Children's reactions to art can be incredibly insightful and few artists attract a young audience as much as Keith Haring, who used thick black lines, bright colors, and striking symbols to create paintings that are as open to interpretation as they are joyful and fun. This engaging book records children's reactions to Haring's most imaginative drawings, and the results are as unpredictable and profound as the work itself. Along the way, the book encourages its readers to let their own imaginations run wild. By exploring Haring's life, technique, and creativity, the book will inspire readers of all ages to express themselves, whether through art, poetry, or simply saying what is on their minds.

A lively meditation on the nature of art by one of America's most celebrated art critics What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato's definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol's famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production.

This pack contains 200 high-quality large (6.75 inch) origami sheets printed with traditional Floating World prints. These vibrant origami papers were developed to enhance the creative work of origami artists and paper crafters. This paper pack contains 12 prints, and all of the papers have coordinating colors on the reverse side to provide aesthetically pleasing combinations in origami models that show both the front and back. "Floating World" refers to Japan's traditional Geisha districts and the art and literary worlds associated with them. This origami paper pack includes: 200 sheets of high-quality origami paper 12 unique designs Saturated colors Double-sided color 6.75 x 6.75 inch (17 cm) squares Step-by-step instructions for 6 easy-to-fold origami projects

"An enchanting history of Japanese geometry--of a time and place where 'geometers did not cede place to poets.' This intersection of science and culture, of the mathematical, the artistic, and the spiritual, is packed, like circles within circles, with rewarding Aha! epiphanies that drive a mathematician's curiosity."--Siobhan Roberts, author of "King of Infinite Space"

"Teachers will welcome this remarkable collection of mathematical problems, history, and art, which will enrich their curriculum and promote both logical thinking and critical evaluation. It is especially important that we maintain an interest in geometry, which needs, and for once gets, more than its share."--Richard Guy, coauthor of "The Book of Numbers"

"This remarkable book provides a novel insight into the Japanese mathematics of the past few hundred years. It is fascinating to see the difference in mathematical style from that which we are used to in the Western world, but the book also elegantly illustrates the cross-cultural Platonic nature and profound beauty of mathematics itself."--Roger Penrose, author of "The Road to Reality"

"A significant contribution to the history of mathematics. The wealth of mathematical problems--from the very simple to quite complex ones--will keep the interested reader busy for years. And the beautiful illustrations make this book a work of art as much as of science. Destined to become a classic!"--Eli Maor, author of "The Pythagorean Theorem: A 4,000-Year History"

"A pleasure to read. "Sacred Mathematics" brings to light the unique style and character of geometry in the traditional Japanese sources--in particular the "sangaku" problems. These problems range from trivialto utterly devilish. I found myself captivated by them, and regularly astounded by the ingenuity and sophistication of many of the traditional solutions."--Glen Van Brummelen, coeditor of "Mathematics and the Historian's Craft"

Meili Yang addresses long-standing questions related to the motivation and inducement of blue-and-white porcelain creation in Mongol-Yuan China, the process of establishing its relationship with Ming society, and its development in Japan as the country stabilized politically and culturally in early Edo. Discussion focuses on the advantageous environment encompassing the Chinese ceramic industry, and the role played by culture, politics and the society at large that brought about the creation of this novel porcelain. Of particular scholarly interest is the native Han attitude toward this Mongol-linked porcelain with its shiny cobalt-blue decoration. From prevailing indifference during late Yuan to valuing it as imperial ware during early Ming, a period of vigorous Sinicization in late Ming popularized the blue-and-white porcelain industrys thriving development. Ming society attitudes toward this porcelain was an intriguing process, and takes in transformations in religious belief and ritual, as well as art appreciation. Following the early Edo period, Japanese potters surpassed Chinese fine porcelain and competed in overseas markets, particularly in Europe. Behind the commercial competition, the contemporary upsurge of nationalism was arguably the most crucial dynamic. The European market became the arena of Chinese and Japanese fine porcelain advances during 17th and 18th centuries. Simultaneously, several European factories were inspired to practice fine porcelain technology; German Meissen was one of the earliest successes. A prime hitherto unanswered question is how Chinese Jingdezhen blue-and-white porcelain and Japanese Kakiemon ware influenced Meissen fine porcelain development. The blue-and-white porcelains value and significance needs to be judged not just on commercial factors, but in the broader perspective of ceramic research and development in terms of technique, and the study and training of ceramic potters.

