The first compendium on robotic art of its kind, this book explores the integration of robots into human society and our attitudes, fears and hopes in a world shared with autonomous machines. It raises questions about the benefits, risks and ethics of the transformative changes to society that are the consequence of robots taking on new roles alongside humans. It takes the reader on a journey into the world of the strange, the beautiful, the uncanny and the daring - and into the minds and works of some of the world's most prolific creators of robotic art. Offering an in-depth look at robotic art from the viewpoints of artists, engineers and scientists, it presents outstanding works of contemporary robotic art and brings together for the first time some of the most influential artists in this area in the last three decades. Starting from a historical review, this transdisciplinary work explores the nexus between robotic research and the arts and examines the diversity of robotic art, the encounter with robotic otherness, machine embodiment and human-robot interaction. Stories of difficulties, pitfalls and successes are recalled, characterising the multifaceted collaborations across the diverse disciplines required to create robotic art. Although the book is primarily targeted towards researchers, artists and students in robotics, computer science and the arts, its accessible style appeals to anyone intrigued by robots and the arts.

Popular culture in the 1990s often primarily reflected millennial catastrophic anxieties. The world was tightening, speeding up, and becoming more dangerous and dangerously connected. Surely it was only a matter of time before it all came crashing down. Pop Goes the Decade: The Nineties explains the American 1990s for all readers. The book strives to be widely representative of 1990s culture, including the more obvious nostalgic versions of the decade as well as focused discussions of representations of minority populations during the decade that are often overlooked. This book covers a wide variety of topics to show the decade in its richness: music, television, film, literature, sports, technology, and more. It includes an introductory timeline and background section, followed by a lengthy "Exploring Popular Culture" section, and concludes with a brief series of essays further contextualizing the controversial and influential aspects of the decade. This organization allows readers both a wide exposure to the variety of experiences from the decade as well as a more focused approach to aspects of the 1990s that are still resonant today.

This book examines how African-American writers and visual artists interweave icon and inscription in order to re-present the black female body, traditionally rendered alien and inarticulate within Western discursive and visual systems. Brown considers how the writings of Toni Morrison, Gayl Jones, Paule Marshall, Edwidge Danticat, Jamaica Kincaid, Andrea Lee, Gloria Naylor, and Martha Southgate are bound to such contemporary, postmodern visual artists as Lorna Simpson, Carrie Mae Weems, Kara Walker, Betye Saar, and Faith Ringgold. While the artists and authors rely on radically different media photos, collage, video, and assembled objects, as opposed to words and rhythm both sets of intellectual activists insist on the primacy of the black aesthetic. Both assert artistic agency and cultural continuity in the face of the oppression, social transformation, and cultural multiplicity of the late twentieth and early twenty-first centuries. This book examines how African-American performative practices mediate the tension between the ostensibly de-racialized body politic and the hyper-racialized black, female body, reimagining the cultural and political ground that guides various articulations of American national belonging. Brown shows how and why black women writers and artists matter as agents of change, how and why the form and content of their works must be recognized and reconsidered in the increasingly frenzied arena of cultural production and political debate.

I Hope So: Sane Wadu follows the expansion and development of Wadu’s conceptual preoccupations, beginning with an early interest in bucolic scenes of pastoral life which has evolved into incisive social commentary, a complex exploration of the intersection of faith and politics, and an ongoing critique of societal contradictions. An illuminating essay by Mukami Kuria and an interview with Rosie Olang’ Odhiambo offer readers multiple entry points into Wadu’s penetrating vision. This catalogue is published on the occasion of Sane Wadu’s first retrospective exhibition at the Nairobi Contemporary Art Institute in 2022.

An essential sourcebook of prints from a key fashion decade. The 1950s was the decade when an analytical approach to design, with a lightness and freshness, combined with whimsical imagery and idiosyncratic subject matter. Showcasing hundreds of print designs, this book celebrates the heyday of postwar fashion design. From Lucienne Day and Robert Stewart to Maija Isola of Marimekko, the designs and influences of the print icons of the time are all covered. In addition to finished prints, the book contains exclusive illustrations and original artworks. The major themes of the period are explored, including: narrative and novelty; abstraction, exploring the distorted and attenuated forms used in print; artistic licence and the influence of contemporary art on fashion print; and finally kinetic prints that capture the influence of the era’s ‘mobiles, doodles and spasms’. Each short chapter introduction is followed by a range of illustrations with captions to give provenance and relevance, making this a unique sourcebook for contemporary designers and students.

