Since these stars appear in our livings rooms on family friendly mainstream shows like Good Morning America, Ellen, and dozens of others—and are loved by virtually all the kids—they couldn’t possibly have anything to do with the infamous Illuminati or anything “satanic,” could they? Some famous musicians have even publicly denounced the Illuminati in interviews or songs.
Illuminati in the Music Industry takes a close look at some of today’s hottest stars and decodes the secret symbols, song lyrics, and separates the facts from the fiction in this fascinating topic. You may never see your favorite musicians the same way ever again. Includes 50 photographs.
Discover why so many artists are promoting the Illuminati as the secret to success.
Why an aspiring rapper in Virginia shot his friend as an “Illuminati sacrifice” hoping it would help him become rich and famous.
How and why the founder of BET Black Entertainment Television became the first African American billionaire.
Why popular female pop stars like Rihanna, Christina Aguilera, Kesha and others are promoting Satanism as cool, something that was once only seen in heavy metal and rock and roll bands.
Some musicians like Korn’s singer Jonathan Davis, rapper MC Hammer, Megadeth’s frontman Dave Mustaine, and others have all denounced the Illuminati and artists promoting them.
Les Claypool, singer of Primus wrote a song about the Bohemian Grove.
Muse singer Matt Bellamy recants his belief that 9/11 was an inside job after getting a taste of mainstream success with his album, The Resistance.
Bono said he attended an Illuminati meeting with other celebrities. Was he joking or serious?
Why rap and hip hop is filled with Illuminati puppets and wannabes more than other genres of music.
Includes detailed profiles on dozens of artists who are suspected of being affiliated with the Illuminati and highlights the handful of musicians who have denounced the secret society and their puppets.
Learn about media effects, the power of celebrity, what the externalization of the hierarchy means and how you can break free from the mental enslavement of mainstream media and music.
By the author of The Illuminati: Facts & Fiction
A Miami Herald Best Book of the Year
In this deeply personal book, the celebrated Haitian-American writer Edwidge Danticat reflects on art and exile.
Inspired by Albert Camus and adapted from her own lectures for Princeton University’s Toni Morrison Lecture Series, here Danticat tells stories of artists who create despite (or because of) the horrors that drove them from their homelands. Combining memoir and essay, these moving and eloquent pieces examine what it means to be an artist from a country in crisis.
BONUS MATERIAL: This edition includes an excerpt from Edwidge Danticat's Claire of the Sea Light.
One of the most highly regarded books of its kind, On Photography first appeared in 1977 and is described by its author as "a progress of essays about the meaning and career of photographs." It begins with the famous "In Plato's Cave"essay, then offers five other prose meditations on this topic, and concludes with a fascinating and far-reaching "Brief Anthology of Quotations."
The art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion.
In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture.
Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.
Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.
This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.
With this revised and expanded edition, Hickey is back to fan the flames. More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.
Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.
Table of Contents
Mixing the colors
Drawing the shadows
Sunset in Africa - drawing tutorial
Mountain and house - Drawing Tutorial
Sunset - drawing tutorial
Forest - Drawing Tutorial
In the forest - Drawing Tutorial
Boats on the beach - Drawing Tutorial
Drawing with colored pencil is super easy if you use the right colors and have drawn a good sketch. Unlike the graphite pencils, colored pencils cannot be easily erased, so we have to draw carefully, particularly the darker areas. Always draw parts with colored pencil pressing down lightly and if it looks good, color over the same area pressing down hard. Buy a good brand of colored pencils and smooth paper. If you don't have a lot of red pencils, you can get more variations with only one pencil, by controlling how hard you press when you draw. In the image below I've drawn with one red pencil three nuances. In the first example I pressed hard, in the second I pressed normally and in the third example I pressed lightly. Even more variations of color can be created this way: This is just an example of what is inside the book.
As constructed by John Berger and the renowned Swiss photographer Jean Mohr, that theory includes images as well as words; not only analysis, but anecdote and memoir. Another Way of Telling explores the tension between the photographer and the photographed, between the picture and its viewers, between the filmed moment and the memories that it so resembles. Combining the moral vision of the critic and the pratical engagement of the photgrapher, Berger and Mohr have produced a work that expands the frontiers of criticism first charged by Walter Benjamin, Roland Barthes, and Susan Sontag.
