Women have been making art for centuries, yet their work has been seen as secondary or has gone unrecognized altogether. Women Making Art asks why this is so, and what it would take for us to realize the extent of women's extraordinary contribution to the arts. Marsha Meskimmon mobilizes contemporary feminist thinking to reconsider how and why women have made art. She examines work by a wide range of women artists from different cultures and historical periods, including Rebecca Horn, Rachel Whiteread, Shirin Neshat and Maya Lin, emphasizing the diversity of women's art and the importance of differences between women.
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Among the buildings on the National Mall in Washington, D.C., only the Pan American Union (PAU) houses an international organization. The first of many anticipated “peace palaces”constructed in the early twentieth century, the PAU began with a mission of cultural diplomacy, and after World War II its Visual Arts Section became a leader in the burgeoning hemispheric arts scene, proclaiming Latin America’s entrée into the international community as it forged connections between a growing base of middle-class art consumers on one hand and concepts of supranational citizenship and political and economic liberalism on the other. Making Art Panamerican situates the ambitious visual arts programs of the PAU within the broader context of hemispheric cultural relations during the cold war. Focusing on the institutional interactions among aesthetic movements, cultural policy, and viewing publics, Claire F. Fox contends that in the postwar years, the PAU Visual Arts Section emerged as a major transfer point of hemispheric American modernist movements and played an important role in the consolidation of Latin American art as a continental object of study. As it traces the careers of individual cultural policymakers and artists who intersected with the PAU in the two postwar decades—such as Concha Romero James, Charles Seeger, José Gómez Sicre, José Luis Cuevas, and Rafael Squirru—the book also charts the trajectories and displacements of sectors of the U.S. and Latin American intellectual left during a tumultuous interval that spans the Mexican Revolution, the Spanish Civil War, the New Deal, and the early cold war. Challenging the U.S. bias of conventional narratives about Panamericanism and the postwar shift in critical values from realism to abstraction, Making Art Panamerican illuminates the institutional dynamics that helped shape aesthetic movements in the critical decades following World War II.
Shows how to use discarded packaging, such as aluminum foil and cans, cardboard boxes, plastic bags, and bottles, to create toys, pots for plants, and decorative art.
Journey through the craft of Making Art with Maps. From origami to paper cutting and decoupage, love of paper crafting has soared, and with it the variety of paper types used by artists. Among these are maps - an apt choice for any crafter: they're easy to find, often free, meant to be folded, and their colorful surfaces add an allure of travel to every project. Making Art from Maps is equal parts inspiration and fun. Jill K. Berry, author of Map Art Lab returns, bringing her expertise in maps and her wide-ranging skills as an artist with her. With her cartographic connections, she takes you on a gallery tour, introducing you to the work of some of the most exciting artists creating with maps today. Designer interviews are accompanied by 25 accessible how-to projects of her own design that teach many of the techniques used by the gallery artists.
A biography of the artist Dumile Feni, describing his difficult childhood and struggle to survive as an artist, his many years in exile in England and the United States of America, his drawings and sculptures, and his early death.
This book explores key themes in the making of Renaissance painting, sculpture, architecture, and prints: the use of specific techniques and materials, theory and practice, change and continuity in artistic procedures, conventions and values. It also reconsiders the importance of mathematical perspective, the assimilation of the antique revival, and the illusion of life. Embracing the full significance of Renaissance art requires understanding how it was made. As manifestations of technical expertise and tradition as much as innovation, artworks of this period reveal highly complex creative processes--allowing us an inside view on the vexed issue of the notion of a renaissance.
Art charms are easy to create from nearly any material imaginable and fun to use in creative jewelry pieces. This book presents nine chapters organized by medium — including paper, found objects, polymer clay, plastic, wood, fiber, resin, metal, and glass — and gives directions to make three charms in each category. Step-by-step instruction and clear photography are helpful to beginners, while the innovative designs make a great refresher for more advanced crafters. Making Mixed Media Art Charms and Jewelry focuses on the technique and constructing the charms so that everyone can create their own personalized art charms.
A new collection of key texts from a leading critic of modern art The critic Michael Peppiatt has been described by Art Newspaper as “the best art writer of his generation.” For more than 50 years, he has written trenchant and lively dispatches from the center of the international art world. In this new volume of key works, Peppiatt gives his unique insight into the making, collection, display, and interpretation of modern art. Covering the whole spectrum of modern art—from pioneers such as Gustav Klimt and Chaim Soutine, to collectors and dealers who played a pivotal role in the modern art world, to artists such as Francis Bacon, Bill Jacklin, and Frank Auerbach, with whom he had close relationships—Peppiatt interweaves personal anecdote with critical judgment. Each text is accompanied by a new short introduction, written in Peppiatt’s signature vivid and jargon-free style, in which he contextualizes his writings and reflects on significant moments in a lifetime of artistic engagement. This volume will provide readers with an exhilarating tour of 20th-century art.
