Humans are creative; it is a quality embedded in the fabric of our being, and a reality that reflects our existence as being made in the image of God.This book is a compilation of our e-books Liturgy for Creatives and On Becoming Creative, and new reflections—encompassing Alabaster's lived experience as a creative company for the past two years. It is a first step, the beginning of a conversation that allows readers to engage their faith and creativity against the larger backdrop of the God who has made all that is made.

    Centred on 15 collections, with extensive interviews with each collector and specially shot imagery detailing their objects, this is a fascinating showcase of bizarre and intriguing objects.Included are collections of skulls, mummified body parts, occultic objects, and various carnival, side-show and criminal ephemera. Detailed captions tell the curious stories behind each object, many of which are being shown outside the private world of their collections for the first time.

    College level text for art appreciation.

    The images of Pink Floyd album sleeves and the artwork they contain are the subject of Mind over Matter, a first-hand look at the music business and a consideration of where art ends and commerce begins.'

    When tragedy struck Iturbide as a young mother, she turned to photography for solace and understanding. From then on Iturbide embarked on a photographic journey that has taken her throughout her native México, from the Sonora Desert to Juchitán to Frida Kahlo’s bathroom, to the United States, India, and beyond. Photographic is a symbolic, poetic, and deeply personal graphic biography of this iconic photographer. Iturbide's journey will excite readers of all ages as well as budding photographers, who will be inspired by her resolve, talent, and curiosity.

    In a parking garage in Oakland, California; on a pleasure boat on the Lake of Zurich in Switzerland; at a public market in Chiang Mai, Thailand—artists operating at the intersection of art and cultural activism have been developing new forms of collaboration with diverse audiences and communities. Their projects have addressed such issues as political conflict in Northern Ireland, gang violence on Chicago's West Side, and the problems of sex workers in Switzerland. Provocative, accessible, and engaging, this book, one of the first full-length studies on the topic, situates these socially conscious projects historically, relates them to key issues in contemporary art and art theory, and offers a unique critical framework for understanding them.Grant Kester discusses a disparate network of artists and collectives—including The Art of Change, Helen and Newton Harrison, Littoral, Suzanne Lacy, Stephen Willats, and WochenKlausur—united by a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, and culture. Kester traces the origins of these works in the conceptual art and feminist performance art of the 1960s and 1970s and draws from the writings of Mikhail Bakhtin, Jürgen Habermas, and others as he explores the ways in which these artists corroborate and challenge many of the key principles of avant-garde art and art theory.

    It features unpublished photographs from Shore's influential work that has been widely exhibited in the US but never captured in a book for the general public.

    Kennedy's memoir of discovery is personal and historical, cultural, and autobiographical.

    

    They Drew as They Pleased showcases four of these early pioneers and features artwork developed by them for the Disney shorts from the 1930s, including many unproduced projects, as well as for Snow White and the Seven Dwarfs, Pinocchio, and some early work for later features such as Alice in Wonderland and Peter Pan. Introducing new biographical material about the artists and including largely unpublished artwork from the depths of the Walt Disney Archives and the Disney Animation Research Library, this volume offers a window into the most inspiring work created by the best Disney artists during the studio's early golden age.They Drew as They Pleased is the first in what promises to be a revealing and fascinating series of books about Disney's largely unexamined concept artists, with six volumes spanning the decades between the 1930s and 1990s. Copyright ©2015 Disney Enterprises, Inc. All rights reserved.

    Hockney’s extensive research led him to conclude that artists such as Caravaggio, Velázquez, da Vinci, and other hyperrealists actually used optics and lenses to create their masterpieces.In this passionate yet pithy book, Hockney takes readers on a journey of discovery as he builds a case that mirrors and lenses were used by the great masters to create their highly detailed and realistic paintings and drawings. Hundreds of the best-known and best-loved paintings are reproduced alongside his straightforward analysis. Hockney also includes his own photographs and drawings to illustrate techniques used to capture such accurate likenesses. Extracts from historical and modern documents and correspondence with experts from around the world further illuminate this thought-provoking book that will forever change how the world looks at art.Secret Knowledge will open your eyes to how we perceive the world and how we choose to represent it.

