Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hanover, New York and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work.Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

    Part personal narrative, part documentary, part travelogue, part chapbook, and all Kalman, these brilliant, whimsical paintings, ideas, and images - which initially appear random - ultimately form an intricately interconnected worldview, an idiosyncratic inner monologue.

    It features a compelling and accessible design, beautiful color reproductions, and up-to-date descriptions written by the Museum's own experts.More than a simple souvenir book, The Metropolitan Museum of Art Guide provides a comprehensive view of art history spanning five millennia and the entire globe, beginning with the Ancient World and ending in contemporary times. It includes media as varied as painting, photography, costume, sculpture, decorative arts, musical instruments, arms and armor, works on paper, and many more. Presenting works ranging from the ancient Egyptian Temple of Dendur to Canova's Perseus with the Head of Medusa to Sargent's Madame X, this is an indispensable volume for lovers of art and art history, and for anyone who has ever dreamed of lingering over the most iconic works in the Metropolitan's unparalleled collection.Now available as an eBook!The guide is now available to read on your tablet, mobile phone or personal computer. The Metropolitan Museum of Art Guide eBook provides the same features as the printed version along with digital enhancements such as a linked table of contents for easy navigation, a double-click to zoom on works of art, and additional views of artworks. Like the print version, this eBook features a compelling and accessible design, beautiful photography, and up-to-date descriptions written by the Museum's own experts.The eBook is now available on Amazon Kindle, Apple iBooks and Google Play.

    Chipp's Theories of Modern Art: A Source Book By Artists and Critics is a collection of texts from letters, manifestos, notes and interviews. Sources include, as the title says, artists and critics—some expected, like van Gogh, Gauguin, Apollinaire, Mondrian, Greenberg, just to name a few—and some less so: Trotsky and Hitler, in the section on Art and Politics. The book is a wonderful resource and insight into the way artists think and work.

    Dublin-based designer Annie Atkins invites readers into the creative process behind her intricately designed, rigorously researched, and visually stunning graphic props. These objects may be given just a fleeting moment of screen time, but their authenticity is vital and their role is crucial: to nudge both the actors on set and the audience just that much further into the fictional world of the film.

    In six chapters -- The Brucke Group of Artists, Northern German Expressionism, The Blaue Reiter, Rhenish Expressionism, The City and Expressionism in Vienna -- this publication deals with a specifically German artistic revolution, a phenomenon that has quite accurately been described as "the most significant German contribution to 20th century European art." Beside a number of famous names, including Beckmann, Heckel, Kandinsky, Kirchner, Kokoschka, Macke, Marc, Mueller, Nolde, Schiele, and Schmidt-Rottluff, the author also introduces several lesser-known artists, such as Campendonk, FelixMuller, Meidner, Morgner, Munter, and von Werefkin.

    For over twenty years, Walt helped breathe life into the new golden age of animation with these teachings at the Walt Disney Animation Studios and influenced such talented artists as Tim Burton, Brad Bird, Glen Keane, and John Lasseter. These writings represent the quintessential refresher for fine artists and film professionals, and it is a vital tutorial for students who are now poised to be part of another new generation in the art form.Written by Walt Stanchfield (1919-2000), who began work for the Walt Disney Studios in the 1950s. His work can be seen in films like Sleeping Beauty, The Jungle Book, 101 Dalmatians, and Peter Pan.Edited by Academy Award(R)-nominated producer Don Hahn, who has prduced such classic Disney films as Beauty and the Beast and The Lion King.

    Artists of every level will be inspired by the amazing new techniques created by Alyona Nickelsen, presented in Colored Pencil Painting Bible for the very first time. Nickelsen’s innovations will delight readers and detailed you-can-do-it processes bring her striking results within reach for every artist. Take colored pencils beyond the ordinary with Colored Pencil Painting Bible!

