unique materials in various shapes and silhouettes. The art shoes in the Stuart Weitzman collection are made from a vast array of materials--feathers, paper, ceramic, metal, resin, playing cards, corrugated cardboard, Swarovski crystals, even fresh flowers and frosting--and their intricate construction and imagination is remarkable. Art & Sole features in printed form for the first time Jane Weitzmans selection of the best of this collection, approximately 150 shoes of the more than 1,000 she has discovered and commissioned for display since the first Stuart Weitzman retail shop opened in the mid-1990s on Madison Avenue. With an introduction by Weitzman, Art & Sole highlights shoes from the collection, along with brief, identifying captions, in an impeccably designed, graphically compelling, artful package. Thumbnail photographs of every shoe in the book, along with a brief biography on the artist who created it, are also included. The books deluxe details--a cloth case with an elaborately embossed shoe; gilded edges, and a satin silk marker--make it the perfect gift for any occasion.
Step-by-step instruction and beautiful photography shows crafters how to create stunning necklaces, earrings, bracelets, and much more. This new reference gives an inside look at the artists' creative processes, including how they choose color and materials and how they add the finishing touches. Most importantly, they reveal how serendipity plays a role in their creative processes. Readers will be inspired to embark on an artistic journey to create magnificent works of art for future generations to behold.
Embodying the entire system of Robert Henri's teaching, The Art Spirit contains much valuable advice, critical comment, and inspiration to every student of the arts.
The Art Spirit: Notes, Articles, Fragments of Letters and Talks to Students, Bearing on the Concept and Technique of Picture Making, the Study of Art Generally, and on Appreciationby Robert Henri
Embodying the entire system of Robert Henri's teaching, The Art Spirit contains much valuable advice, critical comment, and inspiration to every student of the arts.
A lushly illustrated, comprehensive guide to painting in all media from the prestigious visual arts education institution Art Students League of New York.The Art Students League of New York is America's signature art school, run by artists for artists. Founded in 1875, it has nurtured students like Jackson Pollock and Georgia O'Keefe. Today, more than 2,500 students of all ages, backgrounds, and skill levels study there each month. This unique book brings you into the studio classrooms of some of the League's most celebrated painters--including William Scharf, Mary Beth McKenzie, Henry Finkelstein, and Knox Martin--for lessons on a variety of fundamental topics, idiosyncratic approaches, and quirky philosophies. Scanning the table of contents is like flipping through a course catalog: do you want to take Naomi Campbell's "Working Large in Watercolor," James McElhinney's "Journal Painting and Composition," Sharon Sprung's "Figure Painting from Life in Oil," or Ellen Eagle's "Poetic Realism in Pastel"? Now you can--from the comfort of your own home studio (or living room). Richly illustrated with artwork from the League's considerable archives, its instructors, and its students, this guide will inspire painters across all mediums, subjects, and styles.From the Hardcover edition.
In today's art world, many strange, even shocking, things qualify as art. In this Very Short Introduction Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, alongside the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art.
Art Therapy and Social Action is an exciting exploration of how professionals can incorporate the techniques and approaches of art therapy in their work to address social problems. Examining the expanding role of art practitioner as social activist, leading art therapists and other professionals show how creative methods can be used effectively to resolve conflicts, manage aggression, heal trauma and build communities. The contributors provide examples of innovative programs on a range of topics, including those designed to address gun crime, homelessness, racism and experiences of terrorism, among others. This timely book provides new techniques and successful models for art therapists, counselors and mental health practitioners working directly with the challenges of modern society.
People all over the world make art and take pleasure in it, and they have done so for millennia. But acknowledging that art is a universal part of human experience leads us to some big questions: Why does it exist? Why do we enjoy it? And how do the world's different art traditions relate to art and to each other? "Art Without Borders" is an extraordinary exploration of those questions, a profound and personal meditation on the human hunger for art and a dazzling synthesis of the whole range of inquiry into its significance. Esteemed thinker Ben-Ami Scharfstein's encyclopedic erudition is here brought to bear on the full breadth of the world of art. He draws on neuroscience and psychology to understand the way we both perceive and conceive of art, including its resistance to verbal exposition. Continuing in this comparative vein, Scharfstein examines the mutual influence of European and non-European artists. Then, through a comprehensive evaluation of the world's major art cultures, he shows how all of these individual traditions are gradually, but haltingly, conjoining into a single current of universal art. Finally, he concludes by looking at the ways empathy and intuition can allow members of one culture to appreciate the art of another. Lucid, learned, and incomparably rich in thought and detail, "Art Without Borders" is a monumental accomplishment, on par with the artistic achievements Scharfstein writes about so lovingly in its pages.
