This page lincludes readings recommended by the Butler Art+Design faculty. These books have been purchased for specific courses in the Art+Design Program. Each title includes a link to the Butler Catalog for more information.
If you wish to search for additional titles, feel free to use the search bar below to directly search the Butler Libraries Collections:
Mirror of the World by
A vivid and compelling history of human artistic achievements, from the first stone fashioned into a figure by a hunter-gatherer to the latest new media and installation work. With remarkable clarity, Julian Bell tells the story of how art has evolved through the millennia and across the world. He follows the changing trends in the making and significance of art in different cultures, and explains why the art of the day looked and functioned as it did. Key images and objects—some of them familiar works of art; others, less known but equally crucial to the story—act as landmarks on the journey, focal points around which the discussion always centers. Along the way, Bell answers fundamental questions such as "What is art and where does it start?" and "Why do humans make it and how does it serve them?" Previous histories tended to focus only on the masterpieces of Western art, in the process excluding the work of women or non-Western artists, or else considering developments around the world as separate, unrelated phenomena. Bell's achievement is to take a global perspective, bringing the distinct stories together in one convincing narrative. He draws insightful and inspired connections between different continents and cultures and across the millennia, which results in a rich and seamless introduction to the world of visual creativity. Hundreds of carefully selected illustrations show how artists from different ages and societies often shared the same formal, technical, and aesthetic concerns, while others took divergent paths when their vision dictated it. 460 illustrations, 300 in color.
Contemporary African Art Since 1980 by
Contemporary African Art Since 1980is the first major survey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years. Its frame of analysis is absorbed with historical transitions: from the end of the postcolonial utopias of the sixties during the 1980s to the geopolitical, economic, technological, and cultural shifts incited by globalization. This book is both narrower in focus in the periods it reflects on, and specific in the ground it covers. It begins by addressing the tumultuous landscape of contemporary Africa, examining landmarks and narratives, exploring divergent systems of representation, and interrogating the ways artists have responded to change and have incorporated new aesthetic principles and artistic concepts, images and imaginaries to deal with such changes. Organized in chronological order, the book covers all major artistic mediums: painting, sculpture, photography, film, video, installation, drawing, collage. It also covers aesthetic forms and genres, from conceptual to formalist, abstract to figurative practices. Moving between discursive and theoretical registers, the principal questions the book analyzes are: what and when is contemporary African art? Who might be included in the framing of such a conceptual identity? It also addresses the question of globalization and contemporary African art.
The book thus provides an occasion to examine through close reading and visual analysis how artistic concerns produce major themes. It periodizes and cross references artistic sensibilities in order to elicit multiple conceptual relationships, as well as breaks with prevailing binaries of center and periphery, vernacular and academic, urban and non-urban forms, indigenous and diasporic models of identification. In order to theorize how these concerns have been formulated in artistic terms and their creative consequences Contemporary African Art Since 1980examines a range of ideas, concepts and issues that have shaped the work and practice of African artists within an international and global framework. It traces the shifts from earlier modernist strategies of the sixties and seventies after the period of decolonization, and the rise of pan-African nationalism, to the postcolonial representations of critique and satire that evolved from the 1980s, to the postmodernist irony of the 1990s, and to the globalist strategies of the 21st century.
The main claim of this book is that contemporary African art can be best understood by examining the tension between the period of great political changes of the era of decolonization that enabled new and exciting imaginations of the future to be formulated, and the slow, skeptical, and social decline marked by the era of neo-liberalism and Structural Adjustment programs of the 1980s. These issues are addressed in chapters covering the themes of "Politics, Culture, Critique," "Memory and Archive," "Abstraction, Figuration and Subjectivity," and "The Body, Gender and Sexuality." In addition, the book employs sidebars to provide brief and incisive accounts of and commentaries on important contemporary political, economic and cultural events, and on exhibitions, biennales, workshops, artist groups and more. Rather than a comprehensive survey, this richly illustrated book presents examples of ambitious and important work by more than 160 African artists since the last 30 years. This list includes Georges Adeagbo Tayo Adenaike, Ghada Amer, El Anatsui, Kader Attia, Luis Basto, Candice Breitz, Moustapha Dim , Marlene Dumas, Victor Ekpuk, Samuel Fosso, Jak Katarikawe, William Kentridge, Rachid Koraichi, Mona Mazouk, Julie Mehretu, Nandipha Mntambo, Hassan Musa, Donald Odita, Iba Ndiaye, Richard Onyango, Ibrahim El Salahi, Issa Samb, Cheri Samba, Ousmane Sembene, Yinka Shonibare, Barthelemy Toguo, Obiora Udechukwu, and Sue Williamson.
Okwui Enwezor, a leading curator and scholar of contemporary art, is the Dean of Academic Affairs at the San Francisco Art Institute, and founding publisher and editor of Nka: Journal of Contemporary African Art.
Chika Okeke-Aguluis Assistant Professor of Art and Archeology and African American Studies at Princeton University, and editor of Nka: Journal of Contemporary African Art.
Cultural Contact and the Making of European Art since the Age of Exploration by
Claire Farago, University of Colorado at Boulder
Julie Hochstrasser, University of Iowa
Christopher Johns, Vanderbilt University
Carol Mavor, University of North Carolina at Chapel Hill
Art historians have long been accustomed to thinking about art and artists in terms of national traditions. This volume takes a different approach, suggesting instead that a history of art based on national divisions often obscures the processes of cultural appropriation and global exchange that shaped the visual arts of Europe in fundamental ways between 1492 and the early twentieth century.
Essays here analyze distinct zones of contact--between various European states, between Asia and Europe, or between Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific--focusing mainly but not exclusively on painting, drawing, or the decorative arts. Each case foregrounds the centrality of international borrowings or colonial appropriations and counters conceptions of European art as a "pure" tradition uninfluenced by the artistic forms of other cultures. The contributors analyze the social, cultural, commercial, and political conditions of cultural contact--including tourism, colonialism, religious pilgrimage, trade missions, and scientific voyages--that enabled these exchanges well before the modern age of globalization.
