Prepare to be bombarded with ideas, techniques and suggestions as you allow your creativity to take hold. "The Journal Fodder Junkies" are on a mission, ready to arm you with all that you need to explore artistic ways of recording your life and thoughts. Part sketchbook, part diary, part notebook, part dream journal, part daily planner, part to-do list and part doodle pad, the art journal is different things to different people. Whatever it is for you, the Journal Junkies Workshop contains all the covert inspiration and know-how you'll need to get started. Uncover your own path, your own voice, your own style. Inside you'll find:Basic information on the supplies and materials you'll need to start your journal experienceStep-by-step presentation of techniques using water colors, acrylic paint, image transfers and moreChapter-by-chapter demonstration that follows the Junkies' techniques as they layer a page, taking it from blank canvas to dynamic documentIdeas on how to get started writing in your journal, covering both what to write and inventive ways of writing itGallery spreads taken straight from the authors' journals that give you a unique opportunity to peer inside the heads of two experienced art journalistsGrab a journal and begin basic training today with Eric Scott and David Modler to become a Journal Fodder Junkie!

    Walker is one of the most exciting photographers of our time, and his flamboyant style—often tongue-in-cheek but always exquisitely executed—places him in the line of brilliant eccentrics from Cecil Beaton to David LaChapelle. Showcasing 170 photographs through Walker’s most recent work, the book features many A-listers in fashion and Hollywood, including Tilda Swinton, Helena Bonham Carter, and Alber Elbaz. The book includes a foreword by Kate Bush, an introduction by writer Robin Muir, and an afterword by Tim Walker.Praise for Tim Walker: Story Teller:“You’ll delight in the fashion photographer’s visual daydreams.” —DuJour magazine

    "To understand it, you have to see how it mirrors my life." Richardson, who lived near the artist in Provence for ten years and became a trusted friend, was able to observe and record this phenomenon at first hand. Later, Picasso's widow continued to give Richardson access to the artist's studios and storerooms. This close personal friendship and the privilege of working in hitherto inaccessible archives make Richardson uniquely qualified to write the artist's life, rescuing his renown from sensationalist legend and specialist pleading and analyzing anew the traumas and obsessions that triggered his explosive genius.Richardson is the first biographer to make sense of the myriad contradictions that leave so many statements about Picasso's nature equally true in reverse. The artist's ambivalence is one of the author's central themes. At last we are able to see how his courage and terror misogyny and tenderness, generosity and thrift, superstition and skepticism, cynicism and sentiment, are reflected in the conflicts and paradoxes in his work.Richardson's eye is finely attuned to the complexities of Picasso's art, and his extensive knowledge of cultural history enables him to show how Picasso plundered the art of the past, the imaginations of his poet friends, the beliefs of mystics and magi, to create a revolutionary new synthesis. The author's evocation of Picasso's ferocious ego, demonic loves and hates and black fears is the more absorbing for its terse and lively prose and freedom from jargon.This first volume of Richardson's prodigiously detailed and documented four-volume study takes Picasso to the age of twenty-five. It reveals how the adolescent Picasso struggled, through determination and study, to escape the shadow of his father's artistic failures. It describes his precocious success in Barcelona and Paris and the period of rejection and despair that followed. We watch Picasso transform the prostitutes of the Saint-Lazare prison into Blue period madonnas and, later, the performers of the Montmartre circuses into Rose period harlequins. Volume I culminates in Picasso's dawning perception of himself as the messiah of the modern movement.Some nine hundred illustrations, many of them unfamiliar, enable the reader to follow Picasso's mesmerizing development in images as well as words.

    Although, in the early years of the twentieth century, there were other artists similarly experimenting with the dissolution of the object and the promotion of color and form to means of expression in their own right, Kandinsky was the most logical and consistent in his pursuit of abstract means of expression. He made it his life's work to carry painting up to and over the threshold of abstraction, whereby his artistic activities were always accompanied by theoretical reflections and insights.

    But with over one trillion photos taken each year, why are there so few successes? Why do so many fail? With advances in camera technology, it is not because the images lack focus or proper exposure; the camera does that so well these days. Photographer David duChemin believes the majority of our images fall short because they lack soul. And without soul, the images have no ability to resonate with others. They simply cannot connect with the viewer, or even--if we're being truthful--with ourselves.In The Soul of the Camera: The Photographer's Place in Picture-Making, David explores what it means to make better photographs. Illustrated with a beautiful collection of black-and-white photographs, the book's essays speak to topics such as craft, mastery, vision, audience, discipline, story, and authenticity. The Soul of the Camera is a personal and deeply pragmatic book that quietly yet forcefully challenges the idea that our cameras, lenses, and settings are anything more than dumb and mute tools. It is the photographer, not the camera, that can and must learn to make better photographs--photographs that convey our vision; that connect with others; that, at their core, contain our humanity.

    A Dutch artist offers his concept of seeing and drawing as a discipline by which the world may be rediscovered, a way of experiencing Zen.