    With the rising popularity of MP3 files and streaming digital music--and the near-extinction of traditional album art--concert posters have become the most important visual representation of contemporary music.Gig Posters Volume I celebrates this dynamic medium with contributions from 101 top designers--including Rob Jones of Animal Rummy, Steve Walters, Jay Ryan, Gary Houston, Aesthetic Apparatus, Patent Pending Industries, and many more. Throughout the book, their voices offer fascinating commentary and behind-the-scenes information about the creation of gig posters.Readers will also discover 101 perforated and ready-to-frame posters promoting today's most innovative and original bands--including Radiohead, the White Stripes, Modest Mouse, Girl Talk, Queens of the Stone Age, Wilco, and many, many more.Complete with an introduction by founder and curator Clay Hayes, Gig Posters Volume I celebrates the most talented designers, artists, bands, and performers of the twenty-first century.

    David Hockney has worked in almost every medium - painting, drawing, stage design, photography and printmaking. He has undertaken an ambitious experiment with ways of seeing and ways of representing sight - ranging from his paintings, with their challenges to perspective and brilliant colours, to his vivid multi-dimensional photo-collages and his fax art, computer printings and coloured laser prints.

    Tolkien.When J.R.R. Tolkien wrote The Hobbit, he was already an accomplished amateur artist, and drew illustrations for his book while it was still in manuscript. The Hobbit as first printed had ten black and white pictures, two maps, and binding and dust-jacket designs by its author. Later, Tolkien also painted five scenes for colour plates which are some of his best work. His illustrations for The Hobbit add an extra dimension to that remarkable book, and have long influenced how readers imagine Bilbo Baggins and his world.To celebrate the 75th anniversary of the publication of The Hobbit, the complete artwork created by the author for his story has been collected in The Art of The Hobbit by J.R.R. Tolkien. Including related pictures, more than one hundred sketches, drawings, paintings, maps, and plans are presented here, preliminary and alternate versions and experimental designs as well as finished art. Some of these images are now published for the first time, and others for the first time in colour. Fresh digital scans from the Bodleian Libraries in Oxford and Marquette University in Wisconsin allow Tolkien’s Hobbit pictures to be seen more vividly than ever before.The Art of The Hobbit by J.R.R. Tolkien has been written and edited by Wayne G. Hammond and Christina Scull, two of the leading experts on Tolkien and authors of the acclaimed J.R.R. Tolkien: Artist and Illustrator, The Lord of the Rings: A Reader’s Companion, and The J.R.R. Tolkien Companion and Guide.

    This new, revised and extended edition of this seminal work will not only inspire architects and students to design more holistic architecture, but will enrich the general reader's perception of the world around them. The Eyes of the Skin has become a classic of architectural theory and consists of two extended essays. The first surveys the historical development of the ocular-centric paradigm in western culture since the Greeks, and its impact on the experience of the world and the nature of architecture. The second examines the role of the other senses in authentic architectural experiences, and points the way towards a multi-sensory architecture which facilitates a sense of belonging and integration.

    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)

    A relative unknown at the time, Sargent won the commission to paint her; the two must have recognized in each other a like-minded hunger for fame.Unveiled at the 1884 Paris Salon, Gautreau's portrait generated the attention she craved-but it led to infamy rather than stardom. Sargent had painted one strap of Gautreau's dress dangling from her shoulder, suggesting either the prelude to or the aftermath of sex. Her reputation irreparably damaged, Gautreau retired from public life, destroying all the mirrors in her home.Drawing on documents from private collections and other previously unexamined materials, and featuring a cast of characters including Oscar Wilde and Richard Wagner, Strapless is a tale of art and celebrity, obsession and betrayal.

    The stylishness and vibrant color of Disney films in the early 1940s through mid-1950s came primarily from artist Mary Blair. In her prime, she was an amazingly prolific American artist who enlivened and influenced the not-so-small worlds of film, print, theme parks, architectural decor, and advertising. At its core, her art represented joyful creativity and communicated pure pleasure to the viewer. Her exuberant fantasies brimmed with beauty, charm, and wit, melding a child's fresh eye with adult experience. Blair's personal flair comprised the imagery that flowed effortlessly and continually for more than a half a century from her brush. Emulated by many, she remains inimitable: a dazzling sorceress of design and color.