Urban sketching has become one of the biggest art trends of the last decade, with artists preferring to capture a scene on location rather than relying on a photograph. Featuring 20 step-by-step exercises, Sketch Club: Urban Drawing is your essential guide to putting your drawing skills into practice on location. You'll learn how to start, when to stop and how to fix common mistakes. Packed with all the energy and inspiration of a drawing group, this is the ideal book for anyone looking to take their urban drawing further. Perfect your urban drawing skills and develop your own unique style with professional urban sketcher, Phil Dean. Chapters include: - Loosening Up - Building a Scene - Adding Contrast - Taking it Further - Finishing Touches

The unknown and mysterious Great Southland, or Terra Australis, captured the European imagination for centuries before it became a documented fact. This book traces the history of pictorial imagery associated with the 'Fifth Continent'. It discusses and presents imagery from all parts of the southern continent: Java, Australia, New Zealand, New Guinea, the South Pacific Islands and Tierra del Fuego as it evolved up to the Enlightenment. Many European explorers had a passionate interest in depicting the plants, animals and native inhabitants of the southern world. The images associated with the search for the southern continent - paintings, handcolored maps, drawings, tapestries and artefacts - are discussed in the context of the link between art and exploration. Beautifully illustrated with Portuguese, Spanish, French, Dutch and English images, this book is an exciting visual account of the construction of Terra Australis in the European imagination and as scientific fact.

When the car was invented, it changed how we live. Learn about the first cars and how they changed the world.

David Gentleman has lived in London for almost seventy years, most of it on the same street. This book is a record of a lifetime spent observing, drawing and getting to know the city, bringing together work from across his whole career, from his earliest sketches to watercolours painted just a few months ago. Here is London as it was, and as it is today: the Thames, Hampstead Heath; the streets, canals, markets and people of his home of Camden Town; and at the heart of it all, his studio and the tools of his work. Accompanied by reflections on the process of drawing and personal thoughts on the ever-changing city, this is a celebration of London, and the joy of noticing, looking and capturing the world. 'David has spent a lifetime depicting with wit and affection a London he has made his own' Alan Bennett 'He delivers a poetry of exultant concentration ... The surface fusion of the sensuous and the sharply modern is echoed by Gentleman's imagery' Guardian 'The artist and illustrator has been responsible for some of the most-seen public artworks in this country' The Times 'Perhaps the last of the great polymath designer-painters' Camden New Journal

Ceramic artist Vonney Ball's elegant output reflects a sound education in English ceramics design, a singularity of purpose and a drive to keep making work. Twenty years on from her arrival in New Zealand, her work connects cultural experiences from opposite ends of the earth. Vonney Ball: Ceramics surveys her work and examines her influences, from Bloomsbury to Maori art and design.

This illustrated modern history of the connections between science and art reveals a new perspective on what that relationship has contributed to the world around us, based on the landmark Radio 4 series, and Science Museum exhibition.

Throughout history, artists and scientists have been driven by curiosity and the desire to experiment. Both have wanted to make sense of the world around them, often to change it, sometimes working closely together, certainly taking inspiration from each other’s disciplines. The relationship between the two has traditionally been perceived as one of love and hate, fascination and revulsion, symbiotic but antagonistic. But art is crucial to helping us understand our science legacy and science is well served by applying an artistic lens. How exactly has the ingenuity of science and technology been incorporated into artistic expression? And how has creative practice, in turn, stimulated innovation and technological change?

The Art of Innovation is a history of the past 250 years viewed through the disciplines of art and science. Through fascinating stories that explore the sometimes unexpected relationships between famous artworks and significant scientific and technological objects – from Constable’s cloudscapes and the chemist who first measured changes in air pressure, to the introduction of photography and the representation of natural history in print – it offers a new way of seeing, studying and interpreting the extraordinary world around us.

Latin American extractivism has become the ground on which activists and scholars frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the detritus of longstanding extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and postextractivism. The field of art theory on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand with collective action remains limited, and fails to provide an account of the role, processes and politics of art in anti- and post-extractivist movements. Creating Worlds Otherwise offers the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. The book reports on a two-year research project into creative resistance to extractivism in Argentina, and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK. Creating Worlds Otherwise is structured according to the main themes of anti and post-extractivist movements: territoriality; ecofeminism and the ethics of care; human rights and the rights of nature; urban extractivism; sovereignty, autonomy and self-determination; and postextractivism and alternatives to development. It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.

Extractivism has increasingly become the ground on which activists and scholars in Latin America frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the direct consequences of long-standing extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and post-extractivism. The field of art theory, on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand and in depth with collective action remains limited and fails to provide an account of the role, processes, and politics of art in anti- and post-extractivist movements. Creating Worlds Otherwise examines the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. It reports on a six-year project on creative resistance to extractivism in Argentina and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK. It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.

Philadelphia possesses an exceptionally large number of places that have almost disappeared-from workshops and factories to sporting clubs and societies, synagogues, churches, theaters, and railroad lines. In Philadelphia: Finding the Hidden City, urban observers Nathaniel Popkin and Peter Woodall uncover the contemporary essence of one of America's oldest cities. Working with accomplished architectural photographer Joseph Elliott, they explore secret places in familiar locations, such as the Metropolitan Opera House on North Broad Street, the Divine Lorraine Hotel, Reading Railroad, Disston Saw Works in Tacony, and mysterious parts of City Hall. Much of the real Philadelphia is concealed behind facades. Philadelphia artfully reveals its urban secrets. Rather than a nostalgic elegy to loss and urban decline, Philadelphia exposes the city's vivid layers and living ruins. The authors connect Philadelphia's idiosyncratic history, culture, and people to develop an alternative theory of American urbanism, and place the city in American urban history. The journey here is as much visual as it is literary; Joseph Elliott's sumptuous photographs reveal the city's elemental beauty.