The Sketchbook of Loish offers readers a unique look into Loish's creative processes and idea generation, providing an insight into the role her sketches play in her extremely popular work. Peek inside Loish's sketchbook and discover how she explores gesture, stylization, and sketching for animation. Learn the different techniques she uses when sketching with traditional and digital tools, and follow the book's two detailed tutorials on character construction and sketching digitally to improve your own processes. The book also features handy quick tips for capturing movement, using different line weights, shading, and using textured brushes. Including an insight into Loish's character sketching, development sketches, landscape, and reference studies this book will show you how Loish captures the spirit of her finished artworks in her exquisite preliminary work. In addition to showcasing a comprehensive collection of Loish's sketches, this book features exclusive artwork, and a special chapter exploring Loish's personal concepts to give an in-depth look at how her initial ideas evolve through sketches to culminate in her accomplished concept designs. A truly inspiring and informative book with a high-quality finish and slipcase, The Sketchbook of Loish will have you itching to get sketching!

This book traces the history of engagements between dance and the visual arts in the mid-twentieth century and provides a backdrop for the emerging field of contemporary, intermedial art practice. Exploring the disciplinary identity of dance in dialogue with the visual arts, this book unpacks how compositional methods that were dance-based informed visual art contexts. The book provokes fresh consideration of the entangled relationship between, and historiographic significance of, visual arts and dance by exploring movements in history that dance has been traditionally mapped to (Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and Performance Art) and the specific practices and innovations from key people in the field (like John Cage, Anna Halprin, and Robert Rauschenberg). This book also employs a series of historical and critical case studies which show how compositional approaches from dance-breath, weight, tone, energy-informed the emergence of the intermedial. Ultimately this book shows how dance and choreography have played an important role in shaping visual arts culture and enables the re-imagination of current art practices through the use of choreographic tools. This unique and timely offering is important reading for those studying and researching in visual and fine arts, performance history and theory, dance practice and dance studies, as well as those working within the fields of dance and visual art. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

La Pocha Nostra: A Handbook for the Rebel Artist in a Post-Democratic Society marks a transformation from its sister book, Exercises for Rebel Artists, into a pedagogical matrix suited for use as a performance handbook and conceptual tool for artists, activists, theorists, pedagogues, and trans-disciplinary border crossers of all stripes. Featuring a newly reworked outline of La Pocha Nostra's overall pedagogy, and how it has evolved in the time of Trump, cartel violence, and the politics of social media, this new handbook presents deeper explanations of the interdisciplinary pedagogical practices developed by the group that has been labeled "the most influential Latino/a performance troupe of the past ten years." Co-written by Guillermo Gomez-Pena in collaboration with La Pocha Nostra's artistic co-director Saul Garcia-Lopez and edited by Paloma Martinez-Cruz, this highly anticipated follow-up volume raises crucial questions in the new neo-nationalist era. Drawing on field experience from ten years of touring, the authors blend original methods with updated and revised exercises, providing new material for teachers, universities, radical artists, curators, producers, and students. This book features: Introductions by the authors and editor to Pocha Nostra practice in a post-democratic society. Theoretical, historical, poetic, and pedagogical contexts for the methodology. Suggestions for how to use the book in the classroom and many other scenarios. Detailed, hands-on exercises for using Pocha Nostra-inspired methods in workshops. A step-by-step guide to creating large-scale group performances. New, unpublished photos of the Pocha Nostra methods in practice. Additional texts by Reverend Billy and Savitri D., Dragonfly, Francesca Carol Rolla, VestAndPage, Micha Espinosa, Zulfikar Ali Bhutto, Praba Pilar, L. M. Bogad, Anuradha Vikram, and Annie Sprinkle and Beth Stephens, among many others. The book is complemented by the new book Gomez-Pena Unplugged: Texts on Live Art, Social Practice and Imaginary Activism (2008-2019).