Contributors:
Claire Farago, University of Colorado at Boulder
Elisabeth A. Fraser, University of South Florida
Julie Hochstrasser, University of Iowa
Christopher Johns, Vanderbilt University
Carol Mavor, University of North Carolina at Chapel Hill
Mary D. Sheriff, University of North Carolina at Chapel Hill
Lyneise E. Williams, University of North Carolina at Chapel Hill
The Primacy of Drawing by
In this important and original book, Deanna Petherbridge—herself a practicing artist—affirms the significance of drawing as visual thinking in western art from the 15th century to the present. Scrutinizing a wide range of drawings, Petherbridge confirms a long historical commitment to the primal importance of sketching in generating ideas and problem solving, examines the production of autonomous drawings as gifts or for pleasure, and traces the importance of the life-class and theories of drawing in the training of artists until well into the 20th century. She also addresses the changing role of drawing in relation to contemporary practice and its importance for conceptual artists working in a nonhierarchical manner with a multiplicity of practices, techniques and technologies. In addition to analyzing specific works by Leonardo, Michelangelo, Rembrandt, Goya, Picasso, and other great draftsmen, Petherbridge pays close attention to those artists traditionally regarded as “minor” because of their graphic elaboration or involvement with caricature and play, as well as to the important contribution of women artists in the 20th and 21st centuries. Responding to the vibrant rediscovery of drawing as significant practice in studios, exhibitions, and art schools, Petherbridge proposes an ambitious and novel agenda for the study and enjoyment of drawing.
Drawing for Designers by
There is a dearth of books covering drawing and product design.Drawing for Designersfills this gap, offering a comprehensive guide to drawing for product/ industrial designers and students. As well as industrial product design, the book encompasses automotive design and the design of other 3D artefacts such as jewelry and furniture. Covering both manual and computer drawing methods, the book follows the design process: from initial concept sketches; through presentation drawings and visualizations; general arrangement and detail drafting; to fully dimensioned production drawings; and beyond to technical illustrations and exploded/assembly diagrams used for publicity and instructing the end user in the product's assembly, operation, and maintenance. Case study spreads featuring famous designer productsshown both as drawn concepts and the finished object are interspersed with the chapters. There are also several 'how-to-do-it' step-by-step sequences.
I Miss My Pencil by
What if doorbells used smell instead of sound? What if watches told time more slowly on weekends? Designers at the ground-breaking firm IDEOthe most innovative design company in the worldpush themselves to ask seemingly outrageous questions like these daily as they work to construct the products that shape our lives. Following 12 design experiments conceived by designers at IDEO,I Miss My Penciltakes a voyeuristic look at what designers do daily, might get to do once, and sometimes only hope to do. Each experiment is made real through collaboration, sketching, prototyping, fabrication, and photographing to go beyond the conceptual to the curiously concrete.
Paper by
Focusing on all aspects of paper manipulation, this title covers a wide range of techniques including drawing, painting, sculpture, collage, paper folding, cut-out, pop-up, and installation.
Creativity by
This fascinating book is about creativity in business and management. The authors have interviewed well know creative people in a number of fields to identify how creative methods work, including the drivers and influences upon creativity, creative inspiration, creative problem solving and creative influences. Their analysis shows that while there are common themese and methods, creativity will also solve problems with uncommon results and deliver the unexpected. This book will be of interest to anybody trying to better understand creativity.
Design Integrations by
Design Integrationscalls for an innovative rethinking of design education, one that recognizes the changing modes of design and the shifting forms of user experience. The contributors urge new methods of approach that focus on interdisciplinary collaboration between the academic and business worlds. These essays, among the first to focus on the future of design, often in-depth explorations of inter-institutional projects, cross-cultural learning experiences, and a multinational healthcare project.Design Integrationswill be of interest to design teachers and practitioners alike.
The Photograph As Contemporary Art by
"From conceptual art's use of the banal and "artless" snapshot to the carefully constructed tableaux of Jeff Wall, this book considers all the ways that today's artists engage with photography to make art." "Some artists, such as Sophie Calle and Erwin Wurm, use photography as a record of a real perfomance or everyday action, while others such as Yinka Shonibare and Gregory Crewdson stage invented scenes and narratives to tell fictional stories. Andreas Gursky, Thomas Demand and Rineke Dijkstra present a cool, seemingly objective view of the external world, while Richard Billingham, Nan Goldin and Wolfgang Tillmans offer up intimate details of their private lives. In the hands of Luc Delahaye and Allan Sekula, photography is a means of creating documentary, while for Cindy Sherman and Gillian Wearing, the photograph becomes a repository of personal, social and cultural values in an image-saturated world." "Featuring the most important artists and key works, The Photograph as Contemporary Art is an ideal introduction to the twenty-first century's dominant art form."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Photography Theory by
Now that photography is accorded the status of a fine art and routinely taught in an art historical context, it is more necessary than ever to clarify the basis of that valuation. Strangely, there has been little new theorizing on photography since the 1980s: artists and historians continue to draw on a range of older sources, from Charles Peirce and Roland Barthes to Pierre Bourdieu. What, then, are the optimal ways of conceptualizing photography?
Self/Image by
Self/Image explores the ways in which artists from the nineteenth century onwards have deployed new technologies of representation to explore and articulate shifting modes of subjectivity from the modern through the postmodern, from the urban industrial capitalist to the post-industrial global capitalist periods. The author argues that issues of aesthetics and the self are not esoteric or limited exclusively to art history, but connect with the most pressing political questions of life in industrial and post-industrial or global capitalism. For example, the way in which we understand ourselves is intimately connected to the way in which larger collective selves such as nation states understand and represent themselves on the global stage. Overall, the book seeks to expand the scope of art history to include other aspects of lived culture, especially the political.
Hi-Fructose Collected Edition Hardcover by
Hi-Fructose magazine showcases an eclectic mix of underground artists, pop surrealists, emerging and rediscovered countercultures, and awe-inspiring spectacles from around the world. For the first time, this critically acclaimed arts magazine is collected in an expanded hardcover edition, compiling the best of the sought-after, long-sold-out first four volumes. Features the art of Mark Ryden, Tim Biskup, Junko Mizuno, Dave Cooper, Greg Craola Simkins, Gary Baseman, Alex Pardee, Gary Taxali, Scott Musgrove, Jeff Soto, Ray Ceasar, JennyBird, Joe Ledbetter, Longo Land, Michael Salter, Fawn Gehweiler Kurt Halsey, Invader, Ron English, Wilfrid Wood, Jim Woodring, Seen, Leslie Reppetaux, Brian McCarty, Attaboy, Saur Kids, Chris Uphues, Kaiju Big Battel, Chris Uphues, PShaw!, Ragnar, Cat Chow, and more.