This book explores the effects of the Instagram platform on the making and viewing of art. Authors Lachlan MacDowall and Kylie Budge critically analyse the ways Instagram has influenced artists, art spaces, art institutions and art audiences, and ultimately contemporary aesthetic experience. The book argues that more than simply being a container for digital photography, the architecture of Instagram represents a new relationship to the image and to visual experience, a way of shaping ocular habits and social relations. Following a detailed analysis of the structure of Instagram - the tactile world of affiliation ('follows'), aesthetics ('likes') and attention ('comments') - the book examines how art spaces, audiences and aesthetics are key to understanding its rise. The book will be of interest to scholars working in art history, design, digital culture, cultural studies, sociology, education, business, media and communication studies.

Craig Richardson here addresses key areas of cultural politics and identity in a way that not only illuminates the development of Scottish art, but teases out another strand of the plurality of developments which led to the success of artists throughout the UK in the 1990s. It is of the highest relevance whether one's perspective is that of the development of the Scottish art, British art or European art of this period. The book adds significantly to our knowledge of the art of this period in a way that will aid not only our historical understanding but our understanding of the dynamics of art practice today. Providing an analysis and including discussion (interviewing artists, curators and critics and accessing non-catalogued personal archives) towards a new chronology, Richardson here examines and proposes a sequence of precisely denoted 'exemplary' works which outlines a self-conscious definition of the interrogative term 'Scottish art.' Among the artists whose work is discussed are John Latham, Simon Starling, Alan Johnston, Roderick Buchanan, Glen Onwin, Christine Borland, William Johnstone, Joan Eardley, Alexander Moffat, Douglas Gordon, Alan Smith, Graeme Fagen, Ross Sinclair and many others. The discussion culminates in a critically original demonstration of the scope for further research and practice within the subject, facilitating national cultural debate on the character of Scottish-national visual art.

This is the first collection of interdisciplinary scholarship to expand on gridded modalities, with a strong affinity to the arts. It seeks to inspire new avenues of research by exploring a horizon of gridded relationships among humans, between humans and the environment, and between human and non-human actors. By bringing together philosophical themes and applied practices, the volume traces a genealogy of the "grid" as an exercise in grasping its inherent complexity and incomplete quality. A collective effort by a group of researchers, practitioners, and designers, it promotes an understanding of gridded modalities as complex networks that interact with other networks, generating new meanings and reflecting changes in thought.

Jill Carrick's Nouveau Realisme, 1960s France, and the Neo-avant-garde provides the first in-depth historical analysis of the "New Realism" movement and the critical and theoretical debates it engaged. This text makes available a new corpus of material - the rich historical and theoretical analysis as well as the fascinating photographic documentation of artists and works - from one of the most significant French art movements of the post-World War II period, whose literature has up to now been dominated by the terms of its founder, Pierre Restany. The illustrations and surprising contextual material - many of which have been unearthed by the author's archival research - document artwork, artists' collaborations, and ephemeral events.

Kurt Jackson's Botanical Landscape is a new collection of poems, paintings, drawings, sculptures and printmaking by the artist and staunch environmentalist: responses to his engagement with and rich experience within the natural world of flora. From day-to-day plants - weeds, the flowers in the hedge, familiar trees and the vegetable garden - to the more unusual, twisted forms and strange fruit of the undergrowth, Jackson's works celebrate the staggering diversity of the plant kingdom. For the art enthusiast, the naturalist, the gardener and the armchair horticulturist, Kurt Jackson's Botanical Landscape maps a particularly expressive communion with nature and offers a unique and beguiling interpretation of the natural world.

Let the rich world of Tamriel guide your tarot practice with this sumptuous, illustrated deck inspired by the massively popular Elder Scrolls V: Skyrim. Featuring deluxe custom artwork of iconic figures in Elder Scrolls V: Skyrim, this deck is a great way to enjoy the characters and lore of this popular game. Containing both major and minor arcana, the set also comes with a comprehensive guidebook explaining each card's meaning, as well as simple spreads for easy readings. Packed in a sturdy, decorative gift box, this compelling tarot deck is perfect for Elder Scrolls fans and tarot enthusiasts alike.

In 2013 Georg Baselitz declared that 'women don't paint very well'. Whilst shocking, his comments reveal what Helen Gorrill argues is prolific discrimination in the artworld. In a groundbreaking study of gender and value, Gorrill proves that there are few aesthetic differences in men and women's painting, but that men's art is valued at up to 80 per cent more than women's. Indeed, the power of masculinity is such that when men sign their work it goes up in value, yet when women sign their work it goes down. Museums, the author attests, are also complicit in this vicious cycle as they collect tokenist female artwork which impinges upon its artists' market value. An essential text for students and teachers, Gorrill's book is provocative and challenges existing methodologies whilst introducing shocking evidence. She proves how the price of being a woman impacts upon all forms of artistic currency, be it social, cultural or economic and in the vanguard of the 'Me Too' movement calls for the artworld to take action.

