Edited by Elizabeth G. Seaton and Jane Myers (2015)
This highly original study offers the first comprehensive, critical overview of a company that expanded the audience for American prints, ceramics, and textiles throughout the 20th century.
Link to Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs: AAA Index
By Ad Stijnman (2012)
This book surveys the history of the techniques of engraving, etching and plate printing – i.e. that of manual intaglio printmaking processes – from its beginning in the 1430s until today. These developments are observed in the light of the coherence between the technique of the intaglio print (such as its materials and methods of production); the ‘style’ or outward appearance of the print; the creator of the print; and the fashion typical of a particular social group, place and time. Economic, educational and social aspects are discussed, as well as the worldwide dissemination of the trade of intaglio printmaking.
The author shows how intaglio printmaking developed steadily from the mid-fifteenth century, with the invention of the roller press and the etching of printing plates. By 1525 intaglio printmaking techniques could be said to have reached maturity and spread east and west following the European trade routes and colonisation. Further developments in plate-making resulted from a series of inventions and reinventions. After the abolition of the guilds on the European continent around 1800, and the introduction of photography and the expansion of the graphic industry, the engraving of images became a mere mechanical procedure. The handcrafted print made way for the large-scale mechanised graphic industry which emerged in the middle of the nineteenth century. Consequently artist-etchers withdrew to an elite position to concentrate on the manual aspects of printmaking, which is the situation today.
Edited by Emily J. Peters with contributions by Evelyn Lincoln and Andrew Stein Raftery (2009)
Renaissance engravings are objects of exquisite beauty and incomparable intricacy that are composed entirely of lines. Artists began using this intaglio process in Europe as early as 1430. This captivating catalogue focuses on the height of the medium, from 1480 to 1650, when engravers made dramatic and rapid visual changes to engraving technique as they responded to the demands of reproducing artworks in other media. The Brilliant Line follows these visual transformations and offers new insight into the special inventiveness and technical virtuosity of Renaissance and Baroque (Early Modern) engravers. The three essays discuss how engraving’s restrictive materials and the physical process of engraving informed its visual language; the context for the spread of particular engraving styles throughout Europe; and the interests, knowledge, and skills that Renaissance viewers applied when viewing and comparing engravings by style or school.
By Kyna Leski (2015)
Although each instance of creativity is singular and specific, Kyna Leski tells us, the creative process is universal. Artists, architects, poets, inventors, scientists, and others all navigate the same stages of the process in order to discover something that does not yet exist. All of us must work our way through the empty page, the blank screen, writer’s block, confusion, chaos, and doubt. In this book, Leski draws from her observations and experiences as a teacher, student, maker, writer, and architect to describe the workings of the creative process.
Edited by Steven Henry Madoff (2009)
The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world — its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era — combined with a revolution in information technology, raise fundamental questions about the education of today’s artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms. The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramovic, as well as questionnaire responses from a dozen important artists — among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat — about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century — and what it shouldn’t be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead.
By Errol Morris (2011)
In Believing is Seeing Academy Award-winning director Errol Morris turns his eye to the nature of truth in photography. In his inimitable style, Morris untangles the mysteries behind an eclectic range of documentary photographs, from the ambrotype of three children found clasped in the hands of an unknown soldier at Gettysburg to the indelible portraits of the WPA photography project. Each essay in the book presents the reader with a conundrum and investigates the relationship between photographs and the real world they supposedly record.
By Helen Molesworth (2015)
In 1933, John Rice founded Black Mountain College in North Carolina as an experiment in making artistic experience central to learning. Though it operated for only 24 years, this pioneering school played a significant role in fostering avant-garde art, music, dance, and poetry, and an astonishing number of important artists taught or studied there. Among the instructors were Josef and Anni Albers, John Cage, Merce Cunningham, Buckminster Fuller, Karen Karnes, M. C. Richards, and Willem de Kooning, and students included Ruth Asawa, Robert Rauschenberg, and Cy Twombly. Leap Before You Look is a singular exploration of this legendary school and of the work of the artists who spent time there. Scholars from a variety of fields contribute original essays about diverse aspects of the College—spanning everything from its farm program to the influence of Bauhaus principles—and about the people and ideas that gave it such a lasting impact. In addition, catalogue entries highlight selected works, including writings, musical compositions, visual arts, and crafts. The book’s fresh approach and rich illustration program convey the atmosphere of creativity and experimentation that was unique to Black Mountain College, and that served as an inspiration to so many
By David Chase, Jill L. Ferguson, and J. Joseph Hoey IV (2014)
Assessment in Creative Disciplines: Quantifying and Qualifying the Aesthetic explores creativity and its assessment using easy-to-grasp concepts; concrete examples of arts education and assessment models and theories, including digital education models and e-portfolios; and case studies to form a blueprint that administrators, educators, practitioners, researchers, and students can use to assess endeavors in art, dance, design, and music, both on an individual basis and as a collective (course, cohort, department, program, etc.).
By John F. Szwed (1998)
Sun Ra, a.k.a. Herman Poole “Sonny” Blount (1914–1993), has been hailed as “one of the great big-band leaders, pianists, and surrealists of jazz” (New York Times) and as “the missing link between Duke Ellington and Public Enemy” (Rolling Stone). Composer, keyboardist, bandleader, philosopher, poet, and self-proclaimed extraterrestrial from Saturn, Sun Ra led his “Intergalactic Arkestra” of thirty-plus musicians in a career that ranged from boogie-woogie and swing to be-bop, free jazz, fusion, and New Age music. This definitive biography reveals the life, philosophy, and musical growth of one of the twentieth century’s greatest avant-garde musicians.
By John Lewis, Andrew Aydin, and Nate Powell (2016)
Discover the inside story of the Civil Rights Movement through the eyes of one of its most iconic figures, Congressman John Lewis. March is the award-winning, #1 bestselling graphic novel trilogy recounting his life in the movement, co-written with Andrew Aydin and drawn by Nate Powell. Congressman John Lewis was a leader in the American Civil Rights Movement. He was chairman of the Student Nonviolent Coordinating Committee (SNCC) and played a key role in the struggle to end segregation. Despite more than 40 arrests, physical attacks, and serious injuries, John Lewis remained a devoted advocate of the philosophy of nonviolence. He is co-author of the first comics work to ever win the National Book Award, the #1 New York Times bestselling graphic novel memoir trilogy March, written with Andrew Aydin and illustrated by Nate Powell. He is also the recipient of numerous awards from national and international institutions including the Lincoln Medal, the John F. Kennedy “Profile in Courage” Lifetime Achievement Award, and the NAACP Spingarn Medal, among many others. He lives in Atlanta, GA.