Hi-Fructose Collected Edition Volume 2 by
The best features, articles, and interviews from the highly sought-after art magazine Hi-Fructose. Hi-Fructose is an amalgamation of emerging, and established artists, with a spotlight on awe-inspiring spectacles and developing counter cultures from around the world. This thick hardcover book expands the best original material from (the long sold-out) issues 5-9 of the magazine. Packed with intelligent interviews and expos ’ '' ‚ (TM) ’ ‚ a ~ ’ '' a ‚ ’ ‚ ‚ ‚ ‚ ‚ ’ '' ‚ (TM) ’ ‚ ‚ ‚ a ‚ ’ '' a ‚ ’ ‚ a  a ‚ ’ ‚ a  a ‚ ’ '' ‚ (TM) ’ ‚ a ~ ’ '' a ‚ ’ ‚ a  a ‚ ’ ‚ a ‚ ’ '' ‚ (TM) ’ ‚ a ‚ ’ '' a ‚ ’ ‚ ‚ ‚ &… ‚ ’ ‚ a ‚ ’ '' a ‚ ’ ‚ ‚ ‚ &… ‚ ’ ‚ a ‚ ’ '' ‚ (TM) ’ ‚ a ~ ’ '' a ‚ ’ ‚ ‚ ‚ ‚ ‚ ’ '' ‚ (TM) ’ ‚ a ‚ ’ '' a ‚ ’ ‚ ‚ ‚ &… ‚ ’ ‚ a ‚ ’ '' a ‚ ’ ‚ a ‚ ’ '' ‚ (TM) ’ ‚ a ~ ’ '' a ‚ ’ ‚ a  a ‚ ’ ‚ a ‚ ’ '' ‚ (TM) ’ ‚ ‚ ‚ &… ‚ ’ '' a  ’ ‚ a ‚&©s on leading pop surrealists, street artists, new contemporary artists, and creative artists from Japan & Sweden to Los Angeles & Toronto, Hi-Fructose Collected Volume 2 is a must-have addition to your personal library.Artists in Hi-Fructose Collected include:James Jean, Amy Sol, Travis Louie, Camille Rose Garcia, Femke Hiemstra, Audrey Kawasaki, Lori Earley, Jordan Crane, Marion Peck, Edwin Ushiro, David Stoupakis, Mars-1, Mark Jenkins, Paul Pope, KRK Ryden, Brendan Danielsson, Yoko d''Holbachie, Brian Dettmer, Brendan Tang, KMNDZ, Freek Drent, Yoskay Yamamoto, Pars Kid, Kukula, Chris Mars, APAK, Ferris Plock, Gregory Jacobsen, Robert Hardgrave,Barnaby Barford, Amy Casey, Ken Keirns, Xiao Qing, Victor Castillo, Jason D''Aquino, Scott Radke, Naoto Hattori, Jonathan Wayshak, Mike Rea, Oksana Badrack, and more.Hi-Fructose Arts Magazine quarterly was founded by artists Attaboy and Annie Owens in 2005. Not a lifestyle magazine, Hi-Fructose puts its focus squarely on the art which transcends genre and trend, assuring readers thorough coverage and content that is relevant, informative and original. Each beautifully-designed, full-color issue goes beyond the comfort zone of the "alternative" norm to deliver a diverse cross section of the most influential and defining art of our time.Satisfies your cravings for new and unique art, happening just below the radar; Art that informs, rather than follows trends in mainstream media including film, fashion and design.
The Late Fauna of Early North America by
In his new book, The Late Fauna of Early North America, Scott Musgrove unearths previously undiscovered animals through a dedicated and scientifically un-approved practice of zoological impressionism. A lonestar in the field, he ventures where the gray-maned, khaki-clad, anthropologists with ivory walking sticks have not ndash; tunneling beneath freeways and ditch-combing along the rough borders of American mini-malls, in search of undiscovered and, up to this point, at least, extinct animals. The Late Fauna of Early North America features lush, highly detailed landscapes and up-close encounters with all manner of strange and beautiful creatures. Full color reproductions of his paintings abound, including unique antique frames, custom gold engraved nameplates, carved wooden sculptures, watercolors, ink drawings, and pencil renderings from the field. Scott's unorthodoxed research methods combined with his unmatched facility with paint and color result in a fascinating survey of what might have been in North America, if not for the invasion of pernicious settlers. Scott restores these beasts to life in his studio, stretching and stapling carpet scraps across ribs and skulls. With the help of a glue gun, a needle and thread, Scott sews and sculpts until the Harry Brook Trout or the Dwarf Basket Horse is finally staring back at him. Then and only then, does Scott attempt to paint them back into their pristine, natural environment. Scott brings these wild idols, relics and bio-wonders back to life and legitimacy in this handsome volume.
Animating Space by
Animators work within a strictly defined, limited space that requires difficult artistic decisions. The blank frame presents a dilemma for all animators, and the decision of what to include and leave out raises important questions about artistry, authorship, and cultural influence. In Animating Space: From Mickey to WALL-E, renowned scholar J. P. Telotte explores how animation has confronted the blank template, and how responses to that confrontation have changed. Focusing on American animation, Telotte tracks the development of animation in line with changing cultural attitudes toward space and examines innovations that elevated the medium from a novelty to a fully realized art form. From Winsor McCay and the Fleischer brothers to the Walt Disney Company, Warner Bros., and Pixar Studios, Animating Space explores the contributions of those who invented animation, those who refined it, and those who, in the current digital age, are using it to redefine the very possibilities of cinema.
New Media Design by
A valuable guide to the career opportunities created by digital technologies, New Media Design covers not just web design but how graphic designers use computers to develop new experiences in the information and entertainment industries, including games, animation, exhibitions, CDs and interactive film and TV. Included are case studies of key practitioners around the world.
Else/Where: Mapping by
ELSE/WHERE: MAPPINGcharts the ascendancy of mapping as a powerful interdisciplinary strategy, one that links people and places, data and organizations, and physical and virtual environments. Traditionally written by history's victors, maps are gaining new currency in our information-saturated age as a means of making arguments and processes visible. Mapping technologies today are as diverse as the agendas driving them: social networks are mapped with dynamic digital interfaces; buildings are mapped with lasers; cities and regions are mapped by satellite.
Illustrated with nearly 300 images, from archival woodcuts to Web-based maps and GPS drawings,ELSE/WHERE: MAPPINGexplores how cartographic techniques are being adapted to map the emerging landscapes of electronic communication. It showcases cutting-edge projects in graphic and industrial design, art, architecture, and technology by an international roster of writers, artists, and designers at the forefront of locative media practice.
ELSE/WHERE: MAPPINGproposes-by visual example and written analysis-that mapping is a fundamental design process that increasingly shapes the physical and conceptual dimensions of contemporary society.
Deborah Littlejohn (designer) is design fellow at the University of Minnesota Design Institute.
Distributed for the University of Minnesota Design Institute by the University of Minnesota Press.
A Philosophy of Computer Art by
What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? A Philosophy of Computer Artis the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a wealth of examples he also explains how the roles of the computer artist and computer art user distinguishes them from makers and spectators of traditional art forms and argues that computer art allows us to understand better the role of technology as an art medium.