* Beautifully illustrated with images relating to Ruskin’s life and works
* Concise introductions to the famous art books and other texts
* ALL the art criticism and published prose works, with individual contents tables
* Images of how the books were first printed, giving your eReader a taste of the original texts
* Excellent formatting of the texts
* Famous works such as MODERN PAINTERS and THE STONES OF VENICE are fully illustrated with their original artwork
* The complete poetry is presented in the scholarly Cook and Wedderburn edition
* Special alphabetical contents tables for the poetry - easily locate the poems you want to read
* The complete letters of the FORS CLAVIGERA with footnotes (Cook and Wedderburn), including the famous Whistler pamphlet – first time in digital print
* All the travel books
* Includes Ruskin’s rare autobiography PRAETERITA (Cook and Wedderburn), accompanied with the scarce DILECTA
* Special criticism section, with essays evaluating Ruskin’s contribution to literature and art criticism
* Features a bonus biography - discover Ruskin’s literary life
* Even offers a special illustrated section on Ruskin’s paintings
* Scholarly ordering of texts into chronological order and literary genres
Please visit www.delphiclassics.com to browse through our range of exciting titles
The Art Criticism
THE SEVEN LAMPS OF ARCHITECTURE
GIOTTO AND HIS WORKS IN PADUA
LECTURES ON ARCHITECTURE AND PAINTING DELIVERED AT EDINBURGH IN NOVEMBER, 1853
LETTERS TO THE “TIMES” ON THE TURNER BEQUEST 1856, 1857
NOTES ON THE TURNER GALLERY AT MARLBOROUGH HOUSE
THE ELEMENTS OF DRAWING
A JOY FOR EVER
THE TWO PATHS
THE ELEMENTS OF PERSPECTIVE
SESAME AND LILIES
LECTURES ON ART DELIVERED BEFORE THE UNIVERSITY OF OXFORD IN HILARY TERM, 1870
THE EAGLE’S NEST
THE POETRY OF ARCHITECTURE
NOTES BY MR. RUSKIN ON HIS DRAWINGS BY THE LATE J. M. W. TURNER
THE LAWS OF FÉSOLE
NOTES ON SAMUEL PROUT AND WILLIAM HUNT
CIRCULAR RESPECTING MEMORIAL STUDIES OF ST. MARK’S, VENICE
THE ART OF ENGLAND
THE PLEASURES OF ENGLAND
FINAL LECTURES AT OXFORD
LECTURES ON LANDSCAPE
LECTURES AND NOTES FOR LECTURES ON GREEK ART AND MYTHOLOGY
The Travel Books
THE STONES OF VENICE
MORNINGS IN FLORENCE
ST. MARK’S REST
‘OUR FATHERS HAVE TOLD US’
Other Prose Works
THE KING OF THE GOLDEN RIVER
THE HARBOURS OF ENGLAND
‘UNTO THIS LAST’
THE ETHICS OF THE DUST
THE CROWN OF WILD OLIVE
TIME AND TIDE BY WEARE AND TYNE
LEONI: A LEGEND OF ITALY
THE QUEEN OF THE AIR
ELEMENTS OF ENGLISH PROSODY
ARROWS OF THE CHACE
THE STORM CLOUD OF THE NINETEENTH CENTURY
ON THE OLD ROAD
INTRODUCTION TO RUSKIN’S POETRY by E. T. Cook
THE POEMS: TABLE OF CONTENTS
LIST OF POEMS IN ALPHABETICAL ORDER
RUSKIN by G. K. Chesterton
RUSKIN by Henry Major Tomlinson
RUSKIN AS POET by W. H. Davenport Adams
CONTEMPORARY NOTES ON WHISTLER vs. RUSKIN by Henry James
RUSKIN by Virginia Woolf
THE LIFE OF JOHN RUSKIN by W. G. Collingwood
Please visit www.delphiclassics.com to browse through our range of exciting titles
Photography: The Key Concepts provides an ideal guide to the place of photography in our society and to the extraordinary range of photographic genres. Outlining the history of photography and explaining the body of theory which has built up around its use, the book guides the reader through the genres of documentary, portraiture, landscape, still life, art and global photography. Illustrated with a range of historical and contemporary images and case material, this book is essential reading for anyone interested in photography.
Ben Davis currently lives and works in New York City where he is Executive Editor at Artinfo.
A deeply Malcolmian volume on painters, photographers, writers, and critics.
Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight."
Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature."
One of Publishers Weekly's Best Nonfiction Books of 2013
Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
What is modern art? Who started it? Why do we either love it or loathe it? And why is it such big money? Join BBC Arts Editor Will Gompertz on a dazzling tour that will change the way you look at modern art forever. From Monet's water lilies to Van Gogh's sunflowers, from Warhol's soup cans to Hirst's pickled shark, hear the stories behind the masterpieces, meet the artists as they really were, and discover the real point of modern art.