- Author : Michael Beinhorn
- Publisher : Hal Leonard Corporation
- Release Date : 2015-05-01
- Genre : Music
- Pages : 256
- ISBN : 9781495028946
(Music Pro Guide Books & DVDs). Here, record producer Beinhorn reveals how to deal with interpersonal issues record producers face when they work with artists one on one or in small groups. The situations and solutions are based upon the author's personal and professional experience working with a variety of different artists, such as Herbie Hancock, the Red Hot Chili Peppers, Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, and Mew. Beinhorn's unique methods and perspective, applied to record producing and music making in the studio, opens the door to successful collaborative efforts. The author shows you how to find what he calls your sensory connection to the creativity process, which ultimately helps you find the intent behind your creative choices. You can read dozens of articles and books that feature a hundred different people talking about what microphones they used when they recorded Record X or how they set their stereo buss compressor, but you will never find out what prompted them to make these choices. Beinhorn's focus on collaborative effort enables record producers and artists to find solutions while working as a creative team. This perspective is especially valuable as it is transdisciplinary and can be applied to many occupations and modes of creativity outside of record production.
Making Art History is a collection of essays by contemporary scholars on the practice and theory of art history as it responds to institutions as diverse as art galleries and museums, publishing houses and universities, school boards and professional organizations, political parties and multinational corporations. The text is split into four thematic sections, each of which begins with a short introduction from the editor, the sections include: Border Patrols, addresses the artistic canon and its relationship to the ongoing 'war on terror', globalization, and the rise of the Belgian nationalist party. The Subjects of Art History, questions whether 'art' and 'history' are really what the discipline seeks to understand. Instituting Art History, concerns art history and its relation to the university and raises questions about the mission, habits, ethics and limits of university today. Old Master, New Institutions, shows how art history and the museum respond to nationalism, corporate management models and the 'culture wars'.
Mystery of Making It Reveals the Secrets of Marketing Art How Artist Senkarik Sold the First Piece in 1980 and has Exceeded 7 Million in Sales
- Author : Jack White
- Publisher : Lulu Press, Inc
- Release Date : 2013-03-12
- Genre : Art
- Pages : 231
- ISBN : 9781257151936
Mystery of Making IT destroys all the myths learned in art school that have been passed down from generation to generation and will transform your career. Written for the seasoned pro as well as those just starting to market their art. Over a thousand artists have read this book and say it has dramatically changed their lives. Learn the secrets guarded by the professionals and find the path to your own success. Jack White has been a successful artist for over 40 years and freely shares his experience.
Rembrandt (1606-1669) is generally regarded as the finest painter of the Dutch "Golden Age." This new edition of Art in the Making: Rembrandt (published on the 400th anniversary of the artist's birth) reexamines 21 paintings firmly attributed to Rembrandt and 6 now assigned to followers. It reassesses his technique, materials, and working methods in the light of significant scholarly developments over the last 20 years, addressing problems of attribution that were hardly touched on in the original, groundbreaking edition of 1988. Introductory essays by distinguished conservation, curatorial, and scientific specialists cover the artist's studio and working methods, the training of painters in 17th-century Holland, and Rembrandt's materials and technique. The essays are followed by handsomely illustrated catalogue entries on 27 paintings. A comprehensive bibliography provides a rich source of information about the practice of oil painting, not only for Rembrandt but for 17th-century Dutch painting in general.
Many people turn to "The Arts" during periods of solitude, whether externally or internally imposed. They may have a deep-seated need, a passion, to make visual art statements. The letters are written to the reader/art-making companion to inspire the creation of their own artist's book in a blank journal. (The book itself becomes a companion to the reader.) Various art materials, media, and methods are written with accompanying art images to stimulate art-making with images and words. A greater understanding and appreciation of art, art composition, the handling of various art media, and methods of overcoming the "blank paper/page syndrome". Consider this artist's book of letters and images as a companion to come back to anytime with no time restraints. These letters become a guide to moments, hours, days, weekend retreats or solitude where one can be awarded with "alone time" to make art.
City-making is an art, not a formula. The skills required to re-enchant the city are far wider than the conventional ones like architecture, engineering and land-use planning. There is no simplistic, ten-point plan, but strong principles can help send good city-making on its way. The vision for 21st century cities must be to be the most imaginative cities for the world rather than in the world. This one change of word - from 'in' to 'for' - gives city-making an ethical foundation and value base. It helps cities become places of solidarity where the relations between the individual, the group, outsiders to the city and the planet are in better alignment. Following the widespread success of The Creative City, this new book, aided by international case studies, explains how to reassess urban potential so that cities can strengthen their identity and adapt to the changing global terms of trade and mass migration. It explores the deeper fault-lines, paradoxes and strategic dilemmas that make creating the 'good city' so difficult.