Sound by
The "sonic turn" in recent art reflects a wider cultural awareness that sight no longer dominates our perception or understanding of contemporary reality. The background buzz of myriad mechanically reproduced sounds increasingly mediates our lives. Tuning into this incessant auditory stimulus, some of our most influential artists have investigated the corporeal, cultural, and political resonance of sound. In tandem with recent experimental music and technology, art has opened up to hitherto excluded dimensions of noise, silence, and the act of listening. Artists working with sound have engaged in new forms of aesthetic encounter with the city and nature, the everyday and cultural otherness, technological effects and psychological states. New perspectives on sound have generated a wave of scholarship in musicology, cultural studies, and the social sciences. But the equally important rise of sound in the arts since 1960 has so far been sparsely documented. This volume is the first sourcebook to provide, through original critical writings and artists' statements, a genealogy of sonic pathways into the arts, philosophical reflections on the meanings of noise and silence, dialogues between art and music, investigations of the role of listening and acoustic space, and a comprehensive survey of sound works by international artists from the avant-garde era to the present.
Participation by
The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century art. This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context. Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter B rger, Jen-Luc Nancy, Edoaurd Glissant, and F lix Guattari, as well as the first translation into English of Jacques Ranci re's influential "Problems and Transformations in Critical Art." The book also includes central writings by such artists as Lygia Clark and H lio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist. Copublished with Whitechapel Art Gallery, London
The Secret Life of Logos by
In their own words, 75 top-flight designers tell you how they make outstanding logos and what it took to achieve the 160 final identities shown in this book. You'll learn the secrets behind each of these logos as they develop from roughs to finals! You'll thrill to the sight of over 700 never-before-seen sketches, roughs, preliminary comps and napkin doodles. You'll marvel as 70 designers turn their rough first attempts into gorgeous final logos! You won't believe your eyes as 160 sizzling-hot logos are slowly baked to golden-brown perfection! Never before revealed: The thrills, the chills, the tears and the jeers behind the high-stakes world of professional logo design.
Freedom of Expression by
Freedom of Expression covers the ways in which intellectual property laws have been used to privatize all forms of expression-from guitar riffs and Donald Trump’s “you’re fired” gesture to human genes and public space-and in the process stifle creative expression. Kembrew McLeod challenges the blind embrace of privatization as it clashes against our right to free speech and shared resources. Kembrew McLeod is professor of communication studies at the University of Iowa, author of Owning Culture: Authorship, Ownership, and Intellectual Property Law, and coproducer of the documentary Copyright Criminals: This Is a Sampling Sport. Lawrence Lessig is professor of law at Stanford Law School. This book’s documentary companion will be available through Media Education Foundation.
Free Culture by
From "the most important thinker on intellectual property in the Internet era" (The New Yorker), a landmark manifesto about the genuine closing of the American mind.
Lawrence Lessig could be called a cultural environmentalist. One of America's most original and influential public intellectuals, his focus is the social dimension of creativity: how creative work builds on the past and how society encourages or inhibits that building with laws and technologies. In his two previous books, Code and The Future of Ideas, Lessig concentrated on the destruction of much of the original promise of the Internet. Now, in Free Culture, he widens his focus to consider the diminishment of the larger public domain of ideas. In this powerful wake-up call he shows how short-sighted interests blind to the long-term damage they're inflicting are poisoning the ecosystem that fosters innovation.
All creative works-books, movies, records, software, and so on-are a compromise between what can be imagined and what is possible-technologically and legally. For more than two hundred years, laws in America have sought a balance between rewarding creativity and allowing the borrowing from which new creativity springs. The original term of copyright set by the Constitution in 1787 was seventeen years. Now it is closer to two hundred. Thomas Jefferson considered protecting the public against overly long monopolies on creative works an essential government role. What did he know that we've forgotten?
Lawrence Lessig shows us that while new technologies always lead to new laws, never before have the big cultural monopolists used the fear created by new technologies, specifically the Internet, to shrink the public domain of ideas, even as the same corporations use the same technologies to control more and more what we can and can't do with culture. As more and more culture becomes digitized, more and more becomes controllable, even as laws are being toughened at the behest of the big media groups. What's at stake is our freedom-freedom to create, freedom to build, and ultimately, freedom to imagine.
Designing Audiences by
The next instalment in the popular Fresh Dialogue series presents a podium discussion between three young designers on the relationship between the designer and its consumers. Eric Rodenbeck, Katie Salen and Stefan G. Bucher have all redefined the audience as participants in their projects. Their dialogue is moderated by Ze Frank, the well-known stand-up comic and creator of "the show."
Thinking with Type by
The organization of letters on a blank sheet-or screen-is the most basic challenge facing anyone who practices design. What type of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated? In this groundbreaking new primer, leading design educator and historian Ellen Lupton provides clear and concise guidance for anyone learning or brushing up on their typographic skills.
Thinking with Typeis divided into three sections: letter, text, and grid. Each section begins with an easy-to-grasp essay that reviews historical, technological, and theoretical concepts, and is then followed by a set of practical exercises that bring the material covered to life. Sections conclude with examples of work by leading practitioners that demonstrate creative possibilities (along with some classic no-no's to avoid).
Obsessive Consumption by
Our daily lives are filled with consumption-$1.50 for a cup of coffee, $5.95 for a magazine, $17.99 for headphones, $1.79 for cough drops, $36.00 for a haircut. Whether bought out of necessity or indulgence, purchased alone or in a group, everything we buy has its own story to tell. We buy art supplies while feeling inspired, CDs while shopping with friends, and a new pair of jeans to give us a lift when we are feeling blue. Yet, these powerfully emotional experiences can be fleeting-quickly erased by the pull of the next 'must-have' acquisition. In Obsessive Consumption , Portland-based artist Kate Bingaman-Burt holds up a mirror to her own obsession with shopping and acquisition. Faced with a mounting pile of postgraduation credit card debt, Bingaman-Burt concocted a unique artistic response to this all-too-common dilemma. She picked up a pen and began drawing her monthly credit card statements, painstakingly recreating every last ledger line and decimal point, vowing to continue serving her artistic penance until her debt was repaid. As a relief from this project-turning the idea of 'retail therapy' on its ear-Bingaman-Burt began drawing one of her purchases from each day, losing herself in the items, patterns, simple lines, and typography. Obsessive Consumption represents a selection of three years of Bingaman-Burt's delightful ink drawings of sundry items. Accompanied by witty and insightful annotations, these drawings mock her own relationship with her purchases and put a personal face on the mass-produced items of our shared experience. Readers can catch a glimpse into the life of the artist from the collection, which includes wedding bands, a dog, a moving truck, handmade items from friends, Mississippi beer, Portland pizza, and lots of pens and drawing paper to support her drawing habit. A celebration of the beauty of the everyday, Obsessive Consumption presents a microcosm of consumer culture that will appeal to everyone from a thirteen-year-old mall-dweller to a middle-aged anticonsumerism advocate.
