Now Watson-Guptill proudly presents the 25th Anniversary Edition. Each chapter is devoted to a different Old Master—Dürer, Titian, Veronese, Caravaggio, Vermeer, Hals, Rubens, and Rembrandt—and is divided into two sections. The first part describes the artist’s techniques and discusses how artists can incorporate these methods within their own personal style. The second part is a full-color demonstration. Author Joseph Sheppard traces the artist’s working sequence, colors and mediums, surfaces and tools, as he creates a new painting. With today’s resurgence of interest in Old Master techniques, this unique, practical, and inspiring book is sure to teach countless artists exactly How to Paint Like the Old Masters.

    Accredited Zentangle teacher Jane Marbaix demonstrates a range of patterns one step at a time and offers a sourcebook of her own designs to inspire tanglers to try something different. Proven to reduce stress and enhance creativity in people of all ages, Zentangle does not require a background in practical art or expensive materials to produce pleasing results.

     A review of contemporary theory of art history provides readers with lucid prose and concrete examples. Discussion of eighteenth- and nineteenth- century theories that are important to art history offers readers a review of historically important issues in philosophy. Illustrations of well-known works of art show readers how theory has application to images. Art historians and educators.

    Not simply a textbook of definitions, each volume provides trenchant and provocative--yetalways balanced and complete--discussions of the central issues in a given topic. Every Very Short Introduction gives a readable evolution of the subject in question, demonstrating how it has developed and influenced society. Whatever the area of study, whatever the topic that fascinates the reader, the series has a handy and affordable guide that will likely prove indispensable.

    It also relates the extraordinary history of the museum's collection, a collection that has enabled the Van Gogh Museum to evolve into a world-renowned centre of knowledge about Van Gogh's work and the art of his time.

    The images were taken when Banksy joined Bristol's radical football team The Easton Cowboys on a tour of Mexico to play football against the Zapatista freedom fighters. The new edition also contains sections on the Banksy vs Bristol Museum show, Exit Through The Gift Shop, The Tesco Value Petrol Bomb, an interview with John Nation and more. The book is a celebration of Banksy's street art in his home city of Bristol and places him in the context of 3D, John Nation from the Barton Hill Youth Club, Inkie, Nick Walker and the other artists and musicians who were instrumental in linking Bristol to the original New York hip-hop scene. It is the most revealing account of Banksy's formative years and contains more than one hundred images of his Bristol art, as well as pictures of Banksy at work, many of which have never been published before. Steve Wright, traces Banksy's roots back to the rave culture of the Nineties and draws a rounded picture of an artist who is most famous for being anonymous.

    This funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but that we’re too embarrassed to ask. Questions such as: What is “good” or “bad” art—and does it even matter? Is art still capable of shocking us or have we seen it all before? And what happens if you place apiece of art in a rubbish dump?

    This best-selling text has guided tens of thousands of art students through the writing process. Students are shown how to analyze pictures (drawings, paintings, photographs), sculptures and architecture, and are prepared with the tools they need to present their ideas through effective writing.

    Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice--one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism.Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint: Paintings for the Future represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Essays explore the social, intellectual and artistic context of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars and curators considers af Klint's sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art--a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the exhibition.

    He also talked a fair amount about mayonnaise. The interview was conducted by Mara Altman, the author of four bestselling Kindle Singles including “Baby Steps” and “Bearded Lady.” Altman has worked as a staff writer for The Village Voice, and has also written for New York Magazine and The New York Times. In 2009, HarperCollins published Altman's first book, “Thanks For Coming: A Young Woman's Quest for an Orgasm,” which was optioned as a comedy series by HBO. Cover design by Adil Dara Kim.

    In this single, from n+1 (Issue 12), Kent Russell gives a remarkable (and very funny) report on the festival and a sympathetic account of the situation of the white poor in the US.

    The district attorney had boasted, "Anyone can convict a guilty person, but it takes someone really good to convict an innocent one." Did Harris apply a naked choke-hold, or did the district attorney and his forensics team set up Harris?