Combining 24 years of research and insight from her columns in Communication Arts magazine, artist, educator, and writer Wendy Richmond challenges artists to investigate their work through multiple lenses in her newest book, Art Without Compromise*. Her commentaries, exercises, and wide-ranging references to contemporary thinkers will inspire artists to change the way they think about their creative landscape, from personal goals to cultural influences to technological realities. Her insights about major cultural figures, from Roland Barthes to Susan Sontag to Walker Evans, introduce their philosophies into the context of contemporary art making. Like a Malcolm Gladwell for artists, Richmond helps artists to look closely at what they see every day--in their own art making and in the world around them. In the process, she helps artists to develop an uncompromising commitment to finding and protecting their own unique process for making their strongest and most relevant art. This thought-provoking and inspirational book covers such topics as: developing a solid creative process through "Visual Reflection Notebooks" and "Bring Play to Work"; understanding the artist's unique identity in relation to the larger culture; building systems of support and collaboration; explaining how an artist's needs and passions can lead to innovation and authenticity; using language to inspire visual creativity; responding to the Internet and changing concepts of what is public and private; and accepting digression as a creative necessity. Through the exercises and techniques outlined in Art Without Compromise*, the reader will develop new confidence to pursue individual goals and inspiration to explore new paths, along with motivation to overcome creative blocks. With a revised understanding of the relevance in their own work within the sphere of contemporary culture, the artist will come away with a clearer perspective on his or her past and future work and a critical eye for personal authenticity.
Find Out What They Didn't Teach You in Art School The most comprehensive guide of its kind, Art/Work gives artists of every level the tools they need to make it in an art world so competitive one dealer likens it to "The Sopranos, except nobody gets killed." Whether you're an art school grad looking for a gallery, a mid-career artist managing a busy studio, or someone just thinking about becoming a professional artist, this indispensable resource will help you build your career and protect yourself along the way. Unlike other creative professionals, visual artists don't have agents or managers. You have to do it all yourself, at least until you find gallery representation -- and even then, there are important business and legal issues you need to understand to stay in control of your career and ensure you're being treated fairly. Heather Darcy Bhandari, a gallery director, and Jonathan Melber, an arts lawyer, walk you through these issues so that you can essentially act as your own manager and agent. They show you, for example, how to tackle business basics such as tracking inventory and preparing invoices; how to take legal precautions like registering a copyright and drafting consignment forms; how to use promotional tools like websites and business cards; and how to approach career decisions such as choosing the right venue to show your work. In addition to drawing on their own experiences, Bhandari and Melber interviewed nearly one hundred curators, dealers, and other arts professionals, in cities across the country, about what they expect from and look for in artists. The authors also talked to a host of artists about their careers and the lessons they've learned navigating the art world. The book is full of their entertaining anecdotes and candid advice. No matter what kind of artist you are -- or want to be -- this book will help you. Art/Work covers everything you need to know to succeed, saving you from having to learn it all the hard way -- and letting you spend more time making art.
This book examines the specific social contexts of the redefinition of artistic labor, showing its centrality to artists' attempts to intervene, through their activism and art making, in a profoundly turbulent moment: the Vietnam War era.
#x1C;I want to put the mystery back into the heart of garden design, where it needs to be. It#x19;s what lures you in through the gate, keeps you moving through the landscape, and fills you with excitement along the way. The sense of mystery is what turns a mere display of plants, paths, and ornaments into an adventure. #x1D; -James van Sweden Guided by world-renowned landscape architect James van Sweden and horticulture expert Tom Christopher, any gardener can learn the secrets of the gardener#x19;s art and absorb the essence of inspired garden design. In their gifted hands, creating your own perfect garden, with its own alluring mysteries, turns out to be not only easy but a delight. Whether it#x19;s a ten-foot-square city terrace or a ten-acre expanse, the same principles apply: the intelligent use of positive and negative space, of form and scale, of light and shadow, of rough and smooth textures. Do you want a garden you can immerse yourself in? A garden you can smell and listen to as well as observe? An exuberant garden or a contemplative garden? In this elegantly written and visually stunning book, van Sweden reveals the secrets of famous gardens around the world and encourages you to find inspiration in the arts-in painting (from America#x19;s classic regional artists to the abstract expressionists), music (from classical to jazz), sculpture, even dance. He introduces you to famous artists who share how their art has influenced the design of their own gardens, and teaches you to think not in terms of borders and beds or even paths and meadows but of a tapestry woven from sky, trees, rocks, vines, flowers, grasses, and space. Richly illustrated throughout with magnificent photographs,The Artful Gardenboth tells and shows, sharing with beginning and experienced gardeners a wealth of inspiration and practical help. #x1C;What#x19;s my message?#x1D; van Sweden asks in conclusion. The wise answer: #x1C;Don#x19;t squander the potential for surprise and wonder. #x1D;This beautiful book guarantees everyone who reads it a priceless store of gardening wisdom.
