Facsimile edition of Cv Journal of Art and Crafts reproduces number 3/1 1990 to 4/2 1991. Includes artist interviews, features and showcases of the fine and applied art of the time. The survey began in April 1988 as interviews with jewellers, fashion designers and furniture restorers, based at Old Loom House in Whitechapel, launching a quarterly review "Cv Journal of Art and Crafts". Cv Journal was published to 1991 and the collection of interviews, features and reviews provided the foundation of the Cv/Visual Arts Research archive and subsequent publications. Cv addresses the fields of academic research, galleries and museums worldwide, and a growing non-specialist readership. The programme is categorized as Interviews with the Artists; Curators and Collections; Crafts Directory; Small Histories; Guide to the Arts; Art, Criticism and Display and an open area for current developments. Titles are published in conventional book format and made by digital process as print on demand, as well as enooks and DVDs in Cv Publications' catalogue. "Guide to the Arts" contains a facsimile of eleven issues of Cv Journal published between 1988 and 1991; including interviews, features, showcases and reviews of the spectrum of activity in fine and applied art of the period.

The top-selling ceramic figurines of the 1940s and '50s came from Madison, Wisconsin's Ceramic Arts Studio and their outstanding designer, Betty Harrington. In terms of quality, variety, and charm, her figurines are among the best of the era, enchanting, and exquisitely designed down to the last intricate detail. This is the first comprehensive book about this popular studio and it presents all the figurines released by CAS, detailed information on the firm's early years, and Betty Harrington's artistic pursuits after the studio closed. Over 1200 color photographs show stylized figurines of theatrical adults, dancers, children, and animals; vintage catalogs; advertisements; and original designs, along with a complete inventory. Today's values are included in the captions and in a price guide/index, for easy reference. The carefully researched text includes interviews with company owner Reuben Sand, early designer and co-founder Lawrence Rabbitt, studio personnel, family members, and the designer herself. Collectors will find this an indispensable guide to Ceramic Arts Studio's engaging figurines.

Bonus offer: Free ebook ...and talk to the authors. Over 110 color images. The origin of Vedic painting is as old as time itself. In the earliest writings of ancient Indian civilization, 7000 years ago, we find records of the practice of Vedic painting. Vedic painting requires that the artists devote themselves fully in expressing their individuality within the guidelines of specific cognitions inspired by ancient sages and kept alive through an oral tradition within the family lineage. Today there are only a handful of artists throughout India who still strive for so exalted a vision of perfection, avoiding the more lucrative path of commercialism. Few living have witnessed the great treasures of India. In modern times, her majesty has become obscured even to her native sons and daughters. Although in her long and varied history she has known more golden ages than any country of our earth, poor journalism and modern media have fooled us into believing that India is a broken, impudent country characterized by poverty, starvation, and corruption. This is true in part, but by looking between the cracks, it is impossible to miss the fundamental footprints of Indian majesty. They lay just beneath the surface squalor of it's daily life and reveal a heritage of infinite complexity and sophistication. In her past, India's character has been shaped by such abundance and freedom that all the great leaders and conquerors of history have marveled at her material wealth and metaphysical wisdom. During the early 1990s Nandini Badhwar and Rodney Charles traveled throughout India, navigating a course bound to understand the principles of the world oldest painting techniques. In the end, they barely scratched the surface of an ancient school of art that is as fundamentally transcendent as the human soul. This modest presentation is as much a memoir for the authors as it is an introduction to a greatly under-investigated goldmine of human culture and development. The authors are happily married and love to walk and ride their bikes in the Iowa countryside. "India is the cradle of the human race, the birthplace of human speech, the mother of history, the grandmother of legend, and the great grandmother of tradition. Our most valuable and most instructive materials in the history of man are treasured up in India only." Mark Twain "India conquered and dominated China culturally for twenty centuries without ever having to send a single soldier across her border." Hu Shih Ambassador of China to USA "If there is one place on the face of the earth where all the dreams of living men have found a home from the very earliest days when man began the dream of existence, it is India." Romain Roland "We owe a lot to the Indians, who taught us how to count, without which no worthwhile scientific discovery could have been made." Albert Einstein

Jean-Michel Basquiat was only twenty-seven when he died in 1988, his meteoric and often controversial career having lasted for just eight years. Despite his early death, Basquiat's powerful A uvre has ensured his continuing reputation as one of modern art's most distinctive voices. Borrowing from graffiti and street imagery, cartoons, mythology and religious symbolism, Basquiat's drawings and paintings explore issues of race and identity, providing social commentary that is shrewdly observed and biting. This bestselling book, now available in a compact edition, celebrates Basquiat's achievements in the contexts of the key influences on his art. It not only re-evaluates the artist's principal works and their meaning, but also explains what keeps his painting relevant today.

