Category Archives: education
Innovations in Art and Design series from Routledge:
Network Art: Practices and Positions (2005)
Invisible Connections: Dance, Choreography and Internet Communities (2005)
Thinking Through Art: Reflections on Art as Research (2005)
New Practices – New Pedagogies: A Reader (2005)
New Visions In Performance (2004)
Digital Creativity: A Reader (2002)
Edited by Wendy Hui Kyong Chun and Thomas W. Keenan (2005)
A comprehensive anthology of original and classic essays that explore the tensions of old and new in digital culture. Leading international media scholars and cultural theorists interrogate new media like the Internet, digital video, and MP3s against the backdrop of earlier media such as television, film, photography, and print. The essays provide new benchmarks for evaluating all those claims–political, social, ethical–made about the digital age. Committed to historical research and to theoretical innovation, they suggest that in the light of digital programmability, seemingly forgotten moments in the history of the media we glibly call old can be rediscovered and transformed. The many topics explored in provocative volume include websites, webcams, the rise and fall of dotcom mania, Internet journalism, the open source movement, and computer viruses.
By Joseph Beuys (1993)
Joseph Beuys, artist and scholar, was the most influential thinker among artists of the postwar generation. He inspired the avant-garde with his impassioned appeals for democratic anarchy, and actually founded a string of ‘free universities’ across Europe. His credo was “Every man is an artist.” In 1974, he accepted an invitation to visit the U.S. His travels too him to New York, Chicago, and Minneapolis, and he called the trip – fact an extended performance piece – “Energy Plan for the Western Man.” Beuys’ writings have never before been collected in any language, and most of the interviews and speeches in Joseph Beuys in America have never before appeared in book form.
By Katherine and Michael McCoy (1990)
A book that documents Cranbrook’s Design Department faculty, student, and alumni work from 1980-1990. Although not defined by a style, the Cranbrook design philosophy has been influential in product, graphic and furniture design. Products have been treated as sensual objects to be interpreted. “We’ve tried to recognize that products carry the mythology of the culture,” said Michael McCoy, chairman of the design department with his wife, Katherine.
Edited by Robert Clark and Andrea Belloli (1984)
As Neil Harris explains in one of the book’s most interesting essays, Cranbrook derived from the arts and crafts movement that started in mid- 19th-century England as a reaction against shoddy industrial output and that, spreading speedily through northern Europe, resulted in the foundation of several schools aimed at reforming design by relating it more to art and life.
The Cranbrook complex, consisting of a church, schools for children, residences, studios and workshops, took about nine years to complete, by which time it had become – not an art school, but, in the words of the architect Eliel Saarinen, ”a working place for creative arts.” The emphasis, says Robert Judson Clark in his essay, was more on ”place, people and experience than on curriculum and methods.” Still, during World War II, this shifted to more orthodox concerns – credits, degrees and specific courses in, for instance, industrial design.
The influence of the Saarinens diminishes as the first generation of Cranbrook students comes of age, in the 1940s. The students include Ray and Charles Eames, represented by architecture and furniture; Florence Knoll, with interiors, and Harry Bertoia, with welded-metal sculptures.
By Scott and Laurie Makela (1998)
What is driving communication and what are the real challenges facing designers today? Whereishere presents a radical new take on both these issues, breaks from the orthodox approach to understanding two dimensional design. Leading graphic design studios are represented including Bruce Mau and Cranbrook Academy of Art.
Edited by Trudy Hansen (1995)
Curators Hansen, Joann Moser, David Mickenberg, and Barry Walker chronicle the growth of American printmaking from early utilitarian works through the establishment of printmaking as a fine art. The work describes developments in technique but more importantly addresses the complex, cooperative process that was born in innovative printshops such as the Tamarind Lithography Workshop in Los Angeles. Mickenberg’s chapter on nonprofit and university-affiliated workshops provides refreshing insight into how the financial support of large foundations helped found the nonprofit printshops. Not only did such workshops pool the talents of printmakers, but they helped create new markets for what had previously been considered a dying art. The authors also attribute the rebirth of printmaking in the United States to several women and minority artists and printers; however, the most recognized prints, created by the likes of Andy Warhol and Roy Lichtenstein, have not been overlooked.
Edited by Herbert Bayer, Walter Gropius, and Ise Gropius (1938)
Over seventy years after its foundation in Weimar, the Bauhaus has become a concept all over the world. The respect which it commands is associated above all with the design it pioneered, one which we now describe as “Bauhaus style”. The teachers at the Bauhaus included the leading artists of the times, among them Wassily Kandinsky, Lyonel Feininger, Paul Klee, and Oscar Schlemmer. The teaching strategies developed were adopted internationally into the curriculum of art and design institutes.
Edited by Edward Shanken (2003)
Long before e-mail and the Internet permeated society, Roy Ascott, a pioneering British artist and theorist, coined the term “telematic art” to describe the use of online computer networks as an artistic medium. In Telematic Embrace Edward A. Shanken gathers, for the first time, an impressive compilation of more than three decades of Ascott’s philosophies on aesthetics, interactivity, and the sense of self and community in the telematic world of cyberspace. This book explores Ascott’s ideas on how networked communication has shaped behavior and consciousness within and beyond the realm of what is conventionally defined as art.
By Howard Singerman (1999)
Nearly every artist under the age of fifty in the United States today has a Master of Fine Arts degree. Howard Singerman’s thoughtful study is the first to place that degree in its proper historical framework and ideological context. Arguing that where artists are trained makes a difference in the forms and meanings they produce, he shows how the university, with its disciplined organization of knowledge and demand for language, played a critical role in the production of modernism in the visual arts. Now it is shaping what we call postmodernism: like postmodernist art, the graduate university stresses theory and research over manual skills and traditional techniques of representation.
Singerman, who holds an M.F.A. in sculpture as well as a Ph.D. in Visual and Cultural Studies, is interested in the question of the artist as a “professional” and what that word means for and about the fashioning of artists. He begins by examining the first campus-based art schools in the 1870s and goes on to consider the structuring role of women art educators and women students; the shift from the “fine arts” to the “visual arts”; the fundamental grammar of art laid down in the schoolroom; and the development of professional art training in the American university. Singerman’s book reveals the ways we have conceived of art in the past hundred years and have institutionalized that conception as atelier activity, as craft, and finally as theory and performance.