Commemorating twenty years of manga, FEMME FATALE showcases of all of the full color artwork from New York Time's Best Selling artist Shuzo Oshimi. Featuring cover art, posters, promotional materials and never before translated comics, this is a definitive compilation of character art from one of the best known manga artists in the 21st Century. Concept art and promotional illustrations from FLOWERS OF EVIL, INSIDE MARI, DRIFTING NET CAFE and BLOOD ON THE RAILS are also included giving readers a deeper look into Oshimi's processes and artistic mind. This collection also includes dozens of never before published in English comic pages that are a must have for Oshimi completionists.

This book provides an in-depth and thematic analysis of socially engaged art in Mainland China, exploring its critical responses to and creative interventions in China's top-down, pro-urban, and profit-oriented socioeconomic transformations. It focuses on the socially conscious practices of eight art professionals who assume the role of artist, critic, curator, educator, cultural entrepreneur, and social activist, among others, as they strive to expose the injustice and inequality many Chinese people have suffered, raise public awareness of pressing social and environmental problems, and invent new ways and infrastructures to support various underprivileged social groups.

The trendy and sophisticated Posh: Planner Undated Monthly/Weekly Calendar is perfect for anyone who needs to stay organized, and prefers the traditional, hands-on method of planning. The fashionable Posh styling is complemented by features that planner users want: Includes 12 monthly and 52 weekly pages Reinforced monthly tabs Customizable Habit Trackers Sticker pages to customize your planner A convenient pocket Beautiful, sturdy cover Blue spiral Pink elastic band closure Sections to jot down notes, things to do, big ideas, contacts, celebrations/anniversaries, and more

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

During the 1960s and 1970s, Workerism and Autonomia were prominent Marxist currents. However, it is rarely acknowledged that these movements inspired many visual artists such as the members of Archizoom, Gordon Matta-Clark and Gianfranco Baruchello. This book focuses on the aesthetic and cultural discourse developed by three generations of militants (including Mario Tronti, Antonio Negri, Bifo and Silvia Federici), and how it was appropriated by artists, architects, graphic designers and architectural historians such as Manfredo Tafuri. Images of Class signposts key moments of this dialogue, ranging from the drawings published on classe operaia to Potere Operaio's exhibition in Paris, the Metropolitan Indians' zines, a feminist art collective who adhered to the Wages for Housework Campaign, and the N group's experiments with Gestalt theory. Featuring more than 140 images of artworks, many published here for the first time, this volume provides an original perspective on post-war Italian culture and new insights into some of the most influential Marxist movements of the twentieth and twenty-first centuries worldwide.

"There are more than 50 creative prompts for the artist (or artist at heart) to explore. Take the title of this book as affirmation, and get started." -Fast Company More than 50 assignments, ideas, and prompts to expand your world and help you make outstanding new things to put into it Curator Sarah Urist Green left her office in the basement of an art museum to travel and visit a diverse range of artists, asking them to share prompts that relate to their own ways of working. The result is You Are an Artist, a journey of creation through which you'll invent imaginary friends, sort books, declare a cause, construct a landscape, find your band, and become someone else (or at least try). Your challenge is to filter these assignments through the lens of your own experience and make art that reflects the world as you see it. You don't have to know how to draw well, stretch a canvas, or mix a paint color that perfectly matches that of a mountain stream. This book is for anyone who wants to make art, regardless of experience level. The only materials you'll need are what you already have on hand or can source for free. Full of insights, techniques, and inspiration from art history, this book opens up the processes and practices of artists and proves that you, too, have what it takes to call yourself one. You Are an Artist brings together more than 50 assignments gathered from some of the most innovative creators working today, including Sonya Clark, Michelle Grabner, The Guerrilla Girls, Fritz Haeg, Pablo Helguera, Nina Katchadourian, Toyin Ojih Odutola, J. Morgan Puett, Dread Scott, Alec Soth, Gillian Wearing, and many others.

This delightful homage to Pulcinella (or Punch as he is referred to in English) contains over one hundred extraordinary pencil illustrations, some of which are depicted in comic-strip style. Divided into several scenes, it features the oddly surreal and globally recognised character that originated in seventeenth-century comedic theatre and became a fixture in Neapolitan puppetry. Distinguished by a long nose and typically dressed in white with a black mask, Pulcinella is often depicted in various kinds of misadventures and singing about themes of love, hunger, and money. In the typical fashion of author Luigi Serafini, Pulcinellopaedia Seraphiniana is created in a unique language all its own, and is filled with fascinating and mysterious illustrations that require thorough examination and inference to decipher what the artist is intending to portray. Written by Serafini s imaginative coauthor and alter ego C. Petrulo, who represents Pulcinella himself, the book artfully presents the struggles of a rebellious antihero who must come to grips with the difficulties of everyday life. First published in 1984 and since revised by the author, this volume is an exquisite treasure that has intrigued readers for more than thirty years. Designed as a handsome companion volume ready to take its place alongside the bestselling Codex Seraphinianus, the Pulcinellopaedia is akin to a missing chapter or coda to the Codex that no fan of Luigi Serafini s work will want to miss.

