Lavishly illustrated with more than seventy-five boxes andcollages, as well as images of the fascinating source material that the artistcollected to create his exquisitely crafted worlds, it communicates to thereader the sense of surprise and delight that one experiences on viewingthe actual boxes with their toys, stuffed birds, maps, clay pipes, marbles,shells, and other paraphernalia of daily life.The book’s essays bring together the expertise of Lynda Roscoe Hartigan,former director of the Joseph Cornell Study Center; the compelling commentaryof Walter Hopps, art dealer, museum curator and director, and theartist’s personal friend; the wide-ranging scholarship of Richard Vine; andthe sensitivity of Robert Lehrman, a leading Cornell collector whose firsthandexperience lends this publication its distinctive intimacy. Among thetopics explored are the role of dualities in the artistic process, the dominantthemes of Cornell’s oeuvre, and the importance of his Christian Science faith.

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    Now, in The View From The Studio Door, Orland turns his attention to broader issues that stand to either side of that artistic moment of truth.In a text marked by grace, brevity and humor, Orland argues that when it comes to art making, theory and practice are always intertwined. There are timeless philosophical questions (How do we make sense of the world?) that address the very nature of art making, as well as gritty real-world questions (Is there art after graduation?) that artists encounter the moment they’re off the starting blocks and producing work on a regular basis.Simply put, this is a book of practical philosophy. As a teacher and working artist himself, Orland brings authentic insight and encouragement to all those who face the challenge of making art in an uncertain world. The breadth of material covered is reflected in chapters that include Making Sense of the World, Art & Society, The Education of the Artist, Surviving Graduation, Making Art That Matters, The Artistic Community, and more.The View From The Studio Door is the perfect companion piece to Art & Fear, and will appeal to a similar (and already-established) audience of students, working artists, teachers and professionals. For students’ benefit, The View is also modestly priced, with wide page margins for easy note-taking and annotation.

    In soaring glass structures or minimalist canvases, we recognize a time of vast technological advance which affirmed the power of human beings to reshape their environment and to break, radically, from the conventions or constraints of the past.Less well-known, but no less fascinating, is thedistillation of modernism in graphic design. With the creation of clean visual concepts, designers sought to move away from the mystique they identified with the commercial artist, and to counterbalance an increasingly complicated world with clarity.This unprecedented TASCHEN publication, authored byJens Muller, brings together approximately 6,000 trademarks, focused on the period 1940 1980, to examine howmodernist attitudes and imperatives gave birth to corporate identity. Ranging from media outfits to retail giants, airlines to art galleries, the sweeping survey is organized into three design-orientated chapters: Geometric, Effect, and Typographic. Each chapter is then sub-divided into form and style led sections such as alphabet, overlay, dots and squares.Alongside the comprehensive catalog, the book features an introduction fromJens Mulleron the history of logos, and an essay byR. Roger Remingtonon modernism and graphic design. Eight designer profiles and eight instructive case studies are also included, with a detailed look at the life and work of such luminaries asPaul Rand, Yusaku Kamekura, andAnton Stankowski, and at such significant projects asFiat, The Daiei, Inc., and theMexico Olympic Games of 1968. An unrivaled resource for graphic designers, advertisers, and branding specialists, Logo Modernismis equally fascinating to anyone interested in social, cultural, and corporate history, and in the sheer persuasive power of image and form. Text in English, French, and German "

    Here nearly 200 illustrations--over 100 in color--make a fascinating collection.

    Self-portraits catch your eye. They seem to do it deliberately. Walk into any art gallery and they draw attention to themselves. Come across them in the world's museums and you get a strange shock of recognition, rather like glimpsing your own reflection. For in picturing themselves artists reveal something far deeper than their own physical looks: the truth about how they hope to be viewed by the world, and how they wish to see themselves. In this beautifully written and lavishly illustrated book, Laura Cumming, art critic of the Observer, investigates the drama of the self-portrait, from Durer, Rembrandt and Velazquez to Munch, Picasso, Warhol and the present day. She considers how and why self-portraits look as they do and what they reveal about the artist's innermost sense of self -- as well as the curious ways in which they may imitate our behaviour in real life. Drawing on art, literature, history, philosophy and biography to examine the creative process in an entirely fresh way, Cumming offers a riveting insight into the intimate truths and elaborate fictions of self-portraiture and the lives of those who practise it. A work of remarkable depth, scope and power, this is a book for anyone who has ever wondered about the strange dichotomy between the innermost self and the self we choose to present for posterity -- our face to the world.

    Inspirational. Entertaining. One thousand blank journals are currently circulating throughout the world, beckoning contributors who find the journals by chance on trains, in cafés, and anonymously left on doorsteps. Artist Someguy shares more than 250 of the best entries: a collage of African countries repositioned into a new continent; the musings of a teen trapped in a drug- ravaged community; a student's humorous personal ad for his ideal girlfriend ("C-cup required!"). A faux leather cover and two beautifully embroidered pages bring the look and feel of the original journals to life. The perfect gift for journalists, aspiring artists, designers, and anyone who can't wait for one of the journals to magically appear in their lives.