You will learn: not all conceptual art is bollocks; Picasso is king (but Cézanne is better); Pollock is no drip; Dali painted with his moustache; a urinal changed the course of art; why your 5-year-old really couldn't do it. Refreshing, irreverent and always straightforward, What Are You Looking At? cuts through the pretentious art speak and asks all the basic questions that you were too afraid to ask. Your next trip to the art gallery is going to be a little less intimidating and a lot more interesting.
With his offbeat humor, down-to-earth storytelling, and flair for odd details that spark insights, Will Gompertz is the perfect tour guide for modern art. His book doesn’t tell us if a work of art is good; it gives us the knowledge to decide for ourselves.
In his thorough introduction of more than a hundred pages, Michael Howard takes readers through these thought-provoking chapters: Is Art Dead? To Muse or Amuse Artistic Activity As Spiritual Activity The Representative of Humanity Beauty, Creativity, and Metamorphosis New Directions in Art Lectures include: The Aesthetics of Goethe's Worldview The Spiritual Being of Art Buildings Will Speak The Sense Organs and Aesthetic Experience The Two Sources of Art The Building at Dornach The Supersensible Origin of the Arts Truth, Beauty, and Goodness Christ, Ahriman, and Lucifer Plus a bibliography and index
In essays such as “The ism that dare not speak its name,” “Generation 2.5,” “Like a Veneer,” “Modest Painting,” “Blurring Richter,” and “Trite Tropes, Clichés, or the Persistence of Styles,” Schor considers how artists relate to and represent the past and how the art market influences their choices: whether or not to disavow a social movement, to explicitly compare their work to that of a canonical artist, or to take up an exhausted style. She places her writings in the rich transitory space between the near past and the “nextmodern.” Witty, brave, rigorous, and heartfelt, Schor’s essays are impassioned reflections on art, politics, and criticism.
Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with forms of resistance to it. Writers have tended to look no further than the end of the nineteenth century. David Batchelor seeks to go beyond the limits of earlier studies, analyzing the motivations behind chromophobia and considering the work of writers and artists who have been prepared to look at color as a positive value. Exploring a wide range of imagery including Melville's "great white whale", Huxley's reflections on mescaline, and Le Corbusier's "journey to the East", Batchelor also discusses the use of color in Pop, Minimal, and more recent art.
As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject.
For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).
Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.
A meteor of a book that enlightens, startles, stimulates and entertains.
If you love nature and life's simpler things, you'll love painting with Wilson Bickford. In this book, with a teaching style as easy and inviting as his paintings, Wilson guides you step by step through ten charming wildlife scenes on canvas.
Projects feature a variety of beloved animals including deer, black bears, blue herons, loons, ducks, swans and woodpeckers
Learn to paint a range of breathtaking settings - sparkling lakes, majestic mountains, forest retreats and even atmospheric effects like hazy sunsets, snow-laden pines and rippling water.
Includes mini-demonstrations that focus on key landscape elements such as trees, rocks, water and clouds.
Each project includes color swatches showing which mix is used where and easy-to-follow directions.
Simpler is always better when you're just starting out. These projects require minimal equipment, only five colors and absolutely no previous experience. Wilson loves to paint them - and with his friendly, straightforward approach, you will, too!
The volume will include an introduction and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on religion and art including Boris Groys, James Elkins, Thierry de Duve, David Morgan, Norman Girardot, Sally Promey, Brent Plate, and Christopher Pinney.
Country flowers are an accessible and endlessly fascinating subject. In this book, Ann Blockley shows you how to capture them in watercolours, teaching the methods and techniques that are needed to paint a variety of flowers.
There are many practical and step-by-step demonstrations throughout, with sections on how to create texture and effective backgrounds, making this an essential guide on the subject.
This revised and greatly expanded edition not only adduces new visual evidence, but deepens the theological argument and engages the controversy aroused by the book's first publication.
As Julian Barnes notes: “Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting . . . But it is a rare picture that stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.”
This is the exact dynamic that informs his new book. In his 1989 novel A History of the World in 10½ Chapters, Barnes had a chapter on Géricault’s The Raft of the Medusa, and since then he has written about many great masters of nineteenth- and twentieth-century art, including Delacroix, Manet, Fantin-Latour, Cézanne, Degas, Redon, Bonnard, Vuillard, Vallotton, Braque, Magritte, Oldenburg, Lucian Freud and Howard Hodgkin. The seventeen essays gathered here help trace the arc from Romanticism to Realism and into Modernism; they are adroit, insightful and, above all, a true pleasure to read.