    To Goethe, the theory was the result of mistaking an incidental result for an elemental principle. Far from pretending to a knowledge of physics, he insisted that such knowledge was an actual hindrance to understanding. He based his conclusions exclusively upon exhaustive personal observation of the phenomena of color.Of his own theory, Goethe was supremely confident: "From the philosopher, we believe we merit thanks for having traced the phenomena of colours to their first sources, to the circumstances under which they appear and are, and beyond which no further explanation respecting them is possible."Goethe's scientific conclusions have, of course, long since been thoroughly demolished, but the intelligent reader of today may enjoy this work on quite different grounds: for the beauty and sweep of his conjectures regarding the connection between color and philosophical ideas; for an insight into early nineteenth-century beliefs and modes of thought; and for the flavor of life in Europe just after the American and French Revolutions.The work may also be read as an accurate guide to the study of color phenomena. Goethe's conclusions have been repudiated, but no one quarrels with his reporting of the facts to be observed. With simple objects -- vessels, prisms, lenses, and the like -- the reader will be led through a demonstration course not only in subjectively produced colors, but also in the observable physical phenomena of color. By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory -- Goethe never even mentions it -- that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.

    NA

    In Encaustic Workshop, it becomes much more: a dynamic medium where anything goes and the possibilities are endless.Packed with step-by-step techniques, helpful tips and diverse examples of completed works, Encaustic Workshop brings all the accessibility and excitement of a mixed-media workshop to your own workspace. If you're a beginner, you'll find everything you need to know to get started. If you're a more advanced crafter or fine artist, you'll discover things you never knew you could do with encaustic.Instructions and photos will guide you as you learn to:Apply, layer, color and carve wax to create artwork rich with texture and depth.Create collages that combine encaustic with papers, fabric, found objects, image transfers and more.Experiment with charcoal, inks, watercolors, pastels and other mediums to create unexpected effects in the wax.Then, complete step-by-step projects and an extensive inspirational gallery will show you how you can combine the techniques you've learned to create more complex works.Sign your creativity up for this Encaustic Workshop--then just melt, paint and play!

    Inside these pages some of the biggest (and smallest) mysteries of the natural world are explained in essays by real working scientists, which are then illustrated by artists given free rein to be as literal or as imaginative as they like. The result is a celebration of the wonder that inspires every new discovery. Featuring work by such contemporary luminaries as Lisa Congdon, Jen Corace, Neil Farber, Susie Ghahremani, Jeremyville, and many more, this is a work of scientific and artistic exploration to pique the interest of both the intellectually and imaginatively curious.

    Passionately argued, brilliantly written, and filled with Paglia’s trademark audacity, Glittering Images takes us on a tour through more than two dozen seminal images, some famous and some obscure or unknown—paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world. She combines close analysis with background information that situates each artist and image within its historical context—from the stone idols of the Cyclades to an elegant French rococo interior to Jackson Pollock’s abstract Green Silver to Renée Cox’s daring performance piece Chillin’ with Liberty. And in a stunning conclusion, she declares that the avant-garde tradition is dead and that digital pioneer George Lucas is the world’s greatest living artist. Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment.

    Fortunately, Swiss artist Ursus Wehrli is a man of obsessive order, as he demonstrates with eye-catching surprise in The Art of Clean Up. Already a bestseller in Germany, this compulsive title has sold more than 100,000 copies in less than a year, and the fastidiously arranged images have garnered blog love from NPR, Brain Pickings, swissmiss, and more. Tapping into the desire for organization and the insanity of über-order, Wehrli humorously categorizes everyday objects and situations by color, size, and shape. He arranges alphabet soup into alphabetical order, sorts the night sky by star size, and aligns sunbathers' accoutrements—all captured in bright photographs sure to astonish even the pickiest of neat freaks.

    In the Company of Women profiles over 100 of these influential and creative women from all ages, races, backgrounds, and industries. Chock-full of practical, inspirational advice for those looking to forge their own paths, these interviews detail the keys to success (for example, going with your gut; maintaining meaningful and lasting relationships), highlight the importance of everyday rituals (meditating; creating a daily to-do list), and dispense advice for the next generation of women entrepreneurs and makers (stay true to what you believe in; have patience). The book is rounded out with hundreds of lush, original photographs of the women in their work spaces.

    Even his contemporaries found the Dutch painter’s work difficult to decipher—and it still presents riddles to contemporary art historians. Part of the problem in analyzing his shocking and richly allegorical paintings is that virtually nothing is known of the artist himself, apart from his birthplace. There is no record of his life or training, no personal letters, diaries or notebooks, and no contemporary insights into his personality or his thoughts on the meaning of his art. Even his date of birth can only be guessed at, and that based on a drawing assumed to be a self-portrait, made shortly before his death in 1516, which supposedly shows the artist in his late sixties. Bosch remains as mysterious as the worlds he painted. Although rooted in the Old Dutch tradition, Bosch developed a highly subjective, richly suggestive formal language. With a mixture of religious humility and satanic wit, he illustrated both the joys of heaven and the cruelly imaginative tortures of hell. In his pictorial world teeming with surrealistic nightmares, the medieval imagination catches fire in a moment of final brilliance before succumbing to humanism and modern rationalism. Though the man himself remains a mystery, this book pulls together the elusive threads of Bosch’s work into a cohesive and comprehensive analysis of his work and methods.

    I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach.--Robert ParkeHarrison