In How to Avoid Making Art, the bestselling author of The Artist's Way delivers a (tongue-in-cheek!) guide to doing anything and everything you possibly can to avoid making art. Anyone who is engaged in a creative pursuit will no doubt identify with these wonderful cartoons by award-winning artist Elizabeth Cameron of creative wannabes doing everything except actually getting down to work. "For most people creativity is a serious business," says Julia Cameron. "They forget the telling phrase 'the play of ideas' and think that they need to knuckle down and work more. Often, the reverse is true. They need to play." Ultimately, the characters in this book show us how we can turn our procrastination into play and our play into great work. With this delightful volume, Julia Cameron once again hits the nail on the head on the subject of creativity.
This 5-hour free course explored the power of images in contemporary art from the 1980s onwards and what the artists might have been trying to say.
Artists and critics regularly enlist theory in their creation and assessment of artworks, but few have scrutinized the art theories themselves. Making Theory/Constructing Art: On the Authority of the Avant-Garde is among the first philosophical texts to provide a close encounter with this theoretical tendency in twentieth-century art and aesthetics, exploring the norms, assumptions, historical conditions, and institutions that have framed the development and uses of theory in art. In a series of intricate readings of constructivism, Mondrian, and John Cage, Daniel Herwitz outlines the avant-garde's belief that theory can perfectly prefigure the avant-garde art object and invest it with utopian force. Through similarly insightful treatments of Arthur Danto, Andy Warhol, Jean-Francois Lyotard, Jean Baudrillard, and postmodern art and theory, Herwitz demonstrates how the contemporary art world is heir to the avant-garde's theoretical assumptions and practices. In fact, avant-garde art objects live as art only by partly resisting the master theories of their makers and interpreters. Skillfully resisting the lure of grand theory himself, Herwitz urges the art world to be more self-critical and self-reflective about its uses of theory. Making Theory/Constructing Art is as accessible and entertainingly written as it is philosophically incisive. Since the book is both a philosophical and a cultural encounter with theory in twentieth-century art, it will engage all those who have tried to grapple with the inscrutability of the theoretical art muse.
Read Jason Kersten's posts on the Penguin Blog. The true story of a brilliant counterfeiter who "made" millions, outwitted the Secret Service, and was finally undone when he went in search of the one thing his forged money couldn't buy him: family. Art Williams spent his boyhood in a comfortable middle-class existence in 1970s Chicago, but his idyll was shattered when, in short order, his father abandoned the family, his bipolar mother lost her wits, and Williams found himself living in one of Chicago's worst housing projects. He took to crime almost immediately, starting with petty theft before graduating to robbing drug dealers. Eventually a man nicknamed "DaVinci" taught him the centuries-old art of counterfeiting. After a stint in jail, Williams emerged to discover that the Treasury Department had issued the most secure hundred-dollar bill ever created: the 1996 New Note. Williams spent months trying to defeat various security features before arriving at a bill so perfect that even law enforcement had difficulty distinguishing it from the real thing. Williams went on to print millions in counterfeit bills, selling them to criminal organizations and using them to fund cross-country spending sprees. Still unsatisfied, he went off in search of his long-lost father, setting in motion a chain of betrayals that would be his undoing. In The Art of Making Money, journalist Jason Kersten details how Williams painstakingly defeated the anti-forging features of the New Note, how Williams and his partner-in-crime wife converted fake bills into legitimate tender at shopping malls all over America, and how they stayed one step ahead of the Secret Service until trusting the wrong person brought them all down. A compulsively readable story of how having it all is never enough, The Art of Making Money is a stirring portrait of the rise and inevitable fall of a modern-day criminal mastermind. Watch a Video
This large format, full-color, inspirational book, now in paperback, is about how artists use their collections to make artwork. The gallery-style format allows readers to see what artists collect, and the resulting spectacular artwork they make from it. The book features the collections and the artwork of forty major mixed-media artists. The artwork includes journals, assemblages, altered books, as well as jewelry pieces, and detailed descriptions of the materials and techniques used, plus tips and insights into using unusual materials and collections. Mixed-media artists are naturally collectors. They are fascinated by the stuff of life, and they are always looking for the right elements to add to their collages and journals. This book offers a juicy combination—sort of a walk through an artist-filled flea market, and a gallery of the pieces created using these collections with tips and insights on collecting and creating, and how they go hand in hand.
On its face, The Art of World-Making focuses on honouring the career of Nicholas Greenwood Onuf and his contributions to the study of international relations; of equal importance, however, while using Onuf’s work as their touchstone, the contributions to this volume range widely across IR theory, making important interventions in some of the most important topics in the field today. The volume considers the place of Constructivism and Republicanism in the field of international relations, and the contestation that accompanies the question of their place in the field, asking: • What explains the dominance of some forms of Constructivism and the relative lack of influence of other forms? • What can rule-oriented Constructivism, the focus here, provide our field that other forms of Constructivism have been unable to? • Into what new and productive directions can Constructivism be taken? • What are its gaps and what are the resources to remedy those gaps? • What can Republicanism tell us about ongoing issues in international law, global governance, liberalism, and crisis? Drawing together essays from some of the leading scholars in the field, space is given after each chapter for a detailed and highly personal response piece to each contribution, written by Onuf. This unique volume will be essential reading for students and scholars of international relations.