From the Hardcover edition.
A unique anthology of 35 feminist art manifestos by contemporary women artists from around the world (1969-2013) introduced by Katy Deepwell. These feminist art manifestos written at different moments over the last forty years explore the potential of women's cultural production as visual artists. Manifestos occupy a specific place in the visual arts, as a means to communicate radical ideas. These texts outline a critique of patriarchy and utopian hopes for the future.
CONTENT: KATY DEEPWELL – NEGOTIATIONS (an introduction); MIERLE LADERMAN UKELES - MANIFESTO FOR MAINTENANCE ART 1969!; AGNES DENES - A MANIFESTO (1969); MICHELE WALLACE - MANIFESTO OF WSABAL (1970); NANCY SPERO - FEMINIST MANIFESTO (1970-1971); MONICA SJOO AND ANNE BERG - IMAGES ON WOMANPOWER - ARTS MANIFESTO (1971); RITA MAE BROWN - A MANIFESTO FOR THE FEMINIST ARTIST (1972); VALIE EXPORT - WOMEN'S ART: A MANIFESTO (1972); FEMINIST FILM AND VIDEO ORGANIZATIONS - WOMANIFESTO (1975); KLONARIS / THOMADAKI - MANIFESTE POUR UNE FÉMINITÉ RADICALE POUR UN CINÉMA AUTRE (1977);CAROLEE SCHNEEMANN - WOMEN IN THE YEAR 2000 (1977); Z.BUDAPEST, U.ROSENBACH, S.B.A.COVEN - FIRST MANIFESTO ON THE CULTURAL REVOLUTION OF WOMEN (1978); EWA PARTUM - CHANGE, MY PROBLEM IS A PROBLEM OF A WOMAN (1979); WOMEN ARTISTS OF PAKISTAN MANIFESTO (1983); CHILA BURMAN - THERE HAVE ALWAYS BEEN GREAT BLACKWOMEN ARTISTS (1986); EVA AND CO - THE MANIFESTO (1992); VNS MATRIX - BITCH MUTANT MANIFESTO (1994); VIOLETTA LIAGATCHEV - CONSTITUTION INTEMPESTIVE DE LA RÉPUBLIQUE INTERNATIONALE DES ARTISTES FEMMES (1995); OLD BOYS NETWORK - 100 ANTI-THESES (1997); LILY BEA MOOR (aka SENGA NENGUDI) - LILIES OF THE VALLEY UNITE! OR NOT (1998); DORA GARCIA - 100 IMPOSSIBLE ARTWORKS (2001); SUBROSA - REFUGIA: MANIFESTO FOR BECOMING AUTONOMOUS ZONES (BAZ)(2002); ORLAN - CARNAL ART MANIFESTO (2002); RHANI LEE REMEDES - THE SCUB MANIFESTO (2002); FACTORY OF FOUND CLOTHES - MANIFESTO (2002); FEMINIST ART ACTION BRIGADE - MANIFESTO (2003); METTE INGVARTSEN - YES MANIFESTO (2004); XABIER ARAKISTAIN - ARCO MANIFESTO (2005); YES! ASSOCIATION/FÖRENINGEN JA! - JÄMLIKHETSAVTAL #1(THE EQUAL OPPORTUNITIES AGREEMENT #1) (2005); ARAHMAIANI - LETTER TO MARINETTI and MANIFESTO OF THE SCEPTICS (2009); GUERRILLA GIRLS - GUIDE TO BEHAVING BADLY (2010); JULIE PERINI - RELATIONAL FILMMAKING MANIFESTO (2010); ELIZABETH M. STEPHENS AND ANNIE M. SPRINKLE - ECOSEX MANIFESTO (2011); LUCIA TKACOVA and ANETTA MONA CHISA - 80:20; SILVIA ZIRANEK - MANIFESTA (2013); MARTINE SYMS - MUNDANE AFROFUTURIST MANIFESTO (2013)
Ai Weiwei - artist, architect, curator, publisher, poet and urbanist - extended the notion of art and is one of the world's most significant creative and cultural figures. In this series of interviews, conducted over several years with the curator Hans Ulrich Obrist, he discusses the many dimensions of his artistic life, ranging over subjects including ceramics, blogging, nature, philosophy and the myriad influences that have fed into his work. He also talks candidly about his father, his childhood spent in exile and his criticism of the Chinese state.
Together, these extraordinary discussions give a unique insight into the outstanding complexity of Ai Weiwei's thought and work, and are an essential reminder of the need for personal, political and artistic freedom.
