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An international group of artists and scholars reflects on the nature and significance of education in contemporary society, introducing new perspectives on learning and creativity Back to the Sandbox addresses critical issues of the education system from an intriguing new perspective: essays by leading thinkers juxtaposed with art projects, intended for kindergarten through adult. The core issues include democracy in education, creativity, transdisciplinarity, neuroplasticity, thinking versus memorizing, science versus art and humanities. Both artists and scholars explore specific topics while guided by one framing question central to educators\u2019 and students\u2019 concerns today: What education do we need? The volume includes several lead essays and eighteen shorter texts from international scholars. Based on an exhibition with the same name, Back to the Sandbox records an ongoing multifaceted project that comprises exhibitions, conferences, workshops, surveys, and online roundtables, connecting local communities with international networks. This groundbreaking publication will serve as both reference and inspiration to educators, students, artists, parents, policy makers, and everyone interested in education and art. Contributors: Peter Alheit, Georg-August-U, Gottingen, Germany; Eva Bakkeslett; Nicolas Buchoud; Nancy Budwig, Clark U; Cathy Burke, U of Cambridge; Luis Camnitzer; Teddy Cruz; Jim Duignan; Tony Eaude, U of Oxford; Bente Elkjaer, Aarhus U, Denmark; Priscila Fernandes ; Fonna Forman; Liane Gabora, U of British Columbia; Henry Giroux, McMaster U, Ontario; Ken Goldberg, UC Berkeley; Michael Joaquin Grey; Ane Hjort Guttu; Jessica Hamlin, New York U; Yaacov Hecht; Knud Illeris, Danish School of Education, Copenhagen; Mannish Jain; Ronald Jones; Markus Kayser; Floris Koot; Eva Kot\u00e1tkov\u00e1; Graziela Kunsch; Pamela Kuntz; Tyson E. Lewis, U of North Texas; Sugata Mitra, Newcastle U, London; James Mollison; Basarab Nicolescu, U Pierre et Marie Curie, Paris; Petr Nikl; Petr Payne; Renzo Piano; Howard Rheingold; Lubos Rychvalsk\u00fd; Andreas Schleicher; Calvin Seibert; B\u00e1ra Step\u00e1nov\u00e1; Mark Tennant; Bruce E. Wexler, Yale U; Judy Willis; Conrad Wolfram; Hafthor Yngvason; Philip Zimbardo, Stanford U.
P\u00e9ter Forg\u00e1cs, based in Budapest, is best known for his award-winning films built on home movies from the 1930s to the 1960s that document ordinary lives soon to intersect with offscreen historical events. Cinema\u2019s Alchemist offers a sustained exploration of the imagination and skill with which Forg\u00e1cs reshapes such film footage, originally intended for private and personal viewing, into extraordinary films dedicated to remembering the past in ways that matter for our future. Contributors: Whitney Davis, U of California, Berkeley; L\u00e1szl\u00f3 F. F\u00f6ld\u00e9nyi, U of Theatre, Film and Television, Budapest; Marsha Kinder, U of Southern California; Tam\u00e1s Kor\u00e1nyi; Scott MacDonald, Hamilton College; Tyrus Miller, U of California, Santa Cruz; Roger Odin, U of Paris III Sorbonne-Nouvelle; Catherine Portuges, U of Massachusetts Amherst; Michael S. Roth, Wesleyan U; Kaja Silverman, U of Pennsylvania; Ernst van Alphen, Leiden U, the Netherlands; Malin Wahlberg, Stockholm U.
Using an arts-based inquiry, Precarious Spaces addresses current concerns around the instrumentality and agency of art in the context of the precarity of daily life. The book offers a survey of socially and community-engaged art practices in South America, focusing in particular on Brazil's "informal" situation, and contributes much to the ongoing debate of the possibility for change through social, environmental, and ecological solutions. The individual chapters, compiled by Katarzyna Kosmala and Miguel Imas, present a wide spectrum of contemporary social agency models with a particular emphasis on detailed case studies and local histories. Featuring critical reflections on the spaces of urban voids, derelict buildings, self-built communities such as favela, and roadside occupations, Precarious Spaces will make readers question their assumptions about precarity, and life in precarious realms.
In late 15th-century Italy, there was a growing demand for goods of all types, including art. Painting under Pressure shows how the increased desire for art objects exerted significant pressure on highly sought-after painters. Michelle O'Malley analyzes the lives and works of four artists: Alessandro Botticelli, Domenico Ghirlandaio, Filippino Lippi, and Pietro Perugino. She considers network systems, production practices, economic concepts, and workshop input to demonstrate the consequences of high demand on some of the most respected artists of the time. In this fascinating and incisive book, O'Malley asks how painters approached the manufacture of large bodies of commissioned work, how they made day-to-day decisions about design and the application of pigments, and how serial production related to creating work for commissions, in addition to questions of economics. Using documentary evidence about price, scientific evidence about production, and formal analysis about appearance, the book demonstrates Renaissance business practices and shows the individual approaches artists took to producing excellence and meeting high demand.