Design Your Life by
Design Your Lifeis a series of irreverent and realistic snapshots about objects and how we interact with them. By leading design thinker Ellen Lupton and her twin sister Julia Lupton, it shows how design is about much more than what's bought at high-end stores or the modern look at IKEA. Design is critical thinking:a way to look at the world and wonder why things work, and why they don't. Illustrated with original paintings of objects both ordinary and odd, Design Your Lifecasts a sharp eye on everything from roller bags, bras, toilet paper, and stuffed animals to parenting, piles, porches, and potted plants. Using humor and insight Ellen and Julia explore the practical side of everyday design, looking at how it impacts your life in unexpected ways and what you can do about it. Speaking to the popular interest in design as well as people's desire to make their own way through a mass-produced world, this thoughtful book takes a fresh and humorous approachto make some serious points about the impact of design on our lives. Find out what's wrong with the bras, pillows, potted plants, and the other hopeless stuff you use, buy, clean, water, or put away everyday. Discover how to secretly control the actions of those around you by choosing and placing objects carefully. Find out how roller bags are threatening civilization, and how the layout of your own house might be making you miserable. Use the tools of self-publishing to take the power of branding into your own hands. Taking a fresh, funny look at parenthood, housekeeping, entertaining, time management, crafting, and more, Design Your Lifeshows you how to evaluate the things you use, and how to recognize forms of order that secretly inhabit the messes of daily life, be it a cluttered room or a busy schedule. Use this book to gain control over your environment and tap into the power of design to communicate with friends, family, and the world.
Process by
This book provides an in-depth study of the creative and manufacturing processes behind 50 contemporary domestic design objects. Chosen from all around the world, they span furniture, lighting, tableware, textiles, and other products. Featuring the work of both long-established and emerging designers, each product is selected for its significant use of new technology, unorthodox or complex production process, use of innovative materials (or traditional materials adapted in new and unexpected ways) and, in some cases, for the creative concept behind it.
Beginning with a general introduction, each project is then presented through explanatory text as well as an inspirational image, sketch, detail shots of production processes, and the completed product. A glossary of production methods is also included. Process offers an interesting and useful insight into how products are designed, for students and professional designers alike.
Exploring Materials by
This book is an action-oriented, accessible guide to design thinking that addresses both the how and why of product design. It encourages designers to look beyond the abstraction of pure forms or the whimsy of virtual objects, and instead to make and test real objects in a studio environment.--[book cover]
Design Studies by
Design Studies: A Reader is the ideal entry point for any student who wants to understand the many complex roles of design--as process, product, function, symbol, and use. Reflecting the diverse range of perspectives on design, the reader brings together over 70 key texts. The essays are presented in themed sections covering history, methods, theory, visuality, identity, consumption, labor, industrialization, new technology, sustainability, and globalization. Each section is separately introduced and each concluded with a guide to further reading. Authors include: Theodor Adorno, Arjun Appadurai, Rayner Banham, Jean Baudrillard, Pierre Bourdieu, Cheryl Buckley, Michel de Certeau, Margaret Crawford, Michel Foucault, Buckminster Fuller, Paul du Gay, Erving Goffman, Donna Haraway, John Chris Jones, Guy Julier, Naomi Klein, Ezio Manzini, Victor Margolin, and many others. In addition, a final section of specially commissioned essays analyzes 10 seminal designs of the 20th Century, from Helvetica to the cell phone. Bringing together the best classic and contemporary writing,Design Studies: A Readerwill be invaluable to all students of Design as well as to students of Architecture, Art, Material Culture and Sociology.
Seventy-Nine Short Essays on Design by
Seventy-nine Short Essays on Designbrings together the best of designer Michael Bierut's critical writingserious or humorous, flattering or biting, but always on the mark. Bierut is widely considered the finest observer on design writing today. Covering topics as diverse as Twyla Tharp and ITC Garamond, Bierut's intelligent and accessible texts pull design culture into crisp focus. He touches on classics, like Massimo Vignelli and the cover ofThe Catcher in the Rye, as well as newcomers, likeMcSweeney's Quarterly Concernand color-coded terrorism alert levels. Along the way Nabakov'sPale Fire; Eero Saarinen; the paper clip; Celebration, Florida; the planet Saturn; the ClearRx pill bottle; and paper architecture all fall under his pen. His experience as a design practitioner informs his writing and gives it truth. InSeventy-nine Short Essays on Design, designers and nondesigners alike can share and revel in his insights.
Design Is the Problem by 
Cradle to Cradle by
A manifesto for a radically different philosophy and practice of manufacture and environmentalism
"Reduce, reuse, recycle" urge environmentalists; in other words, do more with less in order to minimize damage. As William McDonough and Michael Braungart argue in their provocative, visionary book, however, this approach perpetuates a one-way, "cradle to grave" manufacturing model that dates to the Industrial Revolution and casts off as much as 90 percent of the materials it uses as waste, much of it toxic. Why not challenge the notion that human industry must inevitably damage the natural world, they ask.
In fact, why not take nature itself as our model? A tree produces thousands of blossoms in order to create another tree, yet we do not consider its abundance wasteful but safe, beautiful, and highly effective; hence, "waste equals food" is the first principle the book sets forth. Products might be designed so that, after their useful life, they provide nourishment for something new-either as "biological nutrients" that safely re-enter the environment or as "technical nutrients" that circulate within closed-loop industrial cycles, without being "downcycled" into low-grade uses (as most "recyclables" now are).
Elaborating their principles from experience (re)designing everything from carpeting to corporate campuses, the authors make an exciting and viable case for change.
Design Thinking by
Design Thinking is packed with intriguing case studies and practical advice from industry experts. This anthology is organized into three sections that focus on the use of design for innovation and brand-building, the emerging role of service design, and the design of meaningful customer experiences. This book provides readers with the strategies necessary to encourage the creative thought process in their companies, which will ultimately help to cultivate innovation, and therefore boost business. Experienced design leaders share their personal stories and give specific examples of their companies’ forward-thinking creations. This unique approach helps the reader learn how to build a solid brand foundation, solve problems with simplified thinking, anticipate and capitalize on trends, figure out what consumers want before they do, and align mission, vision, and strategy with a corporate brand. A sense of the content within Design Thinking can be gained from the titles of some of the key essays: Building Leadership Brands, The Designful Company, Brand Building by Service Design, Service Design Via the Global Web, Customer Loyalty, and Driving Brand Loyalty on the Web.
Design Literacy (continued) by
A sequel to its popular forerunner, this edition casts the net even further in examining the reasons and history behind various objects of design that have had a significant impact on our culture. The objects discussed range from the vintage posters that promoted concerts and fairs during the 1930s to a Rolling Stones' CD cover from the 1990s.
