This is an examination of the paintings, books, poetry and theoretical work of Russian avant-garde artist, Olga Rozanova. The text assesses Rozanova's life and work, aiming to recreate the spirit of the counterculture milieu that contributed to the transformation of 20th-century art.

Creative Infrastructures is a new collection of connected essays that examines the relationships between art, innovation, entrepreneurship and money. Essig uses her extensive knowledge of the field of arts entrepreneurship and puts it to broader practical use and greater impact by offering a theory for arts entrepreneurship that places more emphasis on means over ends. Essig uses illustrative case studies to show how her theoretical framework explains a number of innovative efforts in culturally and racially diverse communities. The Ouroboros, the serpent eating its own tail, is a visual metaphor deployed by Essig in the opening essay to shift commonly held perspectives on, especially, the relationship between art and money. Art is the head; money is the tail, feeding and nourishing the head in a cycle that enables the organism to not only survive but also thrive. Between the art and the money is the body: innovation and entrepreneurship. Innovation is understood to be a novel idea that is implemented and has impact on a domain. For that is what the artist does: create something new and unique that has impact. Entrepreneurship is conceived of as the discovery or creation of a mediating structure that can convert the artistic innovation into capital (financial and other types) that can be re-invested in the artist and the making of more art. This book endeavours to untie the knotty relationships between artists and entrepreneurship in order to answer the question 'How can artists make work and thrive in our late-capitalist society?' Other essays in the collection consider a range of topics including how aesthetic and cultural value are transmitted from the artist to the audience; the complexity of the tension between what art fundamentally is and the reproduction of that work and the recent foregrounding of the idea that art can produce positive social change - through current and late-twentieth-century trends in 'social impact art' or 'art for change'. As in sports, business and other sectors, the star artists, the top 1 per cent, have disproportionately influenced the public expectations for what 'a successful artist' means. It isn't necessary to retell the stories of the one per cent of arts entrepreneurs; instead Essig looks instead at the quotidian artist, at what they do and why, not what they make. All too often, artists who are attentive to the 'business' of their creative practice are accused of 'selling out'. But for many working artists, that attention to business is what enables an artist to not just survive, but to thrive. When artists follow their mission, Essig contends that they don't sell out, they spiral up by keeping mission at the forefront. The closing essay is a work of speculative fiction, based in all that comes before, both in the preceding essays and in Essig's work as an artist, arts advocate and scholar of cultural policy. Returning to the symbol of the Ouroboros, it connects the head (art) to the tail (not money specifically, but resources), and back again. It is a 'future imaginary', in which she profiles three fictional artists in the year 2050. The field of arts entrepreneurship is growing - thanks in large part to the work of Linda Essig. The case studies in the book are US-based, but the issues addressed are universal. This book is ideal for use in training programmes for arts administrators and advocates; policy analysts and business schools that are looking to add in arts programmes. It will be of great interest and significance to people working in the cultural industries in the United Kingdom and Europe, especially Germany, where there has also been some recent research interest on similar topics. It is also relevant to the many artists who participate in training and professional development programmes in their community, as well as those who are just starting out.

This is an examination of the paintings, books, poetry and theoretical work of Russian avant-garde artist, Olga Rozanova. The text assesses Rozanova's life and work, aiming to recreate the spirit of the counterculture milieu that contributed to the transformation of 20th-century art.

Born in Mexico in 1907, Frida Kahlo learned about suffering at an early age. She fell victim to polio at the age of six, and was then seriously hurt in a bus accident at eighteen, resulting in injuries that affected her for the rest of her life. The young and indomitable Frida met Diego Rivera, the great mural painter, when Mexico was at a great cultural and political crossroads. They formed a legendary partnership, with a strong attachment to Mexican folk art, a deep commitment to the Communist struggle and a raging artistic ambition that survived all the trials of their marriage. Admired by the Surrealists and photographed by the greatest, Frida was most renowned for her self-portraits and unusual still lifes. This book traces the extraordinary life of this artist whose unforgettable imagery combined cruelty and wit, honesty and insolence, pain and empowerment.

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.
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A collection of essential quotations and other writings from artist and icon Jean-Michel Basquiat One of the most important artists of the late twentieth century, Jean-Michel Basquiat explored the interplay of words and images throughout his career as a celebrated painter with an instantly recognizable style. In his paintings, notebooks, and interviews, he showed himself to be a powerful and creative writer and speaker as well as image-maker. Basquiat-isms is a collection of essential quotations from this godfather of urban culture. In these brief, compelling, and memorable selections, taken from his interviews as well as his visual and written works, Basquiat writes and speaks about culture, his artistic persona, the art world, artistic influence, race, urban life, and many other subjects. Concise, direct, forceful, poetic, and enigmatic, Basquiat's words, like his art, continue to resonate. Select quotations from the book: "I cross out words so you will see them more; the fact that they are obscured makes you want to read them." "I think there are a lot of people that are neglected in art, I don't know if it's because of who made the paintings or what, but, um . . . black people are never really portrayed realistically or I mean not even portrayed in modern art." "Since I was 17, I thought I might be a star." "The more I paint the more I like everything." "I think I make art for myself, but ultimately I think I make it for the world."