The Best American Infographics captures the finest examples from the past year, including the ten best interactive infographics, of this mesmerizing new way of seeing and understanding our world.
Aiming to wound, a schoolmaster wrote on future design-guru Stephen Bayley’s last ever school report “Charm alone will not get him through”. Bayley took this to mean that an affable, genial, outgoing nature was not enough to ensure survival in a harsh world of statistical performance. But survive and flourish is exactly what Bayley did and now he aims to define Charm by looking at its origins and meanings throughout history and in the modern age.
Although there is a vast specialized literature on the Nuremberg master, The Essential Dürer fills the need for a foundational book that covers the major aspects of his career. The essays included in this book, written by leading scholars from the United States and Germany, provide an accessible, up-to-date examination of Dürer's art and person as well as his posthumous fame. The essays address an array of topics, from separate and detailed studies of his paintings, drawings, printmaking, and sculpture, to broader concerns such as his visits to and interactions with Venice and the Netherlands, his personal relationships, and his relationships with other artists. Collectively these stimulating essays explore the brilliance of Dürer's creativity and the impact he had on his world, exposing him as an artist fully engaged with the tumultuous intellectual and religious challenges of his time.
The idea that a poem is like a picture has been a commonplace since at least ancient Greece, and writers and artists have frequently discussed poetry by discussing painting, and vice versa, but their efforts raise more questions than they answer. From Plutarch ("painting is mute poetry, poetry a speaking picture") to Horace ("as a picture, so a poem"), apparent clarity quickly leads to confusion about, for example, what qualities of pictures are being urged upon poets or how pictorial properties can be converted into poetical ones.
The history of comparing and contrasting painting and poetry turns out to be partly a story of attempts to promote one medium at the expense of the other. At the same time, analogies between word and image have enabled writers and painters to think about and practice their craft. Ultimately, Barkan argues, this dialogue is an expression of desire: the painter longs for the rich signification of language while the poet yearns for the direct sensuousness of painting.
In a blend of outrageous egotism and unconventional humor, Dalí presents 50 "secrets" for mastering the art of painting: "the secret of sleeping while awake," "the secret of the periods of carnal abstinence and indulgence to be observed by the painter," "the secret of the painter's pointed mustaches," "the secret of learning to paint before knowing how to draw," "the secret of the painter's marriage," "the secret of the reason why a great draughtsman should draw while completely naked," and many other Daliesque prescriptions for artistic success.
Illustrated with the artist's own drawings, this volume is a fascinating mixture of serious artistic advice, lively personal anecdotes, and academic craftsmanship. It is, according to the San Francisco Chronicle, "in lay-out and clarity of design . . . a remarkable work of art in itself." Especially esteemed for its insights into modern art, 50 Secrets of Magic Craftsmanship is indispensable reading for any student of Surrealism or 20th century painting.
‘Curate’ is now a buzzword applied to everything from music festivals to artisanal cheese. Inside the art world, the curator reigns supreme, acting as the face of high-profile group shows and biennials in a way that can eclipse and assimilate the contributions of individual artists. At the same time, curatorial studies programs continue to grow in popularity, and businesses are increasingly adopting curation as a means of adding value to content and courting demographics. Everyone, it seems, is a now a curator. But what is a curator, exactly? And what does the explosive popularity of curating say about our culture’s relationship with taste, labour and the avant-garde?
In this incisive and original study, critic David Balzer travels through art history and around the globe to explore the cult of curation – where it began, how it came to dominate museums and galleries, and how it was co-opted at the turn of the millennium as the dominant mode of organizing and giving value to content. At the centre of the book is a paradox: curation is institutionalized and expertise-driven like never before, yet the first independent curators were not formally trained, and any act of choosing has become ‘curating.’ Is the professional curator an oxymoron? Has curation reached a sort of endgame, where its widespread fetishization has led to its own demise?
David Balzer has contributed to publications including the Believer, Modern Painters, Artforum.com, and The Globe and Mail, and is the author of Contrivances, a short-fiction collection. He is currently Associate Editor at Canadian Art magazine. Balzer was born in Winnipeg and currently resides in Toronto, where he makes a living as a critic, editor and teacher.
Cobb teaches us to look at the world as a record of the soul's struggles to awaken and as the soul's poetry. From this perspective, the real basis of the mind is poetic. Beauty, love, and creativity are as much instincts of the soul as sexuality or hunger. Cobb shows us how artists and mystics can teach us the meaning of love, death, and beauty, if only we can awaken to their creations. The exemplars here are Dante, Rumi, Rilke, Munch, Lorca, Schumann, and Tarkovsky.