This volume also investigates larger movements and phenomena, including Norman Rockwell's affect on Americana and Cartoon Network's hold on children. Like the first volume, this is an eclectic look at how, why, and if graphic design, in the broadest sense, works as an influence on the public eye. Designers, students, and anyone interested in the history and dynamics of graphics as art and craft will find this an engaging and instructive read.
Designers on Design by
Who is designing the classics of tomorrow? What inspires them, frustrates them, excites them? Designers on Design answers these questions and discusses the elements that set great designers apart. A beautifully illustrated guide to today's cutting-edge furniture and product designers, it features interviews with each of the designers asking them questions such as "What product do you wish you had designed?," "What was your big break?," "What influences your work?" and "What's the greatest challenge you face in your work?" A potted biography introduces each designer and beautiful photographs illustrate not only the designer's own work, but also the influences that inspire them and sketches of their ideas in progress. This is the first book to really get inside the creative mind of today's most successful designers. Designers on Design places each designer in historical context. An extensive illustrated time-line running from the 1900s to the present day-and even looking into the future-forms part of the introduction and shows that the modernism of 100 years ago is still influential today.
Museum Studies by
Museum Studies: An Anthology of Contexts provides a comprehensive interdisciplinary collection of approaches to museums and their relation to history, culture, philosophy and their adoring or combative publics. Brings together for the first time a wide array of texts that mix contemporary analysis with historical documentation Includes five sections that highlight central themes in museum studies: issue-oriented contexts in museology; states of "nature"; the status of nations; history, memory and other locations; and arts, crafts and visitors Addresses the development of museums, the role of the museum in society, and issues central to contemporary museum studies Opens with an introductory essay that situates museum studies in a truly interdisciplinary context and includes an opening essay for each section that guides the reader through the selections Includes a bibliography and list of resources devoted to museum studies that makes the volume an authoritative guide on the subject
Conceptual Art and the Politics of Publicity by
Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising.Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.
Archive Fever by
Organized and written by renowned scholar and ICP Adjunct Curator Okwui Enwezor, Archive Fever presents works by leading contemporary artists who use archival documents to rethink the meaning of identity, history, memory, and loss. Over the past thirty years, successive generations have taken wide-ranging approaches to the photographic and filmic archive. The works presented here take many forms, including physical archives arranged by peculiar cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs, film versions of photographic albums, and photomontages composed of historical photographs. These images have a wide-ranging subject matter yet are linked by the artists shared meditation on photography and film as the quintessential media of the archive. Artists in the exhibition include Tacita Dean, Stan Douglas, Felix Gonzalez-Torres, Zoe Leonard, Ilán Lieberman, Walid Raad, Thomas Ruff, Anri Sala, Fazal Sheikh, Eyal Sivan, Lorna Simpson, and Vivan Sundaram, among others.
Drawing on Art by
Marcel Duchamp’s 1919 readymade,L.H.O.O.Q., which he created by drawing a moustache and goatee on a commercial reproduction of theMona Lisa, precipitated a radical reevaluation of the meaning of art, the process of art making, and the role of the artist. InDrawing on Art, Dalia Judovitz explores the central importance of appropriation, collaboration, influence, and play in Duchamp’s work-and in Dada and Surrealist art more broadly-to show how the concept of art itself became the critical fuel and springboard for questioning art’s fundamental premises. Judovitz argues that rather than simply negating art, Duchamp’s readymades and later works, including films and conceptual pieces, demonstrate the impossibility of defining art in the first place. Through his readymades, for instance, Duchamp explicitly critiqued the commodification of art and inaugurated a profound shift from valuing art for its visual appearance to understanding the significance of its mode of public presentation. And if Duchamp literally drew on art, he also did so figuratively, thus raising questions of creativity and artistic influence. Equally destabilizing, Judovitz writes, was Duchamp’s idea that viewers actively participate in the creation of the art they are viewing. In addition to close readings ranging across Duchamp’s oeuvre, even his neglected works on chess, Judovitz provides interpretations of works by other figures who affected Duchamp’s thinking and collaborated with him, notably Francis Picabia, Man Ray, and Salvador Dal , as well as artists who later appropriated and redeployed these gestures, such as Enrico Baj, Gordon Matta-Clark, and Richard Wilson. As Judovitz makes clear, these associations become paradigmatic of a new, collective way of thinking about artistic production that decisively overturns the myth of artistic genius.
The Artist's Joke by
Ever since Freud's Jokes and Their Relation to the Unconscious appeared in 1905, humor both light and dark has frequently surfaced as a subversive, troubling, or liberating element in art. The Artist's Joke surveys the rich and diverse uses of humor by avant-garde and contemporary artists. The texts collected in this new reader from London's Whitechapel Gallery examine what André Breton called the "lightning bolt" of the unsettlingly comic, as seen in the anarchic wordplay of Duchamp, Picasso, the Dadaists, and Surrealists; Pop's fetish for kitsch and the comic strip; Bruce Nauman's sinister clowns and twisted puns; Richard Prince's joke paintings; art ambushed by feminist wit, from the Dadaism of Hannah Höch in the 1920s to the politicized conceptualism of Jenny Holzer and Barbara Kruger in the 1980s; the serenely uncanny in Mike Kelley's installations and the risibly grotesque in Paul McCarthy's; and the strangely comic scenarios of artists as various as Maurizio Cattelan, Andrea Fraser, Raymond Pettibon, and David Shrigley. Artists' writings are accompanied and contextualized by the work of critics and thinkers including Freud, Bergson, Hélène Cixous, Slavoj Zizek [haceks over z's], Jörg Heiser, Jo Anna Isaak, and Ralph Rugoff. Jennifer Higgie is the coeditor of frieze magazine. She has published writings on such contemporary artists as Ricky Swallow, Magnus Von Plessen, and David Noonan.Artists surveyed include Leonora Carrington, Maurizio Cattelan, Marcel Duchamp, Marlene Dumas, Fischli & Weiss, Andrea Fraser, the Guerilla Girls, Hannah Höch, Mike Kelley, Martin Kippenberger, Barbara Kruger, Sarah Lucas, Paul McCarthy, Bruce Nauman, Claes Oldenberg, Raymond Pettibon, Francis Picabia, Pablo Picasso, Richard Prince, Arnulf Rainer, Ad Reinhardt, ED Ruscha, Carolee Schneemann, David Shrigley, Robert Smithson, Annikia Ström, Kara Walker, Andy Warhol Writers includeHugo Ball, Henri Bergson, André Breton, Hélène Cixous, Sigmund Freud, Jörg Heiser, Dave Hickey, Jo Anna Isaak, Ralph Rugoff, Peter Schjeldahl, Sheena Wagstaff, Hamza Walker, Slavoj Zizek