    Fortunately, Simple Soldering proves that does not need to be the case. This handy how-to guide is complete in its exploration of the craft of creating soldered metal jewelry, including tools, techniques, and 20 beautiful projects that beginners and enthusiasts can make at home.Author and teacher Kate Richbourg demystifies basic soldering for any home crafter, showing how to create sophisticated, polished, and professional-looking jewelry pieces through simple soldering techniques. First, she instructs how to set up a jewelry workspace that fits the confines of your budget and living space. Detailed step-by-step instructions walk you through the basic tools and materials you need, plus how to use them. A sample chapter gives a host of introductory exercises that teach solid skills, allowing you to test these techniques on a small scale. Finally, you'll discover 20 finished projects that include earrings, pendants, rings, bracelets, and clasps that may also include bead or wire embellishment.Kate also demonstrates how to combine and layer techniques to gorgeous effect. She also examines common mistakes, shows how to correct or adapt them, and gives advice on when it’s time to start over. Most of all, having taught thousands of classes on soldering, Kate has a "you can do it!" attitude that shines through to help even the most reluctant jewelry maker fire up the torch with ease.Paired with an instructional DVD, Kate’s expert teaching skills will help projects come alive, right in your own studio.With Simple Soldering, the art of metal working one-of-a-kind jewelry is now at your fingertips.

    These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection—while comprehensive and authoritative—offers the reader some eclectic surprises as well.Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed.Kristine Stiles's general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images.Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's Theories of Modern Art (with Peter Selz and Joshua Taylor) and Joshua Taylor's Nineteenth-Century Theories of Art, will be an invaluable resource for anyone interested in contemporary art."In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm.' It was around that time that the word 'readymade' came to mind to designate this form of manifestation."—Marcel Duchamp (1961)"Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women."—Miriam Schapiro and Melissa Meyer (1978)"I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago."—Shigeko Kubota (1976)"Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space."—Maya Lin (1983)"Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art."—Andres Serrano (1989)

    Bill was also one of the most influential broadcasters of all time, an inspiration to legions of his fellow broadcasters who looked up to him. No less an authority than John Madden tells Ken Korach in this 80,000-word testament to Bill’s uniqueness that when he turned from coaching to broadcasting, no one was more of an influence on him than Bill. But this was true of Bill the man as well, not merely Bill the broadcaster. “We all wanted to live vicariously through Bill. The things that he did, we wished we could do,” Madden tells Ken Korach. Korach, longtime voice of the A’s and Bill’s partner for ten seasons until King’s death in 2005, is the perfect one to bring Bill to life on the page. A half-century ago, Ken Korach was a kid in Los Angeles, spinning the night dial to tune in Warriors basketball games from faraway San Francisco for one reason: He just had to hear Bill. Now, in Holy Toledo – Lessons from Bill King, Renaissance Man of the Mic, he tells the remarkable story of King the legendary baseball, basketball and football broadcaster. Bill was a student of Russian literature, a passionate sailor, a fan of eating anything and everything from gourmet to onions and peanut butter, a remarkable painter. Korach draws on a lifetime of listening to and learning from King – as well as extensive research, including more than fifty interviews with King’s family members, colleagues, friends and associates – to create this rich portrait, eagerly awaited by thousands of fans who have flocked to the Holy Toledo Facebook page and heard about the book through Ken’s media appearances.Holy Toledo features a moving foreword by Hall of Fame broadcaster Jon Miller, previously of ESPN, and a brilliant cover by Mark Ulriksen, internationally recognized for his New Yorker magazine covers, that captures King’s flair and personality.Billy Beane“The best part about Bill wasn’t just that he was so good at his job but that he was so interesting outside of his job. His mustache epitomized that. He looked eccentric and he was eccentric, in a good way.”Bob Welch“If I had a hitter I had trouble with, I’d ask Bill how I should pitch him. He always had a good answer.”Greg Papa“Bill King was the greatest radio broadcaster in the history of the United States.”Tom Meschery“Talking with Bill was like talking with an encyclopedia.… If you wanted to talk sports, literature – when Bill talked you listened, because he always had something interesting to talk about.”Al Attles“He didn’t sugarcoat it. Bill was a departure from the way it was. If a player from the Warriors made a mistake, Bill told it like it was.”Ed Rush“I’d put the radio out the window and keep turning it to certain angles and it would go in and go out. I’d listen to the Warriors and the Raiders. To do all three sports like he did, he was phenomenal. He was out of this world.”Tom Flores“Bill made some of the great plays in the history of the Raiders even greater with his description. Those moments were kept alive in his voice.”Jason Giambi“He was such an incredible man. I had so much fun with him and he would always ask how my family was doing and I have the fondest memories of him. We would talk about life and all the things he had seen. He made me well rounded.”Rick Barry“He had the ability to see a game, a basketball game, and express what was happening in eloquent terms, at times instantaneously. When he was saying something, it was happening.”