This study of modern Japan engages the fields of art history, literature, and cultural studies, seeking to understand how the "beautiful woman" (bijin) emerged as a symbol of Japanese culture during the Meiji period (1868-1912). With origins in the formative period of modern Japanese art and aesthetics, the figure of the bijin appeared across a broad range of visual and textual media: photographs, illustrations, prints, and literary works, as well as fictional, critical, and journalistic writing. It eventually constituted a genre of painting called bijinga (paintings of beauties). Aesthetic Life examines the contributions of writers, artists, scholars, critics, journalists, and politicians to the discussion of the bijin and to the production of a national discourse on standards of Japanese beauty and art. As Japan worked to establish its place in the world, it actively presented itself as an artistic nation based on these ideals of feminine beauty. The book explores this exemplary figure for modern Japanese aesthetics and analyzes how the deceptively ordinary image of the beautiful Japanese woman-an iconic image that persists to this day-was cultivated as a "national treasure," synonymous with Japanese culture.

The Barnes Foundation's historic Pueblo and Navajo collections are explored alongside works by contemporary Native American artists This richly illustrated book makes the Barnes Foundation's exceptional collection of Native American art from the Southwest available to the public for the first time. Collector and educator Albert C. Barnes traveled to the U.S. Southwest in 1930 and 1931 and, deeply impressed by the generative art practices he saw there, formed a collection of Pueblo and Navajo pottery, textiles, and jewelry. Water, Wind, Breath illuminates the materials, forms, and designs of the objects as they relate to Pueblo and Navajo histories and ideas. The book blends postcolonial and Indigenous perspectives, introducing readers to living artistic traditions filled with purpose, intention, and a deeply embedded spirituality that connects places, practices, and Native identities. Works by contemporary Native American artists are juxtaposed with historic pieces, illuminating the connections between heritage traditions and modern practices. Distributed for the Barnes Foundation Exhibition Schedule: The Barnes Foundation, Philadelphia (February 20-May 15, 2022)

In What Does It Mean to Be Post-Soviet? Madina Tlostanova traces how contemporary post-Soviet art mediates this human condition. Observing how the concept of the happy future—which was at the core of the project of Soviet modernity—has lapsed from the post-Soviet imagination, Tlostanova shows how the possible way out of such a sense of futurelessness lies in the engagement with activist art. She interviews artists, art collectives, and writers such as Estonian artist Liina Siib, Uzbek artist Vyacheslav Akhunov, and Azerbaijani writer Afanassy Mamedov who frame the post-Soviet condition through the experience and expression of community, space, temporality, gender, and negotiating the demands of the state and the market. In foregrounding the unfolding aesthesis and activism in the post-Soviet space, Tlostanova emphasizes the important role that decolonial art plays in providing the foundation upon which to build new modes of thought and a decolonial future.

Praise for the companion title "Encyclopedia of Native Tribes of North America" by Michael Johnson:
""This substantial reference remains one of the most elaborately illustrated books on Native Americans now in print. . . . Highly recommended for North American historical and ethnographical collections.""
-- Library Journal

"Arts and Crafts of the Native American Tribes" is an authoritative illustrated reference that has been carefully created to be a companion to "Encyclopedia of Native Tribes of North America," not a competitive title. It examines in detail how Native American culture evolved and considers the regional similarities and differences of the arts and crafts created by tribes across the continent. Contemporary and modern photographs, fine line illustrations and step-by-step reconstructions (including a Plains Indian warrior dress with headdress, war bonnet, shirt and leggings) show the techniques of manufacture and display the skill and artistry of the crafters.