Appropriation by
Scavenging, replicating, or remixing, many influential artists today reinvent a legacy of "stealing" images and forms from other makers. Among the diverse, often contestatory strategies included under the heading "appropriation" are the readymade, détournement, pastiche, rephotography, recombination, simulation and parody. Although appropropriation is often associated with the 1980s practice of such artists as Peter Halley, Sherrie Levine, Richard Prince, and Cindy Sherman, as well as the critical discourse of postmodernism and the simulacral theory of Jean Baudrillard, appropriation's significance for art is not limited by that cultural and political moment. In an expanded art-historical frame, this book recontextualizes avant-garde photomontage, the Duchampian readymade, and the Pop image among such alternative precursors as Francis Picabia, Bertolt Brecht, Guy Debord, Akasegawa Genpei, Dan Graham, Cildo Meireles, and Martha Rosler. In the recent work of many artists, including Mike Kelley, Glenn Ligon, Pierre Huyghe, and Aleksandra Mir, among others, appropriation is central to their critique of the contemporary world and vision for alternative futuresArtists surveyed include Akasegawa Genpei, Santiago Álvarez, Art Workers Coalition, Ross Bleckner, Marcel Broodthaers, Victor Burgin, Maurizio Cattelan, Hans-Peter Feldmann, Douglas Gordon, Johan Grimonprez, Peter Halley, Hank Herron, Pierre Huyghe, Mike Kelley, Idris Khan, Barbara Kruger, Sherrie Levine, Glenn Ligon, Steve McQueen, Alexandra Mir, Keith Piper, Richard Prince, Jorma Puranen, Cindy Sherman, John Stezaker, Retort, Martha Rosler, Philip TaaffeWriters include Malek Alloula, Jean Baudrillard, Walter Benjamin, Nicolas Bourriaud, Benjamin H. D. Buchloh, Johanna Burton, Douglas Crimp, Thomas Crow, Guy Debord, Georges Didi-Huberman, Marcel Duchamp, Okwui Enwezor, Jean-Luc Godard, Isabelle Graw, Boris Groys, Raoul Hausmann, Sven Lütticken, Cildo Meireles, Kobena Mercer, Slobodan Mijuskovic, Laura Mulvey, Jo Spence, Elisabeth Sussman, Lisa Tickner, Reiko Tomii, Andy Warhol
A Companion to American Art by
A Companion to American Art presents 35 newly-commissioned essays by leading scholars that explore themethodology, historiography, and current state of the field ofAmerican art history.
The Oxford Companion to the Photograph by
"Compiled by an international team of over 140 contributors, this is the first Oxford Companion to deal with the subject of photography. It appears at a watershed in the medium's history, as digital imaging increasingly dominates the global photography scene. Providing a wide range of technical information, the Companion also presents, in a concise and readily accessible form, the mass of recent scholarship on photography as a social and artistic practice. There are over 800 biographical entries, both on photographers and on others who have influenced photographic culture from the 19th century to the present. The Companion is stunningly illustrated, with many pictures published here for the first time."--Publisher.
Colour by
Whether it is scooped up off the palette, deployed as propaganda, or opens the doors of perception, color is central to art not only as an element but as an idea. This unique anthology reflects on the aesthetic, cultural, and philosophical meaning of color through the writings of artists and critics, placed within the broader context of anthropology, film, philosophy, literature, and science. Those who loathe color have had as much to say as those who love it. This chronology of writings from Baudelaire to Baudrillard traces how artists have affirmed color as a space of pure sensation, embraced it as a tool of revolution or denounced it as decorative and even decadent. It establishes color as a central theme in the story of modern and contemporary art and provides a fascinating handbook to the definitions and debates around its history, meaning, and use.Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, H lio Oiticica, Paul Signac, Ad Reinhardt, Gerhard Richter, Aleksandr Rodchenko, Bridget Riley, Mark Rothko, Yinka Shonibare, Jessica Stockholder, Theo van Doesburg, Vincent van Gogh, Victor Vasarely, Rachel Whiteread.Writers include: Theodor Adorno, Roland Barthes, Charles Baudelaire, Jean Baudrillard, Walter Benjamin, Charles Blanc, Jacques Derrida, Thierry de Duve, Umberto Eco, Victoria Finlay, Joris-Karl Huysmans, Johannes Itten, Julia Kristeva, Claude L vi-Strauss, Jacqueline Lichtenstein, Maurice Merleau-Ponty, John Ruskin, Adrian Stokes, Ludwig Wittgenstein
Beauty by
Beauty has emerged as one of the most hotly contested subjects in current discussions on art and culture. After more than half a century of suspicion and interrogation, beauty's resurgence in visual practice and discourse since the late 1980s has engaged some of the most influential artists and writers on art. From the avant-garde to the conceptual era, anti-aesthetic strategies have resisted beauty because of its perceived complicity with dominant systems and ideologies. Thus politicized and opened to critique, beauty, invoked in relation to contemporary art, no longer sustains a singular or universal meaning but is always contentious. Spanning a range of positions on beauty--both for and against--this anthology assembles the key texts on the controversy and situates the debate over the revival of beauty in the broader context of the history of ideas and artistic practice.Artists survyed includeVito Acconci, Jake and Dinos Chapman, Gustave Courbet, Marcel Duchamp, Marlene Dumas, Felix Gonzalez-Torres, Adolph Gottlieb, Hans Hofmann, Gary Hume, Asger Jorn, Alex Katz, Willem de Kooning, Joseph Kosuth, Paul McCarthy, douard Manet, Robert Mapplethorpe, Agnes Martin, Robert Morris, Barnett Newman, Pablo Picasso, Jackson Pollock, Gerhard Richter, Mark Rothko, Robert Smithson, Nancy Spero, Frank Stella, Clyfford Still, Andy WarholWriters includeTheodor Adorno, Alexander Alberro, Rasheed Araeen, Art & Language, Benjamin H. D. Buchloh, T. J. Clark, Mark Cousins, Arthur C. Danto, Jacques Derrida, Thierry de Duve, Fredric Jameson, Christoph Grunenberg, Dave Hickey, Suzanne Perling Hudson, Caroline A. Jones, John Roberts, Elaine Scarry, Wendy Steiner, Paul Wood
The Ethics of Earth Art by
Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects. In The Ethics of Earth Art, Amanda Boetzkes analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi Ikeda are connected through their elucidation of the earth as a domain of ethical concern. Boetzkes contends that in basing their works’ relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature. By incorporating receptive surfaces into their work-film footage of glaring sunlight, an aperture in a chamber that opens to the sky, or a porous armature on which vegetation grows-earth artists articulate the dilemma of representation that nature presents. Revealing the fundamental difference between the human world and the earth, Boetzkes shows that earth art mediates the sensations of nature while allowing nature itself to remain irreducible to human signification.