An urban history of modern Britain, and how the built environment shaped the nation's politics Foundations is a history of twentieth-century Britain told through the rise, fall, and reinvention of six different types of urban space: the industrial estate, shopping precinct, council estate, private flats, shopping mall, and suburban office park. Sam Wetherell shows how these spaces transformed Britain's politics, economy, and society, helping forge a midcentury developmental state and shaping the rise of neoliberalism after 1980. From the mid-twentieth century, spectacular new types of urban space were created in order to help remake Britain's economy and society. Government-financed industrial estates laid down infrastructure to entice footloose capitalists to move to depressed regions of the country. Shopping precincts allowed politicians to plan precisely for postwar consumer demand. Public housing modernized domestic life and attempted to create new communities out of erstwhile strangers. In the latter part of the twentieth century many of these spaces were privatized and reimagined as their developmental aims were abandoned. Industrial estates became suburban business parks. State-owned shopping precincts became private shopping malls. The council estate was securitized and enclosed. New types of urban space were imported from American suburbia, and planners and politicians became increasingly skeptical that the built environment could remake society. With the midcentury built environment becoming obsolete, British neoliberalism emerged in tense negotiation with the awkward remains of built spaces that had to be navigated and remade. Taking readers to almost every major British city as well as to places in the United States and Britain's empire, Foundations highlights how some of the major transformations of twentieth-century British history were forged in the everyday spaces where people lived, worked, and shopped.

What is computer art? Do the concepts we usually employ to talk about art, such as 'meaning', 'form' or 'expression' apply to computer art?

A Philosophy of Computer Art is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as 'interactivity' and 'user'.

Drawing on a wealth of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium.

When law student Atey Ghailan realized that he was doing more sketching than note-taking in class, he decided to pursue a career in art. Atey has written a book that showcases his best and most fascinating work, with details from behind the scenes of his experiences in the art industry so far. Atey's artistic journey, from doodling in class to Senior Illustrator at Riot Games, California is central to the book. In addition, he wants readers to consider their own exciting journey, whether they have still to set off, or are on the road already. Readers will discover insight to his creative workflow alongside practical tips and techniques that can be applied to their own practice. The book shares how the artist defeats the dreaded art block, using a visual library packed with ideas and inspiration, and Atey will be debuting a new and very personal project, unveiling completely new and extremely exciting art.

Dance Appreciation is an exciting exploration of how to understand and think about dance in all of its various contexts. This book unfolds a brief history of dance with engaging insight into the social, cultural, aesthetic, and kinetic aspects of various forms of dance. Dedicated chapters cover ballet, modern, tap, jazz, and hip-hop dance, complete with summaries, charts, timelines, discussion questions, movement prompts, and an online companion website all designed to foster awareness of and appreciation for dance in a variety of contexts. This wealth of resources helps to uncover the fascinating history that makes this art form so diverse and entertaining, and to answer the questions of why we dance and how we dance. Written for the novice dancer as well as the more experienced dance student, Dance Appreciation enables readers to learn and think critically about dance as a form of entertainment and art.

Dance Appreciation is an exciting exploration of how to understand and think about dance in all of its various contexts. This book unfolds a brief history of dance with engaging insight into the social, cultural, aesthetic, and kinetic aspects of various forms of dance. Dedicated chapters cover ballet, modern, tap, jazz, and hip-hop dance, complete with summaries, charts, timelines, discussion questions, movement prompts, and an online companion website all designed to foster awareness of and appreciation for dance in a variety of contexts. This wealth of resources helps to uncover the fascinating history that makes this art form so diverse and entertaining, and to answer the questions of why we dance and how we dance. Written for the novice dancer as well as the more experienced dance student, Dance Appreciation enables readers to learn and think critically about dance as a form of entertainment and art.

A member of the art history generation from the golden age of the 1920s and 1930s, Millard Meiss (1904-1975) developed a new and multi-faceted methodological approach. This book lays the foundation for a reassessment of this key figure in post-war American and international art history. The book analyses his work alongside that of contemporary art historians, considering both those who influenced him and those who were receptive to his research. Jennifer Cooke uses extensive archival material to give Meiss the critical consideration that his extensive and important art historical, restoration and conservation work deserves. This book will be of interest to scholars in art history, historiography and heritage management and conservation.

Hilton Kramer, well known as perhaps the most perceptive, courageous, and influential art critic in America, is also the founder and co-editor (with Roger Kimball) of "The New Criterion." This comprehensive book collects a sizable selection of his early essays and reviews published in "Artforum," "Commentary," "Arts Magazine," "The New York Review of Books," and "The Times," and thus constituted his first complete statement about art and the art world.

The principal focus is on the artists and movements of the last hundred years: the Age of the Avant-Garde that begins in the nineteenth century with Realism and Impressionism. Most of the major artists of this rich period, from Monet and Degas to Jackson Pollock and Claes Oldenburg, are discussed and often drastically revaluated. A brilliant introductory essay traces the rise and fall of the avant-garde as a historical phenomenon, and examines some of the cultural problems which the collapse of the avant-garde poses for the future of art. In addition, there are chapters on art critics, museums, the relation of avant-garde art to radical politics, and on the growth of photography as a fine art.

