Author: Kirk Varnedoe
Peking to Paris
Author: Luigi Barzini
Publisher: Demontreville Press
Brings to life the story of a fascinating woman--from the beauty that led to a career as a model as her extraordinary vision as a photographer and war correspondent
Voices In The Park
Author: Anthony Browne
Publisher: Random House
Four different voices tell their own versions of the same walk in the park. The radically different perspectives give a fascinating depth to this simple story which explores many of the author's key themes, such as alienation, friendship and the bizarre amid the mundane. Anthony Browne's world-renowned artwork is full of expressive gorillas, vibrant colours and numerous nods to Magritte and other artists, while being uniquely Browne's own style.
Arthur Efland puts current debate and concerns in a well-researched historical perspective. He examines the institutional settings of art education throughout Western history, the social forces that have shaped it, and the evolution and impact of alternate streams of influence on present practice.A History of Art Education is the first book to treat the visual arts in relation to developments in general education. Particular emphasis is placed on the 19th and 20th centuries and on the social context that has affected our concept of art today. This book will be useful as a main text in history of art education courses, as a supplemental text in courses in art education methods and history of education, and as a valuable resource for students, professors, and researchers. “The book should become a standard reference tool for art educators at all levels of the field.” —The Journal of Aesthetics and Art Criticism “Efland has filled a gap in historical research on art education and made an important contribution to scholarship in the field.” —Studies in Art Education
Metal Soaps in Art
Author: Francesca Casadio, Katrien Keune, Petria Noble, Annelies van Loon, Ella Hendriks, Silvia Centeno, Gillian Osmond
This go-to reference work surveys the current state of knowledge in the field of metal soap-related degradation phenomena in art works. It contains detailed descriptions and images of the different phenomena and addresses the practical aspects of soap formation, preventive conservation, and treatment. The occurrence of metal soaps is one of the defining issues in the conservation of painted surfaces, and one that presently leaves innumerable open questions. It is estimated that around 70% of paintings in museum collections are affected by some form of metal soap-related degradation. In recent years, significant advances have been made in the detection and characterization of these compounds through interdisciplinary approaches including conventional spectroscopy and microscopy as well as emerging synchrotron-based techniques. This book for the first time captures a panoramic overview of the state of knowledge of metal soaps related to both scientific analysis and implications for conservation and treatment. It also critically examines open questions. The book is accessible to audiences with varied backgrounds (e.g. conservators, students of conservation science) while simultaneously presenting the technical details indispensable for academics and researchers active in this field.
Josef Albers (1888-1976) was one of the great abstract artists of the twentieth century, as well as one of its most important teachers, influencing generations of artists with his color theories. Born in Germany and a leading figure at the Bauhaus, he settled permanently in the United States at the end of 1933. The processes and excitement of printmaking fulfilled many of Albers's loftiest dreams. He relished its implicit detachment: the way that the medium removed his hand at least one step from the end result. He appreciated the possibilities of texture available, from his playful use of wood grains, through the crisp straight lines afforded by zinc plate lithography, to the wet embossing he used in the 1950s. He also treasured the multitude of color choices available in ink---a range he often said was far greater than was possible with paints. Albers's career as a printmaker falls into three broad periods: First was the brief but productive period between 1915 and 1918 when he studied printmaking in Essen and created representational linoleum cuts and lithographs, including a series of self-portraits. The second period, 1933-1950, began with the closing of the Bauhaus in Berlin and continued through the artist's years at Black Mountain College. During this time Albers, now committed to abstraction, began working in woodcut, drypoint, and engraving. The third period, from 1958 until Albers's death in 1976, includes the numerous portfolios and suites in silkscreen, lithography, and inkless intaglio and embossing for which Albers is best known as a printmaker, including Homage to the Square, White Line Squares, Embossed Linear Constructions, and Mitered Squares. It culminates in the explosion of color, in daring and unexpected combinations and juxtapositions, of his final group of twelve prints, Never Before. This revised edition of The Prints of Josef Albers presents nine newly catalogued entries, an introductory essay rewritten to include new scholarship, and an up-to-date bibliography and exhibitions list. The publication coincides with celebration of the 90th anniversary of the Bauhaus and provides a comprehensive record of the entire graphic oeuvre of this "addictive maker of prints," some 350 editions in an extraordinarily diverse range of mediums and imagery, among them numerous posters. Also included are appendices that cover Albers's greeting cards from approximately 1915 to 1960; his very influential record album jackets (1959-61); and the 1972 portfolio Formulation: Articulation, which recapitulates the imagery of his mature career. With its comprehensive biographical essay, chronology, list of exhibitions, bibliography, and index, The Prints of Josef Albers reproduces and provides the essential information about all that the artist achieved in this vitally important aspect of his work.
Academies of Art
Author: Nikolaus Pevsner
Publisher: Cambridge University Press
Originally published in 1940, this book charts the origins and evolution of academies of art from the sixteenth century to the first half of the twentieth century. Pevsner expertly explains the political, religious and mercantile forces affecting the education of artists in various countries in Western Europe, and the growing 'academisation' of artistic training that he saw is his own day. This book will be of value to anyone with an interest in the various historical schools of art instruction and the history of art more generally.
Between the time of Durer and that of Delacroix, the place the artist worked transformed into what nineteenth-century writers would call the "studio." The transformation implied a new kind of exchange between the workplaces of the artisan and the intellectual: art itself began to provide a model for new kinds of reflection, and the imagined place of its making a setting for cognate meditative practices. Eventually the studio, as a subject of painting, would be one through which artists would make their most ambitious statements about the nature of their vocations.In Inventions of the Studio, six noted art historians follow this process over five centuries. The book looks at the Renaissance origins of the idea of the studio, at the possibilities that emerged for visualizing it in the late sixteenth and seventeenth centuries, and at its restaging among the Romantics, treating these not as isolated projects, but as part of a coherent tradition. Looking at the studio both as a concept and as an actual space, the book suggests that the studio, in its emergent form, is in many ways what defines the early modern artist.
Monet in the '90s
Author: Paul Hayes Tucker, Claude Monet
Publisher: Yale University Press
In this book the author provides a fresh context for these canvases. The author also proposes that Monet's series paintings were not only an artistic response to the beauties of nature but were also related to contemporary events in France and to Monet's determination to provide active leadership for his nation's artistic production.
Machines as Agency
Author: Christoph Lischka, Andrea Sick
Publisher: transcript Verlag
This book supports and deepens the existing interfaces between art, science, and technology - transgressing traditional principles and styles of research, and selectively overcoming the side-by-side coexistence in favour of an integrated »laboratory of the future«. Instead of relying on traditional dualisms like nature-culture, subject-object, as well as man and machine, heterogeneous networks with humans and non-humans (Latour) are opened in shared contexts of agency. New momentary propositions are developed, meeting the complexity of discovering, exploring, and inventing - things: things which do not exist just as given beings. The artists and theoreticians can pursue using the tools and techniques of science actively - not only to comment them but also to fathom their possibilities, and employ them in their artistic and scientific projects. Machines as Agency is an artistic perspective.