I started visiting New Orleans barbershops on Friday afternoons. Many of the subjects in my monograph "Ya Heard Me" were Gangsta' Rap artists. I began documenting their day-to-day lifestyles in the neighborhoods they were from. In the two years leading up to Hurricane Katrina, I shot thousands of photographs of these young people. I realized the moniker "soldiers" by which they refer to themselves was not an affectation. The average life expectancy in this demographic is 25 years. They speak, live and interact with an urgency that I would imagine exists on battlefields. I have personally witnessed over 50 shootings. One day, one of my subjects was shot through the chest. The bullet passed through his body, missing both his heart and spine by fractions of an inch. Apparently, the slug was so hot that it cauterized the wound on the way through and it didn't bleed. He went home to lie down for a few hours and was back on the street the next day.

Paolozzi at Large in Edinburgh is an art book introducing the Scottish-Italian artist, Eduardo Paolozzi, to as wide an audience as possible: his pan-European vision; his eclecticism; his hybrid identity; his erudition; his modernity. This book focuses on twelve pieces of Paolozzi's work - his major pieces in Edinburgh, the city where he was raised. Paolozzi's work was often informed by his voracious reading and he used text in his creations. Each piece will therefore also be linked to a response poem by the former Edinburgh Makar, Christine De Luca.

Essential quotations from renowned artist and pop icon Keith Haring Keith Haring remains one of the most important and celebrated artists of his generation and beyond. Through his signature bold graphic line drawings of figures and forms dancing and grooving, Haring's paintings, large-scale public murals, chalk drawings, and singular graffiti style defined an era and brought awareness to social issues ranging from gay rights and AIDS to drug abuse prevention and a woman's right to choose. Haring-isms is a collection of essential quotations from this creative thinker and legendary artist. Gathered from Haring's journals and interviews, these lively quotes reveal his influences and thoughts on a variety of topics, including birth and death, possibility and uncertainty, and difference and conformity. They demonstrate Haring's deep engagement with subjects outside of the art world and his outspoken commitment to activism. Taken together, this selection reflects Haring's distinctive voice and reminds us why his work continues to resonate with fans around the globe. Select quotations from the book: "Art lives through the imaginations of the people who are seeing it. Without that contact, there is no art." "It's a huge world. There are lots and lots and lots of people that I haven't reached yet that I'd like to reach." "Art is one of the last areas that is totally within the realm of the human individual and can't be copied or done better by a machine." "The artist, if he is a vessel, is also a performer." "No matter how long you work, it's always going to end sometime. And there's always going to be things left undone." "I decided to make a major break. New York was the only place to go." "I came to believe there was no such thing as chance. If you accept that there are no coincidences, you use whatever comes along." "There was a migration of artists from all over America to New York. It was completely wild. And we controlled it ourselves." "I couldn't go back to the abstract drawings; it had to have some connection to the real world."

The work of Alex Colville, O.C. (1920-2013), one of the great modern realist painters, combines the Flemish detail of Andrew Wyeth, the eerie foreboding of George Tooker and the anguished confrontations of Lucian Freud. Behind the North Americans stands their common master, Edward Hopper. Colville's works are in many museums in Canada and Germany. He has affinities with Max Beckmann and appeals to the German "secondary virtues": cleanliness, punctuality, love of order. In a long life he resolutely opposed the fashionable currents of abstract and expressionistic art. In contrast to Jackson Pollock's wild action painting, Colville created paintings of contemplation and reflection. As Jeffrey Meyers writes: I spent several days with Colville on each of three visits from California to Wolfville. I received seventy letters from him between August 1998 and April 2010, and kept thirty-six of my letters to him. He sent me photographs and slides of his work and, in his eighties, discussed the progress and meaning of the paintings he completed during the last decade of his life. His handwritten letters, precisely explaining his thoughts and feelings, provide a rare and enlightening opportunity to compare my insights and interpretations with his own intentions and ideas. He also discussed his family, health, sexuality, politics, reading, travels, literary interests, our mutual friend Iris Murdoch, response to my writing, his work, exhibitions, sales of his pictures and of course the meaning of his art. His letters reveal the challenges he faced during aging and illness, and his determination to keep painting as health difficulties mounted. He stopped writing to me when he became seriously ill two years before his death. In this context the late paintings, presented in colour in this book, take on a new poignancy.