Arthur Erickson, Canada's pre-eminent philosopher architect, was renowned internationally for his innovative approach to landscape, his genius for spatial composition, and his epic vision of architecture for people. Among his most celebrated large-scale works are three that helped to define Vancouver's urban landscape: Simon Fraser University, on Burnaby Mountain; the Robson Square complex at the heart of the city; and the exquisite Museum of Anthropology at the University of British Columbia. Travel was key to Erickson's creative process; floating high above the clouds on extended airline flights, he made preliminary drawings on vellum with his fine-point black felt-tip pen, designing influential works not only for other parts of Canada-including Toronto's widely admired Roy Thomson Hall--but for sites in the U.S., Britain, and the Middle and Far East. Erickson worked chiefly in concrete, which he called "the marble of our times," and wherever they appear, his buildings move the spirit with their poetic freshness and their mission to inspire. But he was also a controversial figure, more than once attracting the ire of his fellow architects, and his professional achievements were tarnished by the excesses of a complicated personal life that resulted in a series of tawdry bankruptcies. In a fall from grace that recalls a Greek tragedy, Canada's great architect-a handsome, elegant man who lived like a millionaire and counted among his close friends Pierre Trudeau and Elizabeth Taylor-eventually became homeless and penniless.This first full biography of Erickson, who died in 2009 at the age of eighty-four, traces the architect's life from its modest origins to his emergence on the world stage. Author David Stouck, acclaimed for his earlier biographies of Ethel Wilson and Sinclair Ross, demonstrates here once again why his work has been praised as imaginative, incisive and compelling. Grounded in interviews with Erickson and his family, friends and clients, as well as the resources of extensive public archives, TITLE is both an intimate portrait of the man and a stirring account of how Erickson made his buildings work. Beautifully written and superbly researched, it is also a provocative look at the phenomenon of cultural heroes and the nature of what we call "genius."
Arthur goes with his class on a field trip to the museum, but takes a wrong turn when heading for the bathroom.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
The Artist as Producer reshapes our understanding of the fundamental contribution of the Russian avant-garde to the development of modernism. Focusing on the single most important hotbed of Constructivist activity in the early 1920s--the Institute of Artistic Culture (INKhUK) in Moscow--Maria Gough offers a powerful reinterpretation of the work of the first group of artists to call themselves Constructivists. Her lively narrative ranges from famous figures such as Aleksandr Rodchenko to others who are much less well known, such as Karl Ioganson, a key member of the state-funded INKhUK whose work paved the way for an eventual dematerialization of the integral art object. Through the mining of untapped archives and collections in Russia and Latvia and a close reading of key Constructivist works, Gough highlights fundamental differences among the Moscow group in their handling of the experimental new sculptural form--the spatial construction--and of their subsequent shift to industrial production. The Artist as Producer upends the standard view that the Moscow group's formalism and abstraction were incompatible with the sociopolitical imperatives of the new Communist state. It challenges the common equation of Constructivism with functionalism and utilitarianism by delineating a contrary tendency toward non-determinism and an alternate orientation to process rather than product. Finally, the book counters the popular perception that Constructivism failed in its ambition to enter production by presenting the first-ever case study of how a Constructivist could, and in fact did, operate within an industrial environment. The Artist as Producer offers provocative new perspectives on three critical issues--formalism, functionalism, and failure--that are of central importance to our understanding not only of the Soviet phenomenon but also of the European vanguards more generally.
Attorney Crawford and artist's information consultant Mellon present artists, art dealers, and gallery owners this accessible summary of the laws and standards governing art consignment in the US. The standard art consignment agreement is covered in detail, with coverage of such subtopics as: agency, warranty, duration of consignment, fiduciary responsibilities, pricing and terms of payment, and procedures for modification, among other components. The remainder of the text is devoted to state consignment acts and state art consignment laws, the latter summarized state-by-state. The appendix contains sample materials. Annotation ©2009 Book News, Inc. , Portland, OR (booknews. com)
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