The development of technology and online learning has transformed not only the way information is transmitted but also the way learning and teaching are approached. As a socio-cultural construction, arts and creativity reflect the societal context. Accordingly, nowadays, educating the arts and creative potential is necessarily affected by technology. Sustaining Creativity and the Arts in the Digital Age discusses from a global perspective how the relationship between the arts, creativity, and education is evolving and developing in the digital age and considers the multiple dimensions of creativity. Covering key topics such as robots, dreaming, art education, innovation, and digital technologies, this reference work is ideal for artists, industry professionals, researchers, academicians, practitioners, scholars, educators, and students.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy. The authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft's connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time.

This collection aims to map a diversity of approaches to the artform by creating a 360° view on the circus. Three sections of the book, Aesthetics, Practice, Culture, approach aesthetic developments, issues of artistic practice, and the circus’ role within society. This book consists of a collection of articles from renowned circus researchers, junior researchers, and artists. It also provides the core statements and discussions of the conference UpSideDown—Circus and Space in a graphic recording format. Hence, it allows a clear entry into the field of circus research and emphasizes the diversity of approaches that are well balanced between theoretical and artistic point of views. This book will be of great interest to students and scholars of circus studies, emerging disciples of circus and performance.

Fifty two weeks of images to color with pencil or marker! Each group is clustered around the traditional qualities of the visible planets--Sun, Moon, Mercury, Venus, Jupiter, Saturn and Mars, with Earth added for good measure. Use the designs weekly, or all at once, however you want. Information on colors is offered, but you will probably come up with better color combinations than the author! Enjoy!

The fact that picture dealing is in the author's genetic make-up becomes apparent very early in this delightful book. Peter Johnson records 50 years of the international art market and his part in some of the most interesting deals of his generation. Through the doors of Peter's London gallery walked (and subsequently onto the pages of Heart in Art) any number of royalty, dukes, prime ministers, auctioneers, international businessmen, sculptors, European nobility, academics, contemporary artists, and even the wife of a U.S. president--some were buyers, some sellers, and others just popped into his office. Each has a part in Peter's story and each enlivens this book. It is also about the author's life in general and his wide-ranging interests--including architecture, flying, gardens, horses, and music--with many entertaining anecdotes.

Hans Holbein's Dance of Death redefined the death emblem books, offering a framework for artists afterwards to emulate (and they did!). There are forty-one plates in the original 1538 edition, all reproduced here at 4.5" by 6" in size, and including the original title in English, the German text accompanying each image, as well as a Latin verse. These are followed by the original Dance of Death Alphabet, an initial caps set. All the images in this book have been scanned from the original 1538 edition and digitally cleaned up for reproduction.