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Magdalena Suarez Frimkess

Astre Press Art of

This beautiful art book comes from Canadian artist Audra Auclair, whose work has spanned across many years and many mediums.&nbsp; Countless fans have fallen in love with her artwork thanks to her attempts to express the complexities of human emotion, and the merging of fantastical elements,nature, and stunning vibrant colours situations in her work. She has built up almost half a million followers on her Instagram account and runs a very popular Patreon, where she shares WIPs and access to her personal sketchbook. She also sells prints and products featuring her artwork from her online store.&nbsp;In this exclusive book, Audra takes readers on a journey through her creative history, opening up about her early years, childhood influences, struggles, and ambitions. She then shows us behind the scenes in her studio and discusses her personal techniques, including how she uses a sketchbook and conceptualizes. Then, presenting something a little different to other available 'Art of' books, Audra has written a chapter on an artist's relationship with art and provided some self-help-esque discussions for fellow creatives. From seeing creation as a spiritual force to being able to draw boundaries and maintain artistic confidence, this section is invaluable for artists of any ability.&nbsp;We then have beautiful galleries of Audra's complete work in various mediums, plus step-by-step tutorials for readers to follow - on topics including gouache painting, redrawing old art, creating digital art, drawing something in your own style, and mixing media.&nbsp;This is a highly interesting, ever-inspiring collection of art and writings from a thoughtful, hugely talented creative artist.

Starburst: The Art of Audra Auclair

“In the best modernist tradition, [Deschenes] pushes against the basic terms by which photography is conventionally defined: instantaneity, veracity, fixity, or reproducibility.” — curator and critic Matthew WitkovskyDeschenes uses durational photogram exposure to create unique, shifting surfaces that frequently function as sculptural or architectural, rather than photographic, objects. In her recent work, Deschenes exposes photographic paper to the night sky, develops it, and fixes the photogram with silver toner, creating misty silver surfaces brindled with slight changes in hue that are affected either by exposure to ambient light or the hand-application of the toner itself. Some of these photograms remain unframed and oxidize over time, further problematizing the role of the photograph as fixed image on surface. Instead, purged of representational content, the photograph, in Deschenes’s practice, functions as an object that records how it has been, and continues to be, acted upon.Deschenes’ work is held in the permanent collections of Centre Pompidou, Paris; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Walker Art Center, Minneapolis; Art Institute of Chicago; ICA/Boston; Pinault Collection, Paris; Montreal Museum of Fine Arts; Milwaukee Art Museum; Princeton University Art Museum; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Liz Deschenes

Material Culture of Art and Design

Meanings and Metaphors in Painting and Literature

Ceramics in the Victorian Era

The Essential John Berger

Goya's Last Portrait/A Question of Geography

Anthem Modern and Contemporary Art of the Arab World, Iran and Turkey

Resisting from Morocco's Margins explores the socio-political context in which Ahmed Amrani's oil-on-paper painting Protesta (1969) was made, specifically, the Rif Revolts of the late 1950s.

Ahmed Amrani's Protesta, 1969

Resisting from Morocco's Margins

Joseph Beuys and History

Routledge Research in Art History

Focusing on the first four films about Moore's sculpture in the 1940s and 1950s, The Making of Henry Moore on Film: A Cultural History considers how these films played a role in the consolidation of the sculptor's public identity and broke new ground in the exploration of sculptural aesthetics through film. The book draws on extensive archival research in the production files of these films and on detailed contextual research.

