For the first time, talented French illustrator and character designer Sibylline Meynet not only shares her beautiful artwork in this beautifully crafted book, but also presents specially commissioned tutorials, step-by-step techniques, and the story of her journey as a professional artist. Reverie: The Art of Sibylline Meynet is a must-have for aspiring artists and illustrators in need of career inspiration and a creative re-boot. Sibylline launched herself as a freelance illustrator straight out of high school in her native France, and now works as a comic artist, character designer, and illustrator for magazines and books. Her artwork features in abundance the girls and animals she loves to draw, characters who exude charm and whimsy as well as great narrative strength and depth. Behind her artwork is a career in film and print, on projects from Scoob! (Warner Bros.) and Garfield (BOOM! Studios), to Cursed and Orange is the New Black (Netflix). In this book, Sibylline shares her experiences working in the industry, juggling work commitments with exhibiting, collaborations, and personal projects. For artists seeking new creative exercises, career inspiration, advice, and a chance to peruse the gallery of a talented and unique professional artist, this exciting new book is essential.

As one of the people who defined punk's protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognised the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher's work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all 'isms', her work offers a unique take on the history of feminist art. -- .

Intersections, Innovations, Institutions: A Reader in Singapore Modern Art is the second of two volumes of readers which the editors had published on Singapore art. The first volume, Histories, Practices, Interventions: A Reader in Singapore Contemporary Art, was published in 2016. Like the first volume, Intersections, Innovations, Institutions brings together historically important writings but the scope is on modern artistic practices in Singapore from the 19th century to the 1980s. The aim of this book is to make these writings accessible for research and scholarship and for new histories and narratives to be constructed about the modern in Singapore art.

Intersections, Innovations, Institutions: A Reader in Singapore Modern Art is the second of two volumes of readers which the editors had published on Singapore art. The first volume, Histories, Practices, Interventions: A Reader in Singapore Contemporary Art, was published in 2016. Like the first volume, Intersections, Innovations, Institutions brings together historically important writings but the scope is on modern artistic practices in Singapore from the 19th century to the 1980s. The aim of this book is to make these writings accessible for research and scholarship and for new histories and narratives to be constructed about the modern in Singapore art.

This unique book presents works that until now have only rarely been seen, even in private collections. Paintings, drawings and sculptures by well known outsider artists and new discoveries, all of which express deeply personal interpretations of sexual desire and activity. With texts by the world's leading academic experts in this field, Raw Erotica presents an essential element in the rich and varied world of outsider and self-taught art. With texts and contributions from: * Colin Rhodes, Univ of Sydney, author of Outsider Art: Spontanious Alternatives * Roger Cardinal, author of the original book Outsider Art * Jenifer Borum, New York based authority on self-taught art * Michale Bonesteel, Chicago based writer and author of Henry Darger * Thomas Roske, Curator, The Prinzhorn Collection, Heidelberg * Laurent Danchin, Paris author and French authority on Art Brut * Francois Monin, editor of Artension magazine, France.

This book offers a unique focus on the roles of women in contemporary art, cultural production and arts institutions in the Gulf. argues that the Gulf Cooperation Council (GCC) countries of Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the United Arab Emirates have been largely excluded from the critical discourse about, and display of, contemporary Middle Eastern art. addresses this oversight by providing an examination of the work of several contemporary women artists from the Gulf region. discusses the role of women in museums and cultural institutions in the region, as well as the education systems available to emerging women artists. will be essential reading for scholars and students engaged in the study of art history, visual culture, museums and heritage, and women and gender studies

While highlighting the prevailing role of television in Western societies, Art vs. TV maps and condenses a comprehensive history of the relationships of art and television. With a particular focus on the link between reality and representation, Francesco Spampinato analyzes video art works, installations, performances, interventions and television programs made by contemporary artists as forms of resistance to and appropriation and parody of mainstream television. The artists discussed belong to different generations: those that emerged in the 1960s in association with art movements such as Pop Art, Fluxus and Happening; and those appearing on the scene in the 1980s, whose work aimed at deconstructing media representation in line with postmodernist theories; to those arriving in the 2000s, an era in which, through reality shows and the Internet, anybody could potentially become a media personality; and finally those active in the 2010s, whose work reflects on how old media like television has definitively vaporized through the electronic highways of cyberspace. These works and phenomena elicit a tension between art and television, exposing an incongruence; an impossibility not only to converge but at the very least to open up a dialogical exchange.