A much-needed publication celebrating the endless creativity of Anni Albers, one of the most influential artists of the twentieth century. Anni Albers (1899-1994) was a textile designer, weaver, writer and printmaker, who was among the leading pioneers of twentieth-century modernism. Throughout her fruitful career she inspired a reconsideration of fabrics, both in their functional roles and as wall hangings, truly establishing thread and weaving as a valid medium for art. In her later years, Albers took up print-making, translating many of her persistent themes and ideas into two-dimensional form. But while Albers has been extremely influential for younger generations of artists and designers, her contribution to modernist art history has, until now, been rather overlooked. This publication presents Albers's most important works in a new light, to fully explore and redefine her contribution to twentieth-century art and design, and highlight her significance as an artist in her own right, rather than alongside her husband Josef. Illuminating Albers's technical skill, her material awareness and acute understanding of art and design, this much-needed publication is a celebration of one of the most influential artists of the twentieth century, and her endless creativity.

Both critic and artist, Wolfgang Paalen was a highly influential figure in the culture of the Modernist movements of the 20th century. His work significantly informed Abstract Expressionism, especially with his periodical DEGREESIDYN DEGREESR, published from 1942-1944, which became a seminal work for painters of that time. This is the first book-length work to demonstrate his importance and bring together the contexts--philosophical, scientific, anthropological, political, and cultural--in which he worked. Thus it provides a study not only of Paalen himself, but of the relationships between modernist art movements of Europe and America, including Expressionism, Cubism, and Surrealism--and the cultural, social, and political histories in which they developed.

Carefully and thoroughly detailing the events of Paalen's life and the formation of his thinking, author Amy Winter shows how his biography, art, and thought come together in the six issues of DEGREESIDYN DEGREESR, which continued an exploration initiated by the Surrealists and other avant-gardes, and which delved into many problems which have preoccupied art in the last two decades. Utilizing material gathered for the first time, including personal interviews and archives never before consulted, Winter offers a vivid portrayal of a painter, philosopher, critic, collector, journalist, editor, historian, and ethnographer--in short, a 20th-century renaissance man.

This book analyses the animal images used in William Hogarth's art, demonstrating how animals were variously depicted as hybrids, edibles, companions, emblems of satire and objects of cruelty. Beirne offers an important assessment of how Hogarth's various audiences reacted to his gruesome images and ultimately what was meant by 'cruelty'.

Claude Monet's water lily paintings are among the most iconic and beloved works of art of the past century. Yet these entrancing images were created at a time of terrible private turmoil and sadness for the artist. The dramatic history behind these paintings is little known; Ross King's Mad Enchantment tells the full story for the first time and, in the process, presents a compelling and original portrait of one of our most popular and cherished artists. By the outbreak of war in 1914, Monet, then in his mid-seventies, was one of the world's most famous and successful painters, with a large house in the country, a fleet of automobiles and a colossal reputation. However, he had virtually given up painting following the death of his wife Alice in 1911 and the onset of blindness a year later. Nonetheless, it was during this period of sorrow, ill health and creative uncertainty that - as the guns roared on the Western Front - he began the most demanding and innovative paintings he had ever attempted. Encouraged by close friends such as Georges Clemenceau, France's dauntless prime minister, Monet would work on these magnificent paintings throughout the war years and then for the rest of his life. So obsessed with his monumental task that the village barber was summoned to clip his hair as he worked beside his pond, he covered hundreds of yards of canvas with shimmering layers of pigment. As his ambitions expanded with his paintings, he began planning what he intended to be his legacy to the world: the `Musee Claude Monet' in the Orangerie in Paris. Drawing on letters and memoirs and focusing on this remarkable period in the artist's life, Mad Enchantment gives an intimate portrayal of Claude Monet in all his tumultuous complexity, and firmly places his water lily paintings among the greatest achievements in the history of art.

FRANK STELLA

A study of the American abstract artist Frank Stella (b. 1936), surveying his career from the famous Black Paintings of the late 1950s up to the present.