Expanding Architecture by
Expanding Architecture presents a new generation of creative design carried out in the service of the greater public and the greater good. Questioning how design can improve daily lives, editors Bryan Bell and Katie Wakeford map an emerging geography of architectural activism or public-interest architecture that might function akin to public interest law or medicine by expanding architectures all-too-often elite client base. With 30 essays by practising architects and designers, urban and community planners, historians, landscape architects, environmental designers and members of other fields, this volume is full of work from around the world that illustrates the ways in which design can address issues of social justice, allow individuals and communities to plan and improve their own lives and serve a much larger percentage of the population than it has in the past. This new inclusionary practice must define new services and new processes, and these are illuminated in the generously illustrated texts as well. Examining evolving notions of socially conscious practice, this book serves as an essential guide for designers who are willing to take on the social, economic and environmental challenges we face today.
Situation by
Situation--a unique set of conditions produced in both space and time and ranging across material, social, political, and economic relations--has become a key concept in twenty-first-century art. Rooted in artistic practices of the 1960s and 1970s, the idea of situation has evolved and transcended these in the current context of globalization. This anthology offers key writings on areas of art practice and theory related to situation, including notions of the site specific, the artist as ethnographer or fieldworker, the relation between action and public space, the meaning of place and locality, and the crucial role of the curator in recent situation specific art. In North America and Europe, the site-specific is often viewed in terms of resistance to art's commoditization, while elsewhere situation-specific practices have defied institutions of authority. The contributors discuss these recent tendencies in the context of proliferating international biennial exhibitions, curatorial place-bound projects, and strategies by which artists increasingly unsettle the definition and legitimation of situation-based art.Artists surveyed include [from Ian 1/30]Vito Acconci, Allora & Calzadilla, Francis Al s, Carl Andre, Artist Placement Group, Michael Asher, Amy Balkin, Ursula Biemann, Bik Van der Pol, Daniel Buren, Victor Burgin, Janet Cardiff, Center for Land Use Interpretation, Adam Chodzko, Collective Actions, Tacita Dean, Elmgreen & Dragset, Andrea Fraser, Hamish Fulton, Dan Graham, Liam Gillick, Ren e Green, Group Material, Douglas Huebler, Bethan Huws, Pierre Huyghe, Robert Irwin, Emily Jacir, Ilya Kabakov, Leopold Kessler, J lius Koller, Langlands & Bell, Ligna, Richard Long, Gordon Matta-Clark, Graeme Miller, Jonathan Monk, Robert Morris, Gabriel Orozco, Walid Ra'ad, Raqs Media Collective, Paul Rooney, Martha Rosler, Allen Ruppersberg, Richard Serra, Situationist International, Tony Smith, Robert Smithson, Vivan Sundaram, Rirkrit Tiravanija, Lawrence Weiner, Rachel Whiteread, Krzysztof Wodiczko, Qiu Zhijie Writers include Arjun Appaduri, Marc Aug , Wim Beeren, Josephine Berry Slater, Daniel Birnbaum, Ava Bromberg, Susan Buck-Morss, Michel de Certeau, Douglas Crimp, Gilles Deleuze, T. J. Demos, Rosalyn Deutsche, Thierry de Duve, Charles Esche, Graeme Evans, Patricia Falgui res, Marina Fokidis, Hal Foster, Hou Hanrou, Brian Holmes, Mary Jane Jacob, Vasif Kortun, Miwon Kwon, Lu Jie, Doreen Massey, James Meyer, Ivo Mesquita, Brian O'Doherty, Craig Owens, Irit Rogoff, Peter Weibel
Green Design by
In this timely book, author Marcus Fairs helps readers understand the shift of green design from marginal to mainstream by featuring products and buildings that address immediate concerns about global warming and environmental degradation. Through vast architectural projects to modest one-off pieces of salvaged furniture, the book shows how the design world is responding to the environmental challenges of this century. Author Fairs demonstrates key developments in sustainable design as seen in lighting, houseware, furniture, textiles, products, interiors, architecture, and transportation, including the innovative use of fuel-cell technologies and ultra-lightweight materials. The book shows how the introduction of eco-friendly materials is changing the products around us and charts the rise of low-energy lighting sources and their impact on lighting design. Emerging trends in green design are also covered, from recycling (reusing existing objects to create new products) to ethical sourcing (ensuring products come from sustainable sources). By presenting existing green innovations as well as visionary projects,Green Designpaints a bright future in which technology and ethics merge for the benefit of people and the planet.
Worldchanging by
Worldchangingis poised to be theWhole Earth Catalogfor this millennium. Written by leading new thinkers who believe that the means for building a better future lie all around us,Worldchangingis packed with the information, resources, reviews, and ideas that give readers the tools they need to make a difference. Brought together by Alex Steffen, co-founder of the popular and award-winning web site Worldchanging.com, this team of top-notch writers includes Cameron Sinclair, founder of Architecture for Humanity, Geekcorps founder Ethan Zuckerman, sustainable food expert Anna Lappé, and many others. Renowned designer Stefan Sagmeister brings his extraordinary talents toWorldchanging, resulting in a book that will challenge readers to personally redefine the conversation about the future. Each chapter offers readers new answers to key questions, such as: Why does buying locally produced food make sense? What steps can I take to influence my workplace toward sustainability? How do I volunteer, advocate, and give more effectively? From eco-building to responsible shopping, political action to humanitarian relief,Worldchanging puts the power to solve problems into the readers hands.
Sayre by
A World of Art fosters the critical thinking and visual literacy skills students need to understand art from around the globe. Noted author and educator Henry Sayre teaches students how to ask the right questions about the visual world that surrounds us, and to then respond meaningfully to the complexity of that world. New to the eighth edition, seven thematic chapters help students better identify and understand major themes of art--such as "the cycle of life" and "the body, gender, and identity"--that transcend different eras and regions. Also available with MyArtsLab® MyArtsLab for the Art Appreciation course extends learning online to engage students and improve results. Media resources with assignments bring concepts to life, and offer students opportunities to practice applying what they've learned. Please note: this version of MyArtsLab does not include an eText. A World of Art, Eighth Edition is also available via REVEL(tm), an immersive learning experience designed for the way today's students read, think, and learn.
A Short Guide to Writing about Art by
A Short Guide to Writing About Art, 6/E, the best-selling text of its kind, encourages students to form their own opinions about art, and then equips them with the tools they need to write effective essays. This handy guide addresses a wealth of fundamental matters, including description versus analysis; the value of peer review; documenting sources; and editing the final essay.
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