This collection is not intended to be the last word on one of the greatest as well as one of the most complex periods in the history of the artistic imagination. The essays and reviews gathered here were written in response to particular occasions and for specific deadlines--in the conviction that a start in the arduous task of critical revaluation needed to be made, not because a critical theory prescribed it but because our experience compelled it

The latest addition to the 'Lives of the Artists' series: highly readable short biographies of the world's greatest artists David Hockney is the most famous living British artist. And he is arguably one of the more famous American artists as well. Emerging from the north of England in the 1960s, he made quite a splash in Swinging London as a portaitist, and went on to make a even bigger splash in Los Angeles when he moved there in the 1970s. His figurative paintings of the 1970s and 1980s captured the zeitgeist of West Coast living, while he also explored new avenues by constructing mosaics out of polaroids. By the beginning of the millennium, he returned to his Yorkshire roots, embarking on a new period of painting. This came to an end with the death by misadventure in his home of a young studio assistant in 2013. He went 'home' to LA and has in the intervening years begun a new period of contemplative portraiture.

- Includes a number of interviews with diverse practitioners, offering extensive case studies - Supplemented by a website to be hosted and developed by the author, including videos, practice files and additional interviews - Acts as a supplementary text to the bestselling 'Dance Music Manual', which does not include a section on performance/performance tech

The Chinese artist Liu Ye's meticulous, colorful canvases convey his love of literature in the first publication dedicated to his paintings of books. The Beijing-based artist Liu Ye is known for his precise, deftly rendered representational paintings. Drawn equally from contemporary culture and old master painting, Liu's wide-ranging visual touchstones include Piet Mondrian, Miffy the Bunny, and Prada advertisements. In this new publication devoted to his book paintings, the artist examines the book as both a physical object and cultural totem. Playing with geometry and perspective, Liu creates extraordinary and disorienting portraits of this most familiar subject. Liu's Book Painting series, begun in 2013, depicts close-up views of books that are turned open to reveal empty pages, an approach that emphasizes the object's form over its content. Rendering books' material structure-endpapers, binding, spine-in sensual detail, these paintings indicate an obsession with the book as an object and a lifelong love of literature. Liu's father was a children's book author who introduced him to Western writers at a young age, fueling his curiosity and imagination. Many of the books in Liu's father's collection were banned in Cultural Revolution-era China and the artist read them secretly throughout his childhood. This formative experience figures in his popular Banned Books series and in his book paintings in general. Published on the occasion of a solo exhibition presented at David Zwirner, New York, in 2020, this catalogue includes new writing by the acclaimed poet Zhu Zhu, who traces the evolution of the book form in Liu's work, as well as an interview with the artist by Hans Ulrich Obrist.

This book focuses on the life and artistic activities of Emilio Sanchez (1921-1999) in New York, and Latin America in the 1940s and 1950s. More specifically, the book will consider Sanchez in the wider context of mid-century Cuban artists, and cross-cultural exchange between New York, Cuba, and the Caribbean. The book reflects on why Sanchez chose to be a mobile observer of the American and Caribbean vernacular at a time when such an approach seemed at odds with the mainstream avant-garde. The book includes a foreword by Dr. Ann Koll, former Executive Director/Curator of the Emilio Sanchez Foundation, and an introduction by Dr. Nathan J. Timpano, University of Miami Department of Art and Art History. This book will be of interest to scholars in modern art, Caribbean studies, architectural history, and Latin American and Hispanic studies.

The experiences of a diverse range of progressive theater and performance makers in their own words. Curated stories from over 75 interviews and informal exchanges offer insight into the field and point out limitations due to discrimination and unequal opportunity for performance artists in the United States over the past 55 years. In this work, performers, often unknown beyond their immediate audience, articulate diverse influences. They also reflect on how artists are educated and supported, what content is deemed valuable and how it is brought to bear, as well as which audiences are welcome and whether cross-community exchange is encouraged. The book's voices bring the reader from 1965 through the first wave of the covid-19 pandemic in 2020. They point to more diverse and inclusive practices and give hope for the future of the art.