Frank Stella has become become among America's premier contemporary artists. Unlike many 20th century artists, Stella has always worked in abstraction. His art is irrepressible, daring, hugely enjoyable, and refreshingly angst-free. This book begins with the celebrated Black Paintings of 1959, moves on through the Minimalist Copper and Aluminium paintings of the early Sixties, to the exuberant Protractor series, the expansion into three dimensions in the 1970s, and closing with the 3-dimensional Polish Village, Exotic Birds and Brazilian 'maximalist' works of the 1980s and 1990s.

Employing the most up-to-date art criticism of Frank Stella, James Pearson also looks at Stella's contemporaries: Jasper Johns, Robert Rauschenberg, Kenneth Noland, Jules Olitski, Morris Louis, Robert Ryman, Brice Marden, Mark Rothko and Barnett Newman among others.

Includes new illustrations. EXTRACT FROM CHAPTER 5

There does not seem to be much going on in some of Frank Stella's 1960s Minimal paintings. But there is, in fact, a lot going on. Stella limits himself to a narrow set of rules. Like Brice Marden, Barnett Newman, Morris Louis and Mark Rothko, Stella sets himself to explore a few configurations of painting. But these things - the shape of the canvas, internal organization of the stripes, colour of the bands - offer up endless permutations.

Frank Stella's paintings are lean, but leanness does not necessarily mean unfeelingness. This is the problem that monochrome painting creates, and Minimal art in general. Certainly Stella is intense: his Black Stripe Paintings, his Protractor series, his copper paintings, his India Birds, are intense works of art.

The Stella exhibitions of the late 1980s and early 1990s were affairs, in which one was impressed by a sense of colour and light, a spaciousness to the works, and a huge scale, so that each work dominated the gallery rooms. Stella is in no way a quiet, unobtrusive artist: his paintings are domineering, self-confident, assured of their own effects. Stella has always been an artist who knows what he's doing. His paintings do not lurk in gallery corners, shyly. His paintings announce themselves instantly and powerfully. Stella's June-July 1985 show at the ICA in London was typical: massive multi-media works were squeezed into the ubiquitous sparse white rooms, completely taking over the sedate spaces.

Ernst Ludwig Kirchner (1880-1938) is regarded as one of the key figures in 20th-century European art. A Modernist to his bones, he sent seismic waves through the art world with his hard-edged, intensely colored paintings and disseminated his ideas through Die Brucke art movement and the MUIM-Institut school of modernist painting, both of which he cofounded. Kirchner's work reconciled past and present through an Expressionist prism, reflecting the latest avant-garde ideas in art, while exploring traditional academic approaches and subjects. His works tackled social, moral, and emotional questions with a fierce intensity. Distorted perspectives, rough lines, and unusual colors were mainstays of his practice, as well as a recurring interest in capturing the human form, whether in frenetic city vistas such as Berlin Street Scene (1913) or in his famously decadent studio. In this introductory book, we explore the stretch of Kirchner's career through Germany and Switzerland, including his founding of Die Brucke, and his inclusion in the Nazis' infamous "degenerate art" exhibition in 1937. Along the way, we'll encounter vivid landscapes, stark nudes, intense urban settings, and, above all, a persistent emphasis on the emotional experience of painter and viewer. 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

Titian (c. 1488-1576) was recognised very early on as the leading painter of his generation in Venice. Starting in the studio of the aged Giovanni Bellini, Titian, with his contemporary Giorgione, almost immediately started to expand the range of what was possible in painting, converting Bellini's statuesque style into something far more impressionistic and romantic. This restless spirit of innovation and improvisation never left him, and during his long life he experimented with a number of different styles, the brushwork of his last great paintings showing a mysterious poetry that has never been equalled. This volume in the series Lives of the Artists collects the major writings about Titian by his contemporaries and near contemporaries. The centrepiece is the biography by Vasari, who as a Florentine found Titian's very Venetian sense of colour and transient forms a challenge to his concept of art as design. The poet Ariosto and sparkling letter writer Aretino had a more nuanced view of their friend's work, and Priscianese's account of a dinner party with Titian, and the contributions by Speroni and Dolce, and the slightly later Tuscan critic Borghini, round out the picture of this hugely thoughtful, intellectual artist, whose paintings remain some of the most sensual and affecting in all of Western art. Mostly unavailable in any form for many years, these writings have been newly edited for this edition. They are introduced by the scholar Carlo Corsato, who places each in its artistic and literary context. Approximately 50 pages of colour illustrations cover the full range of Titian's great oeuvre.