    This book features over 100 photographs by a select group of renowned photographers whose work appears in the award-winning Mutter Museum calendars. Highlights include a bust of an early-19th-century Parisian widow with a six-inch horn protruding from the forehead; the connected livers of Chang and Eng, the world-famous Siamese twins; the skeleton of a 7’6” giant from Kentucky; and a collection of 139 skulls showing anatomic variation among ethnic groups in central and eastern Europe. Historical photographs from the museum’s archives, brief background texts about the collection, stunning photographs by acclaimed photographers including William Wegman and Joel-Peter Witkinand, and an introductory essay on the museum are also included.

     Regardless of your medium, a solid understanding of color and its applications is essential. Petite in size but packed with information, this fresh, contemporary take on the subject of color features step-by-step projects and practical tips and techniques to put color knowledge to effective use. From pigment characteristics and color mixing to color psychology, you’ll find all the insight you need to make dynamic, harmonious, and meaningful color choices in your own works of art. You’ll find within: discussions and illustrations of the complexities of color and how to use it as a tool for communication; tips for creating vibrant mixes, lively blacks, realistic greens, and flesh tones; and an inspiring collection of fresh and contemporary artwork.Begin with an overview of color in the history of art and the science behind color.Then learn color basics: the color wheel; hue, saturation, and value; color and value; color temperature; color relativity; and color schemes.Everything you need to know about pigments and paints is detailed next.With these essentials covered, move on to integrate color with your compositions and painting style as a means of expression.Harness the power of color in your painting with Color Theory!

    It not only covers the broad spectrum of ballet vocabulary but also gives sound, practical advice to aspiring dancers. The clarity of the writing, in a field notorious for its opaqueness, is in itself a major achievement."--Merrill Ashley, Principal Dancer, New York City Ballet"An excellent, comprehensive guide to ballet pedagogy valuable to teachers and students alike. For many years Gretchen's has been a major voice in the dance community, and this extensive work details the study of classical ballet from her unique and expert point of view. I applaud her, and I heartily recommend Classical Ballet Technique."--David Howard, International Ballet Master and Master Teacher"Gretchen Warren has undertaken a monumental task and has completed it with distinction. Obviously a labor of love, this book's attention to detail and the clarity of its text and photos make it a valuable contribution to the lexicon of ballet. I recommend it to every serious student and teacher."--Thalia Mara, Founding Director, Ballet Repertory Company and National Academy of Ballet; Artistic Director, U.S.A. International Ballet Competition"Congratulations to Ms. Warren for her authoritative book on classical ballet. Thanks are in order too from the many professional teachers, dancers, and students of the art form who will benefit from this book-an essential addition to any dance lover's library."--Lawrence Rhodes, Artistic Director, Les Grands Ballets CanadiensGretchen Ward Warren studied at London's Royal Ballet and the National Ballet School of Washington, D.C. She was soloist with the Pennsylvania Ballet for eleven years and ballet mistress of American Ballet Theatre II from 1978 to 1983. She is professor of dance at the University of South Florida and frequently appears as a master teacher on the national and international circuits.Susan Cook has photographed the performing arts for the past fifteen years. Her work has appeared in Time, Newsweek, the New York Times, and many dance books. Her own books of photographs include In a Rehearsal Room and The Alvin Ailey American Dance Theater.

    But there were restrictions too, that come with growing up in an orthodox Tamil Brahmin family, as well as the rarely spoken about dangers of predatory male relatives. Ruskin College, Oxford, gave her her first taste of freedom in 1955, at the age of 22. Oxford brought her a degree in philosophy and economics—as well as hardship, as she washed dishes in a cafe to pay her fees. It was here, too, that she had her early encounters with the sensual life. With rare candour, she writes of her romantic liaisons in Oxford and Harvard, and falling in love with her ‘unsuitable boy’—her husband, Lakshmi Jain, whom she married against her beloved father’s wishes.Devaki’s professional life saw her becoming deeply involved with the cause of ‘poor’ women—workers in the informal economy, for whom she strove to get a better deal. In the international arena, she joined cause with the concerns of the colonized nations of the south, as they fought to make their voices heard against the rich and powerful nations of the former colonizers. Her work brought her into contact with world leaders and thinkers, amongst them, Vinoba Bhave, Nelson Mandela, Desmond Tutu, Henry Kissinger, Amartya Sen, Doris Lessing and Iris Murdoch, her tutor at St Anne’s College, Oxford, who became a lifelong friend.In all these encounters and anecdotes, what shines through is Devaki Jain’s honesty in telling it like it was—with a message for women across generations, that one can experience the good, the bad and the ugly, and remain standing to tell the story.