Since the mid-1970s, American painter Stanley Whitney has been exploring the formal possibilities of colour within grids of multi-coloured blocks. Matthew Jeffrey Abrams's thoughtful book, the first full monograph on the artist, highlights Whitney's unique and sophisticated understanding of line and colour and his commitment to abstract painting over four decades of consistent practice. Abrams brings together Whitney's personal and professional narratives to weave a chronological analysis of the work and the artist's wider cultural contribution. Born in Philadelphia in 1946, Whitney moved to New York in 1968, and under the guidance of Philip Guston he began to experiment with abstraction, drawn to the basic formal qualities of Abstract Expressionism, the pure chroma of the Color Field movement, and the minimalist approach of such artists as Donald Judd. Steadfastly pursuing abstraction at a time when critical interest was focussed on figurative art and photography, Whitney has not received the critical recognition due to him until late in his career. This book affirms his outstanding achievement.

Let the citizens of Halloween Town guide your tarot practice with this sumptuously illustrated tarot deck inspired by Tim Burton's classic film The Nightmare Before Christmas. This gift set includes a tarot altar cloth, guided notebook for reflection, and pouch to hold your cards and booklet. Disney's iconic holiday film Tim Burton's The Nightmare Before Christmas is now an enchanting tarot set, offering a frightful-but-friendly take on the traditional 78-card deck. This set features all your favorite characters from Jack Skellington to Oogie Boogie to Sandy Claws himself in gorgeous original illustrations based on classic tarot iconography. Featuring both major and minor arcana, the set also comes with a helpful guidebook explaining each card's meaning, as well as simple spreads for easy readings. Packaged in a sturdy, decorative gift box, this hauntingly charming tarot deck is the perfect gift for Tim Burton's The Nightmare Before Christmas fan or tarot enthusiast in your life. This gift set includes: 78-card Tarot Deck 128-page Guidebook Tarot altar cloth Guided notebook for reflection Pouch to hold your cards and booklet. ORIGINAL ART: The booklet and each of the 78 cards in this deck feature gorgeous original Tim Burton's The Nightmare Before Christmas-themed art. TAROT READING GUIDE: This unique set includes a guidebook to help tarot practitioners of all skill levels perform fun and informed readings. GUIDED JOURNAL: Beautiful illustrations and intriguing prompts help guide your tarot practice and record memorable readings. ALTAR CLOTH: Set the stage for a fun, entertaining and meaningful reading with a beautiful altar cloth. CLOTH POUCH: Store your tarot cards in a deluxe drawstring cloth pouch. OFFICIAL DISNEY DECK: The only official Disney The Nightmare Before Christmas tarot deck and guide.

Massin (b. 1925) emerged as one of the key players instrumental in the evolution of graphic arts following World War II. His work in the field is a model of creativity infused with elegance and humour, and has covered editorial design, graphics, poster and logo design; art direction, typography and photography; and publishing, design education and writing. Throughout his career, Massin has developed a diverse and forward-thinking body of work with some of the most prestigious cultural institutions and the post-war literary world. During his 20 years working with the pre-eminent, French publisher, Gallimard, he established and developed their art direction department, launched the Folio series - a popular collection of pocket books - and redesigned the famous logo for the Nouvelle Revue Francaise (New French Review literary publication).Massin is a book sculptor, and has worked on a freelance basis with an extensive range of other renowned publishers, including Hoebeke, Le Club Francais du Livre, Albin Michel, Plon, Le Seuil and Larousse. Collaborating with famous playwrights and writers such as Eugene Ionesco and Raymond Queneau, Massin explored the realm of 'expressive typography', making the text more energetic and exciting with the interplay of words and images. His concepts for Cantatrice Chauve, by Eugene Ionesco (1964 - in English The Bald Soprano, 1965 for the US edition, and The Bald Prima Donna, 1966 for the UK edition) and Exercices de Style, by Raymond Queneau, stand as masterpieces in book design and are commonly used by professors in graphic design classes to illustrate a unique adventure in the history of typography.Before the broken type associated with the design group, Pentagram emerged in the field of graphic arts, Massin was experimenting with letters, fonts and images, producing creative three-dimensional limited-edition covers and a series of imaginative book bindings. He also educated the public with his own publications on the techniques of typography with projects such as L'ABC du Metier and la Mise en Pages. His famous book La lettre de l'image (in English Letter and Image) is a unique anthology of illustrated and expressive letter forms. It was first published in 1970 in five languages, and has been in print ever since.