Initially, they were the waste product of wooden bowls turned in an ancient technique by Robin Wood of the United Kingdom, an expert pole-lathe turner and author. Known for his historical and functional objects made on a foot-powered lathe, Wood keeps the tradition of pole turning alive. The leg-powered process Wood uses results in thousands of solid, round chunks - Cores - that get broken out of the center of the bowl at the last moment. Wood donated 100 Cores, which ranged in size from 2 x 2 to 3 x 4 to The Center for Art in Wood in Philadelphia. The Center sent Cores to two-score artists who agreed to the challenge of reworking them into new pieces of art. These works, shown here in more than 240 color photos, formed the exhibition - Robin Wood's CORES Recycled - by The Center for Art in Wood.

This collection begins with two premises: that our understanding of the nature and forms of creativity in later life remains limited and that dialogue between specialists in gerontology, the arts and humanities can produce the crucial new insights that are so obviously needed. Representing the outcome of ongoing dialogue across the disciplinary divide, the contributions of this volume reflect anew on what we share and how we differ; creating new narratives so as to build an understanding of late-life creativity that goes far beyond the narrow confines of the pervasively received idea of 'late style'. Creativity in Later Life encompasses a range of personal reflections and discussions of the boundaries of creativity, including: Canonical artistic achievements to community art projects Narratives of carers for those living with dementia Analyses of creative theory Through these insightful chapters, the authors consequently offer an understanding of creativity in later life as varied, socialised and - above all - located in the cultural and economic circumstances of the here and now. This title will appeal to academics, practitioners and students in the various gerontological, arts and humanities fields; and to anyone with an interest in the nature of creativity in later life and the forms it takes.

Character Design Quarterly (CDQ) is a lively, creative magazine bringing inspiration, expert insights, and leading techniques from professional illustrators, artists, and character art enthusiasts worldwide. Each issue provides detailed tutorials on creating diverse characters, enabling you to explore the processes and decision making that go into creating amazing characters. Learn new ways to develop your own ideas, and discover from the artists what it is like to work for prolific animation studios such as Disney, Warner Bros., and DreamWorks. The cover of issue 18 comes from animation character designer and art director Max Ulichney, who creates fun, production-worthy characters, and scenes with bold cinematography at the forefront. Also in this awesome issue, we speak to the directors of Panimation Studio and learn how to redesign classic characters with hugely popular artist Marta Garci a Navarro.

Step into the world of Cacaform Birds - a world that exists a half-pace to one side of our own, at the confluence of imagination, art and reality. Within these pages we meet the 'Glowerspite' (often dozes in a supine position; converts its tail to a head when startled) and the 'Mare-away' (who carries a small black troll on its back and rouses dreamers from night terrors), along with many more: a fantastical aviary brought to life by Zhu Yingchun's art. The book contains three parts, the first containing doctored photographs that show these birds interacting with sepia cityscapes, alternately goggled at and overlooked by the passers-by. The second introduces us to each individual species through poetic verse, while the third section must be carefully unsealed by the reader in order to reveal how the Cacaform Birds came into being. A blend of bestiary, spotter's guide and poetic anthology, this book demonstrates that art and amusement can be found everywhere, if you only care to look.

This cross-disciplinary book, situated on the periphery of culture, employs humour to better comprehend the arts, the outsider and exclusion, illuminating the ever-changing social landscape, the vagaries of taste and limits of political correctness. Each chapter deals with specific themes and approaches - from the construct of outsider and complexity of humour, to Outsider Art and spaces - using various theoretical and analytical methods. Paul Clements draws on humour, especially from visual arts and culture (and to a lesser extent literature, film, music and performance), as a tool of ridicule, amongst other discourses, employed by the powerful but also as a weapon to satirize them. These ambiguous representations vary depending on context, often assimilated then reinterpreted in a game of authenticity that is poignant in a world of facsimile and 'fake news'. The humour styles of a range of artists are highlighted to reveal the fluidity and diversity of meaning which challenges expectations and at its best offers resistance and, crucially, a voice for the marginal. This book will be of particular interest to scholars in art history, cultural studies, fine art, humour studies and visual culture.

Performance Studies: The Basics offers an overview of the multiple, often overlapping definitions of performance, from performance art, performance as everyday life, and rituals, to the performative dimensions of identity, such as gender, race and sexuality. This book defines the interdisciplinary field of performance studies as it has evolved over the past four decades at the intersection of academic scholarship and artistic and activist practices. It discusses performance as an important means of communicating and of understanding the world, highlighting its intersections with critical theory and arguing for the importance of performance in the study of human behaviour and social practices. Complete with a helpful glossary and bibliography, as well as suggestions for further reading, this book is an ideal starting point for those studying performance studies as well as for general readers with an interest in the subject.