The book opens with concise coverage of the main cultural areas of North America and a survey of styles by region and over time. A major section on the living structures -- huts, tipis, igloos, etc. -- is followed by an analysis of individual crafts. These include: Baskets -- plaiting, twining, coiling Bone, antler and horn -- implements, tools, pins, fishhooks Decorative arts -- beadwork, porcupine quillwork Featherwork -- bonnets and headdresses Metalwork -- copper, silver, iron, gold Pottery Shellwork Skinwork -- rawhide, leather, furs Stonework -- arrowheads, pipes, art Textiles -- spinning, weaving Woodwork -- totems, figures, masks, utensils, working with bark.

"Arts and Crafts of the Native American Tribes" is destined to be a primary reference used by ethnographers, historians and collectors for years to come. It is essential for any library serving academic patrons.

Bringing to light little-known artistic traditions, the latest volume of Ars Judaica focuses on the local and temporal contexts of objects and their images and explores collective and personal memories and identities in art. Rivka Ben-Sasson examines modes of symbolic perception of nature prevalent in religious thought and art by analysing images of the lulav and etrog. Iwona Brzewska and Waldemar Deluga discuss the significance of Hebrew script in paintings and prints of the fifteenth to seventeenth centuries originating from the borderland between the Catholic and Christian Orthodox domains of eastern Europe. Michelle Klein studies the typological development of the havdalah candle-holder, based on an analysis of 170 examples. Matthew Baigell suggests that American Jewish artists are characterized by concern for the betterment of humankind; his sources include Jewish postcards, photographs, and caricatures as well as the work of contemporary American Jewish artists. Astrid Schmetterling discusses how Else Lasker-Schuler's Orientalism offered a serious aesthetic-political challenge to both German and Jewish society. Mor Presiado argues that the contemporary use of sewing and embroidery by contemporary Jewish women artists to depict women's experience of the Holocaust initiates a new, feminist response to the Holocaust. The Special Item in this volume, an article by Shalom Sabar on the earliest illustrated Esther Scroll by Shalom Italia, is an illuminating insight into early modern Jewish art in the making. Also included are exhibition and book reviews. Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica, Department of Jewish Art, Bar-Ilan University, Ramat-Gan 52900, Telephone 03 5318413; Fax 036359241; Email [email protected]

Spanning seven centuries, this selection of fifty iconic paintings offers readers a crash course in art history while presenting gorgeous color reproductions that are a pleasure to contemplate. Starting with Giotto's Arena Chapel frescoes and continuing through Botticelli's The Birth of Venus, da Vinci's Mona Lisa, Vermeer's Girl with a Pearl Earring, as well as works by Monet, van Gogh, Cassatt, Cezanne, Dali, Kahlo, Hopper, Pollock, Rothko, and O'Keeffe, nearly every important painter is represented in this book. It features works that may be familiar to the eye, but whose histories are even more fascinating. Readers will learn about the painters who created them, the reasons for their importance and the places the paintings can be found. As entertaining as it is informative, this beautiful book is the perfect introduction to great paintings that have stood the test of time.

Inseparable from its communities, Northwest Coast art functions aesthetically and performatively beyond the scope of non-Indigenous scholarship, from demonstrating kinship connections to manifesting spiritual power. Contributors to this volume foreground Indigenous understandings in recognition of this rich context and its historical erasure within the discipline of art history. By centering voices that uphold Indigenous priorities, integrating the expertise of Indigenous knowledge holders about their artistic heritage, and questioning current institutional practices, these new essays "unsettle" Northwest Coast art studies. Key themes include discussions of cultural heritage protections and Native sovereignty; re-centering women and their critical role in transmitting cultural knowledge; reflecting on decolonization work in museums; and examining how artworks function as living documents. The volume exemplifies respectful and relational engagement with Indigenous art and advocates for more accountable scholarship and practices.