An extraordinarily prolific artist, Norman Rockwell (1894-1978) produced some 4,000 paintings in his lifetime, not including a prodigious quantity of commissioned editorial, commercial, and advertising work. His death in 1978 was regarded the loss of a national icon, an artist who, like no other, celebrated the American Dream. Shunning experimentation and avant-garde techniques in favor of effective composition and relatable subject matter, Rockwell created wholesome, homely paintings with accessible and aspirational appeal. Neat, quaint, and typically jovial, his subjects included classrooms, prom scenes, and Thanksgiving feasts, while his most long-standing projects were covers for The Saturday Evening Post magazine and calendars and covers for the Boys' Life publication of the Boy Scouts of America. Imbued with optimism and patriotism, the work foregrounds classic professions such as doctor and teacher, as much as the conservative stalwarts of military, family, and faith. Hailed by President Gerald Ford as a "beloved part of the American tradition," Rockwell's works reveal as much about his own talents as they do about the story of 20th-century America. This fresh artist introduction from TASCHEN brings together key paintings and illustrations from his celebratory and sunny portfolio, as well as some more unusual works tackling the underside of the United States, to understand an integrally American artist, and the values and ideals that shaped his success. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

"Revelatory and sublime...Her work remains conceptually open enough for viewers to draw their own conclusions, insert their own meaning and feel transported to other glorious worlds." -The New York Times One of the most inventive artists of the twentieth century, Hilma af Klint was a pioneer of abstraction. Her first forays into her imaginative non-objective painting long preceded the work of Kandinsky and Mondrian and radically mined the fields of science and religion. Deeply interested in spiritualism and philosophy, af Klint developed an iconography that explores esoteric concepts in metaphysics, as demonstrated in Tree of Knowledge. This rarely seen series of watercolors renders orbital, enigmatic forms, visual allegories of unification and separateness, darkness and light, beginning and end, life and death, and spirit and matter. Published on the occasion of the exhibition Hilma af Klint: Tree of Knowledge at David Zwirner New York in 2021 and David Zwirner London in 2022, this catalogue features a text by the art historian Susan Aberth examining af Klint's spiritual and anthroposophical influences. With a conversation between the curator Helen Molesworth and the US Poet Laureate Joy Harjo discussing connections between Tree of Knowledge and native theories about plant knowledge, the publication broadens the scope of philosophical interpretations of af Klint's timeless work. Also included is a newly commissioned essay by the celebrated af Klint scholar Julia Voss, a contribution by the artist Suzan Frecon, and a text by art historian Max Rosenberg that further develops the conversation around why af Klint's work was not recognized in its time.

This review considers the major Cezanne exhibition at the Tate Gallery London, staged from 8th February until 28th April 1996. Rather than focusing exclusively on the artist's work, the piece attempts to place the exhibition in context, exploring the institutional arena of presentation and the social and economic strata to which the retrospective is mainly addressed. To encompass these multiple levels of attention, the essay is based on a journey through the exhibition, seen at the press view on Tuesday 6th February 1996. The record is intentionally discursive, entwining impressions both of the works and the audience, groups of media professionals moving from room to room in sequence around the show. Further attention is given to the formulation of the catalogue, to gain a reasonably complete picture of the event.

George and Maida Abrams amassed perhaps the finest private collection of Dutch Old Master drawings in the world. This catalogue presents a selection of these superb works, and explores the role of drawing in the creative process in Rembrandt's studio and wider circle. The artists featured include Ferdinand Bol, Govert Flinck, Samuel van Hoogstraten, Jan Lievens, and Nicolas Maes: the key figures in Rembrandt's circle, who at times were deeply influenced by his remarkable style and on other occasions explored different approaches. Their works range from figure studies to landscapes, from narrative and biblical scenes to lively genre scenes. At the heart of the catalogue are ten exceptional drawings by Rembrandt, including two highly finished landscape drawings and a variety of figure studies. The accompanying text is written by two leading scholars of Dutch art, both of whom have worked closely with the Abrams collection. Published in association with the Bruce Museum Exhibition Schedule: Bruce Museum, Greenwich, CT (09/24/11-01/08/12)

First published in 1996. The art of the extraordinary French artist, Henri Matisse (1869- 1954), has provided visual pleasures and intellectual challenges to its viewers for the last hundred years. This is collection of gathered, summarized, and evaluated major literature on the artist primarily from France, the United States, Germany, and the Scandinavian countries, where major Matisse collections bear witness to early and intense interest in the artist's work.

Raphael (1483-1520) was for centuries considered the greatest artist who ever lived. Much of what we know about him comes from this biography, written by the Florentine painter Giorgio Vasari and first published in 1550. Vasari's Lives of the Painters was the first attempt to write a systematic history of Italian art. The Life of Raphael is a key text not only for the appreciation of Raphael's own art - whose development and chronology Vasari describes in detail, together with the spectacular social career of the first painter to be mooted, it was claimed, as a Cardinal - but also for its unprecedented attention to theoretical issues.