    Drawing can enrich your life in extraordinary and unexpected ways. Drawing your everyday experiences can change how you and others see the world, while drawing from imagination can give rise to fantastic new worlds. And, despite what you may believe, it's something just about anyone can learn to do. Drawing For Dummies offers you a fun, easy way to learn drawing basics. Its author, professional illustrator and long-time art educator Brenda Hoddinott, has a simple philosophy--that only you can teach you to draw. With that in mind, she arms you with the tools you need to explore the basics and then coaches you through 30 hands-on drawing projects. You'll quicklyConquer the basics of line and shading Develop an eye for basic shapes and contours Discover how to create the illusion of three dimensions Render still-life subjects and landscapes Bring animals and people to vivid life on the page Brenda helps you tune into your right brain and see the world as an artist does. You'll discover how to break things down into basic lines and shapes and then reassemble them on the page. Other topics covered include:Understanding and exercising the basic skills of drawing lines and shapes, adding life and depth with shading, and rendering textures Mastering the fundamentals of composition and planning drawings Creating lifelike doodles and cartoon characters Drawing the natural environment including both plants and animals Keeping a sketchbook and drawing from memory Drawing people, starting with babies and exploring the human face from childhood to old age It's never too late to unleash the artist within. Let Drawing For Dummies put you on the road of discovery and self-expression through drawing.

    From a young age, Kahlo forged her own path, overcoming polio as a child, and stoically battling the after-effects of a tragic road accident that left her with lifelong injuries. Pocket Frida Kahlo Wisdom is an inspiring collection of some of her best quotes on love, style, life, art and more, and celebrates the Mexican icon's immense legacy."Nothing is worth more than laughter. It is strength to laugh and to abandon oneself, to be light.""The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.""I am my own muse, I am the subject I know best. The subject I want to know better."

    Featuring 368 oversize pages, never-before-seen designs, and concept art from the game's dynamic environments, iconic characters, detailed weapons, and more -- along with commentary from the developers themselves.

    This 600-year-old tradition reflects not only a history of seekers, but our journey of artistic expression and the ways we communicate our collective human story.For many in the West, Tarot exists in the shadow place of our cultural consciousness, a metaphysical tradition assigned to the dusty glass cabinets of the arcane. Its history, long and obscure, has been passed down through secret writing, oral tradition, and the scholarly tomes of philosophers and sages. Hundreds of years and hundreds of creative hands--mystics and artists often working in collaboration--have transformed what was essentially a parlor game into a source of divination and system of self-exploration, as each new generation has sought to evolve the form and reinterpret the medium.Author Jessica Hundley traces this fascinating history in Tarot, the debut volume in TASCHEN's Library of Esoterica series. The book explores the symbolic meaning behind more than 600 cards and works of original art, two thirds of which have never been published outside of the decks themselves. It's the first ever visual compendium of its kind, spanning from Medieval to modern, and artfully arranged according to the sequencing of the 78 cards of the Major and Minor Arcana. It explores the powerful influence of Tarot as muse to artists like Salvador Dal� and Niki de Saint Phalle and includes the decks of nearly 100 diverse contemporary artists from around the world, all of whom have embraced the medium for its capacity to push cultural identity forward. Rounding out the volume are excerpts from thinkers such as �liphas L�vi, Carl Jung, and Joseph Campbell; a foreword by artist Penny Slinger; a guide to reading the cards by Johannes Fiebig; and an essay on oracle decks by Marcella Kroll.

    Throughout his career – from its beginnings in the creative maelstrom of fifteenth century Florence to his role as genius in residence at the court of the king of France – Leonardo created a kind of private universe for himself and his work.Leonardo also spent a great deal of time away from his easel, pursuing his interest in engineering, natural science, sculpture, poetry, fables, music, and anatomy. In the time that another artist would finish a series of paintings, he would work on one. Sometimes a painting would take decades, accompanying him on his travels as he worked on other commissions.Leonardo's private world was both vibrant and active. It sometimes did and at other times did not interact with the wider world. But what emerged from it has established Leonardo as the definition of the Renaissance Man.

    As soon as you open the book you will want to pick up a brush and start painting — and whatever your ability, Jean encourages you to simply ‘have a go’ and enjoy the freedom and happiness that painting can bring.Jean’s subjects include animals, landscapes, people and flowers, and there are many examples of Jean’s work throughout the book to both delight and inspire you. Jean takes a highly practical approach to her teaching, and there are numerous short exercises and demonstrations as well as longer projects that guide you through a painting from beginning to end. Wherever you are on your painting journey, Jean will open your eyes to the color and light that surrounds you and show you how to incorporate it into your paintings.

    These landmark images now have a clarity and depth not achievable in earlier editions.

    It is considered a pioneering essay for both feminist art history and feminist art theory.In this essay, Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts. She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural". In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question "Why have there been no great women artists?" is based; by questioning the validity of the formulation of so-called problems in general and the "problem" of women specifically; and then, by probing some of the limitations of the discipline of art history itself."