In 1954, eager buyers lined up three abreast for over half a block to get into the Canadian Handicrafts Guild in Montreal where, once inside, they wrestled and argued to purchase stone sculptures carved by Inuit artists. In a short span, interest in Inuit carving became a worldwide phenomenon and a major source of income for the Inuit. Their sculptures, tapestries and prints later became the unofficial national art of Canada, gracing homes, corporate offices, postage stamps and international art showcases. This is the story of how Inuit art came to be regarded as some of the best Indigenous art of the twentieth century. James Houston, an artist as well as a brilliant raconteur and lecturer, was unquestionably instrumental in its development. His enthralling Arctic stories were a gift to journalists, but his inconsistencies became a major hurdle for historians. This book portrays the unusual alliance between James Houston and early Inuit art enthusiasts, the Canadian Handicrafts Guild and the Canadian Department of Northern Affairs. Through painstaking research, it presents their adventures, management, concerns and successes.

Completing the two-volume set, Souls Grown Deep, Vol. 2 takes the visual and historical presentation of the first volume to a richer level, offering an even broader array of artistic styles and media.

Published in 2000, the first volume explored the diverse historical roots of the genre and introduced artists whose work recalled the South of the pre-civil rights era. This sequel brings the movement into the present, delving into the work of the current generation of artists who are creating a complex form of art that blurs the boundaries between folk and contemporary art.

Hiroshige (1797-1858), Japanese painter and printmaker, is known especially for his landscape prints. The last great figure of the popular ukiyo-e school of printmaking, he transmuted everyday landscapes into intimate, lyrical scenes. With Hokusai, Hiroshige dominated the popular art of Japan in the first half of the nineteenth century. He captured, in a poetic, gentle way that all could understand, the ordinary person's experience of the Japanese landscape, as well as the varied moods of memorable places at different times. His total output was immense, some 5400 prints in all. Ukiyo-e publishing was not a cultural institution subsidized by public funds, but rather a commercial business. During his lifetime, Hiroshige was well known and commercially successful. But the Japanese society did not take too much notice of him. His real reputation started with his discovery in Europe. This beautiful book, published on the occasion of a major exhibition in Rome, examines various aspects of Hiroshige's oeuvre and reproduces in color some two hundred of his prints. The comprehensive text examines his life and achievement as well as his masterwork, and explains the particular qualities that make Hiroshige such an essential artist.

An accessible, beautifully designed introduction to Celtic art, written by the world expert, this book offers a carefully chosen sequence of 250 masterpieces ranging from the fifth century BC to the eighth century AD. The great variety and full range of Celtic artistic production is represented - from stone sculptures, terracotta vases and iron swords to amber necklaces, golden torques, bronze fibulas and illuminated manuscripts. Specially commissioned photography and lavish reproductions celebrate and reinforce the delicacy and beauty of Celtic art. This volume spans the entire Celtic world - from Ireland to France, Italy to Hungary, the Czech Republic to Germany and Austria. The result is an authoritative survey of this magnificent period of artistic culture, as well as a rich visual sourcebook for students, arts and crafts lovers.

A free open access ebook is available upon publication. Learn more at www.luminosoa.org. From fashion sketches of smartly dressed Shanghai dandies in the 1920s, to multipanel drawings of refugee urbanites during the war against Japan, to panoramic pictures of anti-American propaganda rallies in the early 1950s, the polymorphic cartoon-style art known as manhua helped define China's modern experience. Manhua Modernity offers a richly illustrated, deeply contextualized analysis of these illustrations across the lively pages of popular pictorial magazines that entertained, informed, and mobilized a nation through a half century of political and cultural transformation. In this compelling media history, John Crespi argues that manhua must be understood in the context of the pictorial magazines that hosted them, and in turn these magazines must be seen as important mediators of the modern urban experience. Even as times changed-from interwar-era consumerism to war-time mobilization to Mao-style propaganda-the art form adapted to stay on the cutting edge of both politics and style.

'Art is not a luxury. Art is a basic social need to which everyone has a right'. This extraordinary collection of 100 artists' manifestos from across the globe over the last 100 years brings together activists, post-colonialists, surrealists, socialists, nihilists and a host of other voices. From the Negritude movement in Africa and Martinique to Brazil's Mud/Meat Sewer Manifesto, from Iraqi modernism to Australia's Cyberfeminist Manifesto, they are by turns personal, political, utopian, angry, sublime and revolutionary. Some have not been published in English before; some were written in climates of censorship and brutality; some contain visions of a future still on the horizon. What unites them is the belief that art can change the world.