Women artists have made a huge contribution to contemporary mainstream art, and their rise to international prominence has accompanied the development of feminism, feminist theory and history of art. Jo Anna Isaak's important new study of the work of women artists discusses the work of individual women artists in the context of contemporary art practices and in relation to key feminist issues in art history.
Isaak looks at the work of a diverse range of artists including women from the United States, the former Soviet Union and the United Kingdom - discussing, among others, the work of Barbara Kruger, Cindy Sherman and the Guerilla Girls. Isaak discusses work by 20th century Soviet women artists, providing a fascinating case study of the production of art in non-Western economic, political and ideological circumstances.

"I always thought I would get into painting, but I got waylaid by rock 'n' roll. Finally, I thought, 'Now's the time.' As soon as I could be alone and paint without any interruptions, I just couldn't stop." – Chrissie Hynde

"These paintings wake me up, show me life, make me want to get up and do something." – Brian Eno

"The fact that Chrissie is a great musician doesn’t undermine her painting; it underpins it…" – Tim Marlow

In 2015, Chrissie Hynde, the singer, songwriter and leader of The Pretenders, produced an oil painting of a ceramic vase. It proved to be the starting point for Chrissie Hynde’s first body of work, nearly 200 canvases in all. These paintings are now shared for the very first time in Adding The Blue.

Beginning with still life studies and culminating in vibrant abstract compositions, Adding The Blue is a beautiful book of paintings that reveals Chrissie Hynde as an artist as passionate about her painting as her music.

With forewords by visionary musician and artist, Brian Eno, and The Royal Academy’s Artistic Director, Tim Marlow, Adding The Blue is captioned throughout with Chrissie Hynde’s thoughts, anecdotes and reflections.

Published in hardback the front cover features the work,'Tuesday Self-Portrait'

This is the illustrated story of New York artist Chris Daze Ellis's successful transition from the subways to international studios and galleries. Follow his 30+ year career from his days as a teenage graffiti writer to his current life as a professional painter, mentor, and family man. This book, with more than 250 photographs, is a journey tracking the seminal moments in Daze's life that shaped his art. View his aesthetic evolution, from "Graffiti High" (New York's High School of Art and Design) and an "unsanctioned" street art phase to exhibitions with Keith Haring and Jean-Michel Basquiat. Train photos from the 1970s and '80s, a broad representation of Daze's studio and mural works, and personal photos guide the reader through an artistic portfolio spanning five decades. Contributions by graffiti writer Jay "J.SON" Edlin and essayist Claire Schwartz, and a foreword by graffiti historian and chronicler Sacha Jenkins, complete this volume.

In 1966 the artist Tom Phillips discovered A Human Document (1892), an obscure Victorian romance by W.H. Mallock, and set himself the task of altering every page, by painting, collage or cut-up techniques, to create an entirely new version. Some of Mallock's original text remains in tact and through the illustrated pages the character of Bill Toge, Phillips's anti-hero, and his romantic plight emerges. First published in 1973, A Humument - as Phillips titled his altered book - quickly established itself as a cult classic. Since then, the artist has been working towards a complete revision of his original, adding new pages in successive editions. That process is now finished. This 50th anniversary edition presents, for the first time, an entirely new and complete version of A Humument . This edition includes a revised Introduction by the artist, reflecting on the last 50 years' work on this project, and 92 new illustrated pages. A Special Limited edition is also available: this presents a copy of the 50th anniversary edition in a clamshell box with a limited-edition print, signed by the artist.

Inspired by the fabled journals in which acclaimed filmmaker Guillermo del Toro records his innermost thoughts and unleashes his vivid imagination, Insight Editions has created a replica sketchbook aimed at the director's legion of fans. Similar in design to del Toro's leather-bound volumes, this sketchbook features an inspirational message from the director along with selected examples of his incredible art.

Henri Matisse (1869 - 1954) is one of the leading figures of modern art. His unparalleled cut-outs are among the most significant of any artist's late works. When ill health first prevented Matisse from painting, he began to cut into painted paper with scissors as his primary technique to make maquettes for a number of commissions, from books and stained glass window designs to tapestries and ceramics. Taking the form of a 'studio diary', the catalogue re-examines the cut-outs in terms of the methods and materials that Matisse used, and looks at the tensions in the works between finish and process; fine art and decoration; contemplation and utility; and drawing and colour.

Join Chris Ayers and his menagerie as they make their Parisian debut on the walls of Galerie Daniel Maghen. Fifty-eight pieces were created especially for the gallery show in year six of The Daily Zoo and they are all captured in this book in their full glory. Do not miss meeting Le Chic Sheep, Le Penseur (The Thinker), Alien Accountant and Rosie On Skates, to name only a few, as they are certain to become close cartoon friends.

Marina Abramovic has truly pioneered performance as a visual art form. Her work - notorious for its feats of endurance, pain and intense physical encounter - has pushed the boundaries of contemporary art and cemented her reputation as one of the most significant artists of the past 50 years. This book brings her complete practice together into one concise and essential volume.