Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

    Build a career doing what you love. In this practical guide, professional artist Lisa Congdon reveals the many ways you can earn a living by making art—through illustration, licensing, fine art sales, print sales, teaching, and beyond. Including industry advice from such successful art-world pros as Nikki McClure, Mark Hearld, Paula Scher, and more, Art, Inc. will equip you with the tools—and the confidence—to turn your passion into a profitable business.LEARN HOW TO: • Set actionable goals • Diversify your income • Manage your bookkeeping • Copyright your work • Promote with social media • Build a standout website • Exhibit with galleries • Sell and price your work • License your art • Acquire an agent • And much more

    Using leads provided by the tip, and a huge cache of stolen documents, Watson details genuine experts, tomb robbers, as well as false names and claims, evaluations, despoilation of national treasures, and more.

    But what about the elements that make up a picture? Using the tale of Little Red Riding Hood as an example, Molly Bang uses boldly graphic artwork to explain how images -- and their individual components -- work to tell a story that engages the emotions: Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold?

    Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.

    Now, in an even more forward-thinking and necessary book, he shows how to take that critical next step on a creative journey—getting known. Show Your Work! is about why generosity trumps genius. It’s about getting findable, about using the network instead of wasting time “networking.” It’s not self-promotion, it’s self-discovery—let others into your process, then let them steal from you. Filled with illustrations, quotes, stories, and examples, Show Your Work! offers ten transformative rules for being open, generous, brave, productive. In chapters such as You Don’t Have to Be a Genius; Share Something Small Every Day; and Stick Around, Kleon creates a user’s manual for embracing the communal nature of creativity— what he calls the “ecology of talent.” From broader life lessons about work (you can’t find your voice if you don’t use it) to the etiquette of sharing—and the dangers of oversharing—to the practicalities of Internet life (build a good domain name; give credit when credit is due), it’s an inspiring manifesto for succeeding as any kind of artist or entrepreneur in the digital age.

    In 1980, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1968, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.Whitewalling: Art, Race, & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.

    For students of museum, cultural and sociology studies, this will be an asset to their reading list.

    It begins in October 1900, as a teenage Pablo Picasso, eager for fame and fortune, first makes his way up the hillside of Paris’s famous windmill-topped district. Over the next decade, among the studios, salons, cafés, dance halls, and galleries of Montmartre, the young Spaniard joins the likes of Henri Matisse, André Derain, Maurice de Vlaminck, Georges Braque, Amedeo Modigliani, Constantin Brancusi, Gertrude Stein, and many more, in revolutionizing artistic expression.Sue Roe has blended exceptional scholarship with graceful prose to write this remarkable group portrait of the men and women who profoundly changed the arts of painting, sculpture, dance, music, literature, and fashion. She describes the origins of movements like Fauvism, Cubism, andFuturism, and reconstructs the stories behind immortal paintings by Picasso and Matisse. Relating the colorful lives and complicated relationships of this dramatic bohemian scene, Roe illuminates the excitement of the moment when these bold experiments in artistic representation and performance began to take shape.A thrilling account, In Montmartre captures an extraordinary group on the cusp of fame and immortality. Through their stories, Roe brings to life one of the key moments in the history of art. Praise for In Montmartre "Lively and engaging….[Readers] will find a fresh sense of how all these people—the geniuses and the hangers-on, the wealthy collectors and the unworldly painters—related to each other…..In [Roe’s] entertaining, ingeniously structured account Roe brings Montmatre’s hedyday back to life." —Sunday Times (London) "With evocative imagery Roe sketches out the intensely visual spectacle on which Montmatre’s artistic community was able to draw…. Roe is particularly good at communicating the extraordinary devotion of Matisse and Picasso to their work." —Financial Times

    However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. In Decolonizing Museums, Amy Lonetree examines the complexities of these new relationships with an eye toward exploring how museums can grapple with centuries of unresolved trauma as they tell the stories of Native peoples. She investigates how museums can honor an Indigenous worldview and way of knowing, challenge stereotypical representations, and speak the hard truths of colonization within exhibition spaces to address the persistent legacies of historical unresolved grief in Native communities.Lonetree focuses on the representation of Native Americans in exhibitions at the Smithsonian's National Museum of the American Indian, the Mille Lacs Indian Museum in Minnesota, and the Ziibiwing Center of Anishinabe Culture and Lifeways in Michigan. Drawing on her experiences as an Indigenous scholar and museum professional, Lonetree analyzes exhibition texts and images, records of exhibition development, and interviews with staff members. She addresses historical and contemporary museum practices and charts possible paths for the future curation and presentation of Native lifeways.

    Pressfield believes that “resistance” is the greatest enemy, and he offers many unique and helpful ways to overcome it.

    Combining practical, theoretical, and historical, this book is a must for graphic artists, editors, or anyone working with the printed page using digital or traditional methods.Having established itself as a standard in its field The Elements of Typographic Style is house manual at most American university presses, a standard university text, and a reference work in studios of designers around the world. It has been translated into italian and greek, and dutch.

    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. 8 illustrations.

    Dust: The Archive and Cultural History considers our stubborn set of beliefs about an objective material world inherited from the nineteenth century with which modern history writing and its lack of such a belief, attempts to grapple. Drawing on her own published and unpublished writing, Carolyn Steedman has produced a sustained argument about the way in which history writing belongs to the currents of thought shaping the modern world.Steedman begins by asserting that in recent years much attention has been paid to the archive by those working in the humanities and social sciences; she calls this practice "archivization." By definition, the archive is the repository of "that which will not go away," and the book goes on to suggest that, just like dust, the "matter of history" can never go away or be erased.This unique work will be welcomed by all historians who want to think about what it is they do.

    . . . This book is for the artist or non-artist, for the person who gets plain English, for the person who understands that practical talk can coax out the mystical messages that lie underneath." —Steve Martin Art has the power to change our lives. For many, becoming an artist is a lifelong dream. But how to make it happen? In How to Be an Artist, Jerry Saltz, one of the art world’s most celebrated and passionate voices, offers an indispensable handbook for creative people of all kinds. From the first sparks of inspiration—and how to pursue them without giving in to self-doubt—Saltz offers invaluable insight into what really matters to emerging artists: originality, persistence, a balance between knowledge and intuition, and that most precious of qualities, self-belief. Brimming with rules, prompts, and practical tips, How to Be an Artist gives artists new ways to break through creative blocks, get the most from materials, navigate career challenges, and above all find joy in the work.Teeming with full-color artwork from visionaries ancient and modern, this beautiful and useful book will help artists of all kinds—painters, photographers, writers, performers—realize their dreams.