Perspective is a discipline often set aside when it comes to general art study, though it is essential to master in order to produce any piece of art that is and feels realistic. Framed Perspective 1 equips artists with the technical knowledge needed to produce successful visual storytelling-related drawings: from understanding the basics of the space around us and how we perceive it, all the way to more sophisticated endeavors, like creating entire locations that will become the believable set ups our characters and stories will happen within. As intimidating as perspective may seem, best-selling author and artist Marcos Mateu-Mestre delivers each lesson in an accessible and informative way that takes the mystery out of achieving successful scenes. The book includes extensive step-by-step practical explanations of how to build objects and environments of all sorts, taking that first sketch to a fully rendered artwork with many of his finished illustrations as examples. Sure to be the most popular book in your art library, it will train you to see the world in a way that allows you to enjoy every curve and slope you see in it and, more importantly, translate that vision into art with accuracy and a great sense and understanding of depth and proportion. Your perspective will never be the same!
How to sell art or anything else online without leaving your home. Whether you're selling original artwork, jewelry, or a unique product, this is the book for you. Brainard Carey offers advice with solid examples of how building an online business is something every creative person can pursue. Carey draws from his extensive experience and interviews with others to show artists and creative people how to sell their work independently and efficiently. Readers will learn how to establish an online store, develop a presence, promote their goods, and reach customers. Chapter topics include: Designing a website or profile on an existing site Effective marketing strategies Creative ways to advertise your product Building your social media following Finding new customers Real examples of artists and entrepreneurs who succeeded in selling their work online And much more With chapters divided between practical how-tos and case studies, Sell Online Like a Creative Genius (TM), offers readers both instructive and demonstrative lessons in making their small online business a reality. Everyone can do it with the right tools, and Carey offers an insider's guide to an otherwise daunting process.
Artist Cat Seto, founder of the acclaimed Ferme a Papier brand, introduces you to the City of Light as never before in this distinctive volume-both a visual feast and celebration of the artistic process-filled with lavish illustrations and descriptive meditations that capture the quotidian pleasures of France's capital city and how they have inspired creativity. In Impressions of Paris, Cat Seto takes you on a dazzling and enlightening tour of Paris, from familiar sights to hidden surprises, to reveal this legendary city as never before. Combining informative and entertaining vignettes, stories, and notes with stunning full-color illustrations, she draws parallels between the city and the art it inspires. Organized around four main principles of art-color, pattern, perspective, and rhythm-Impressions of Paris is a celebration of the artistic spark in the city's mundane yet marvelous details: the pistachio and cassis palette triggered by the ice cream case at Berthillon; how a rainy stroll through an open air market transforms into a smudgy gouache (pronounced gwash) pattern; the lovely ubiquity of the iconic French stripe, the Breton. Pretty and inventive, surprising and stimulating, Impressions of Paris captures the beauty and charms of this stunning city and extols its power to stimulate the creative imagination-inviting artists and art appreciators to intimately experience a painter's process.
While legend has it that Vincent van Gogh (1853-1890) sold only one work during his lifetime, it was not long after his death that sales of his paintings began to shatter auction house records. In this carefully researched book, leading Van Gogh scholars provide us with a glimpse into classified client files and illuminate the critical role that the Thannhauser Gallery occupied in cultivating and shaping an early clientele for the artist's works. Founded in Munich in 1909, the Thannhauser Gallery was Germany's preeminent promoter of the avant-garde in the decades before World War II. In other European cities and in New York, the business thrived, selling an impressive number of Van Gogh's oeuvre: roughly 110 works, including many masterpieces, now part of museum collections all over the world.
These timeless architectures stand at the rarely studied intersection between art, architecture and `the border'.
From seventeenth-century broadsides about the handling of dead bodies, printed during London's plague years, to YouTube videos about preventing the transmission of STDs, public health advocacy and education has always had a powerful visual component. Imagining Illness explores the diverse visual culture of public health, broadly defined, from the nineteenth century to the present.Contributors to this volume examine historical and contemporary visual practices-Chinese health fairs, documentary films produced by the World Health Organization, illness maps, fashions for nurses, and live surgery on the Internet-in order to delve into the political and epidemiological contexts underlying their creation and dissemination. Contributors: Liping Bu, Alma College; Lisa Cartwright, U of California, San Diego; Roger Cooter, U College London; William H. Helfand; Lenore Manderson, Monash U, Australia; Emily Martin, New York U; Gregg Mitman, U of Wisconsin, Madison; Mark Monmonier, Syracuse U; Kirsten Ostherr, Rice U; Katherine Ott, National Museum of American History, Smithsonian; Shawn Michelle Smith, Art Institute of Chicago; Claudia Stein, Warwick U.