Art historians have recognised the relationship between photography and sculpture as a fertile ground for the study of sculpture's intermedial relations. In the case of Henry Moore, the role of photography (both as source material and form of documentation) has recently become a new terrain for researching and interpreting his work. Film, however, remains absent from Moore scholarship. Focusing on four films about Moore's sculpture in the 1940s and 1950s,  The Making of Henry Moore on Film: A Cultural History considers how these films broke new ground in the specialised genre of the "film on art," which throve in these decades.  Katerina Loukopoulou places the relationship between sculpture and film within the relevant historical and cultural contexts of post-war Britain (1945-1959), the period during which Moore's public identity was consolidated. The book draws on extensive archival research in the production files of these films and on detailed contextual research (press cuttings, periodicals, festival pamphlets) of contemporaneous writings about the remediation of works of art  and about the reception of these films on Moore. By revealing overlooked aspects of what these films stood for at this historical conjuncture, Loukopoulou examines the specific aesthetic and political meanings of Moore's sculpture as explored by each film.

A Cultural History

The Making of Henry Moore on Film

The first monographic study of American artist Alison Knowles, a significant yet overlooked cofounder of the Fluxus movement. Alison Knowles stands out as the sole female artist among the founders of Fluxus, yet she has remained an enigmatic, underrecognized figure in the history of art. Performing Chance fills a gap in the record, bringing to light Knowles's transformative body of work as it evolved from abstract painting in the late 1950s, to silkscreens, print media, and performance in the early 1960s, to groundbreaking works in digital poetry, acoustical art, and large-scale installations in the late 1960s-70s. Through her access to previously unpublished archival materials and direct interviews with the artist, Nicole L. Woods provides close readings of pivotal works, disclosing the ways Knowles instituted formal tactics that moved beyond modernist painting, championed principles of indeterminacy and chance, and fostered sociopolitical consciousness. Situating Knowles's innovations in various media within the distinct cultural contexts of Wiesbaden, London, Paris, New York City, and Los Angeles, Performing Chance brings this key artist back to her rightful place as a leader of the postwar avant-garde and provides a nuanced history of the role of women artists in Fluxus and beyond.

The Art of Alison Knowles In/Out of Fluxus

Performing Chance

Michael Müller. Ernstes Spiel. Catalogue Raisonné

Volume 7.1 of Michael Müller’s catalogue raisonné is the first volume highlighting the artist’s activity as a curator. It focuses on the exhibition series Deine Kunst at the Städtische Galerie Wolfsburg, which he curated from 2019-22. This series comprised a novel presentation of the collection, as well as being an artistic intervention. In 2019, Müller had been invited to make a personal selection from the Städtische Galerie’s collection and present the works to the public over the next few years. The artist and curator decided against staging a single exhibition; instead, he elected to present the collection in five successive versions and changing contexts, each focusing on different content and form. The individual versions were somewhat eccentric, and Müller staged them in a way extremely suggestive of an artwork – the curator even gradually transformed the exhibition spaces, down to the smallest detail.

Vol. 7.1, Deine Kunst

A Life

Anni Albers

This book is a blueprint for artists looking to engage with activist movements with a persistent longevity and a reminder that art has the power to be more dangerous than words.
Front Lines: A Lifetime of Drawing Resistance is Susan Simensky Bietila's story of her six decades as a movement artist and activist and a lifetime of artistic collaborations rooted in her activist experience. Growing up during McCarthyism, she rejected the nationalist masculinity of elite art and conformist culture and found feminism and collectivism as new forms of resistance. She became an artist in the New Left, creating illustrations for radical underground publications including RAT, Subterranean News, and comics for the anarchic World War 3 Illustrated.
With more than one hundred images, Front Lines documents her art on the page and in action featuring protest banners and giant puppets of birds and fish carried in the streets, masks of notorious dictators for street theater, posters pasted on walls and hung in radical spaces, community art builds, and more. Visual storytelling and detailed captions contextualize and bring to life her work with movements including antiwar protests during the Viet Nam era, Indigenous led antimine and antipipeline struggles, water protection, immigrant rights, anticorporate globalization convening, protests against the state and capital, Palestinian liberation actions, and collaborations with groups throughout the Great Lakes region and beyond. She agitates from the roots and the front lines to this day.

A Lifetime of Drawing Resistance

Front Lines

A Pocket-Sized Inky Coloring Book

Inklings

Magdalena Suarez Frimkess

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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