In this groundbreaking work of incisive scholarship and analysis,
Hannah Higgins explores the influential art movement Fluxus.
Daring, disparate, contentious--Fluxus artists worked with minimal
and prosaic materials now familiar in post-World War II art.
Higgins describes the experience of Fluxus for viewers, even
experiences resembling sensory assaults, as affirming transactions
between self and world.
Where are the style guides for glamorous older women? Where are the guides for the woman who wants to age with cocktail in hand, surrounded by admirers, rather than stretched out at a clinic with her face being stitched into a desperate rictus grin? In her inimitable style (aided by the wise words of her ageless Hollywood heroines), Caroline Cox provides a book chock full of tips, hints, beauty, and fashion advice. This meticulously researched, entertaining, and indispensable book will teach you to reclaim the spotlight, look good no matter what your body shape and be the glamorous grown-up you are. You will be exhorted to "Hold the Botox!" because a series of make-up tricks will make you look younger in minutes without the need for anesthetic."
Redefining curatorial practice for those working with new kinds of art. As curator Steve Dietz has observed, new media art is like contemporary art-but different. New media art involves interactivity, networks, and computation and is often about process rather than objects. New media artworks are difficult to classify according to the traditional art museum categories determined by medium, geography, and chronology and present the curator with novel challenges involving interpretation, exhibition, and dissemination. This book views these challenges as opportunities to rethink curatorial practice. It helps curators of new media art develop a set of flexible tools for working in this fast-moving field, and it offers useful lessons from curators and artists for those working in such other areas of art as distributive and participatory systems. The authors, both of whom have extensive experience as curators, offer numerous examples of artworks and exhibitions to illustrate how the roles of curators and audiences can be redefined in light of new media art's characteristics. Rethinking Curating offers curators a route through the hype around platforms and autonomous zones by following the lead of current artists' practice.
In this, the first book of his collected artwork, Rob Ryan combines a childlike enthusiasm for colour and craft with a romantic s compulsion to explore love, desire, fantasy, and melancholy. Working principally in papercuts and stencils, and often mixing startling artistry with a raconteur s turn of phrase, he is able to craft an entire world within his artwork from the slender and telling movement of characters in his narratives to the gentle complexity of fantastical flora and fauna in his irreverent silhouettes. Each work whether it s a stand-alone screen print, a single papercut from one of his intoxicating children s stories, or design objects from egg cups to Victorian style porcelain dog figurines is a fairy tale in itself. Bright and engaging, and edited in close collaboration with the artist, this beautiful monograph brings together work from every facet of Ryan s career to date, and through an accompanying text written specially for the book explores the themes, styles, palettes, and preoccupations present throughout. Playing on familiar oppositions of isolation and creativity, alienation and warmth, even innocence and experience, Ryan s work strikes the perfect balance between humor and vulnerability, wit and wisdom.
Claude Monet was not only the creator of what we now view as French Impressionist painting, he was also its last major practitioner. By the time he passed away in 1926, he had outlived all the other painters--Renoir, Morisot, Pissarro, Sisley, and the others whom we now group together under that heading. Yet when Andre Suares, one of the four directors--along with Gide, Valery, and Claudel--of the influential Nouvelle Revue Francaise, summed up the movement that year, he did not give Monet pride of place. Rather, he wrote, ""Far more than Sisley, Claude Monet, or the Goncourt brothers, Loti was the great Impressionist."" As this shows, that Pierre Loti, the once world-renowned French novelist, developed a remarkably Impressionist style was recognised early on. It continues to be acknowledged in France today. Franck Ferrand, a contemporary historian known for his appearances on French radio and television, recently wrote that ""Pierre Loti [is] the only truly impressionist writer of French literature."" Yet while those who know his work in France continue to see him as an Impressionist artist on the level of Monet and Renoir, no one has ever asked how he achieved this in literature, how he went about creating novels that resembled the work of Monet. That is the subject of this book. Examining certain of Loti's important novels, this study shows how he managed to reproduce with words what Monet was doing in oils. It also shows how the author came to theorise about the effects of Impressionism on the reader-viewer. Finally, it demonstrates how and why, in one of his last novels, Loti undertook to reproduce the style of one of the painters most admired by Monet: Rembrandt van Rijn, whom the nineteenth-century French rediscovered in part because they could present his sketchy biography as a demonstration of many of the things liberal art historians and painters believed the ideal artist should be.
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