Pioneering work by the great modernist painter, considered by many to be the father of abstract art and a leader in the movement to free art from traditional bonds. 12 illustrations.
Every material has an active presence and every material is susceptible to change. The task of the sculptor is to understand the natural properties of a chosen material, to know in the process of creation how best to work with, or against, its characteristics. In this generously illustrated studio manual, sculptor Oliver Andrews takes a new approach to sculpture, focusing on how the innate assertiveness of materials affects the complex act of making a sculpture.
A Caldecott Honor Book Vasya Kandinsky was a proper little boy: he studied math and history, he practiced the piano, he sat up straight and was perfectly polite. And when his family sent him to art classes, they expected him to paint pretty houses and flowers—like a proper artist. But as Vasya opened his paint box and began mixing the reds, the yellows, the blues, he heard a strange sound—the swirling colors trilled like an orchestra tuning up for a symphony! And as he grew older, he continued to hear brilliant colors singing and see vibrant sounds dancing. But was Vasya brave enough to put aside his proper still lifes and portraits and paint . . . music? In this exuberant celebration of creativity, Barb Rosenstock and Mary GrandPré tell the fascinating story of Vasily Kandinsky, one of the very first painters of abstract art. Throughout his life, Kandinsky experienced colors as sounds, and sounds as colors—and bold, groundbreaking works burst forth from his noisy paint box. Backmatter includes four paintings by Kandinsky, an author’s note, sources, links to websites on synesthesia and abstract art.
This book explores the development of abstraction from the moment of its declaration around 1912 to its establishment as the foundation of avant-garde practice in the mid-1920s. The book brings together many of the most influential works in abstractions early history to draw a cross-media portrait of this watershed moment in which traditional art was reinvented in a wholesale way. Works are presented in groups that serve as case studies, each engaging a key topic in abstractions first years: an artist, a movement, an exhibition or thematic concern. Key focal points include Vasily Kandinskys ambitious Compositions V, VI and VII; a selection of Piet Mondrians work that offers a distilled narrative of his trajectory to Neo-plasticism; and all the extant Suprematist pictures that Kazimir Malevich showed in the landmark 0.10 exhibition in 1915.0Exhibition: MoMA, New York, USA (23.12.2012-15.4.2013).
The Creative Reflective Practitioner explores research and practice through the eyes of people with a wholehearted commitment to creative work. It reveals what it means to be a reflective creative practitioner, whether working alone, in collaboration with others, with digital technology or doing research, and what we can learn from listening and observing closely. It gives the reader new insights into the fascinating challenge that having a reflective creative mindset can bring. Creative reflective practice is seen through practitioner ideas and works which have informed the writing at every level, supported by research studies and historical accounts. The practitioners featured in this book represent a broad spectrum of interdisciplinary creative activities producing works in film, music, drama, dance and interactive installations. Their work is innovative, full of new ideas and exciting to experience, offering engagement and challenge for audiences and participants alike. Practitioner interviews give a direct sense of how they see creative practice from the inside. The ways in which these different situations of practice stimulate and facilitate reflection in practice and how we can learn from this are described. Variations of reflective practice are discussed that extend the original concepts proposed by Donald Schön, and a contemporary dimension is added through the role of the digital in creative reflective practice as a tool, mediator, medium and partner. This book is relevant to people who wish to understand creativity and reflection in practice and how to learn from the practitioners themselves. This includes researchers in any discipline as well as students, arts professionals and practitioners such as artists, curators, designers, musicians, performers, producers and technologists.
An experimental approach to the study and teaching of color is comprised of exercises in seeing color action and feeling color relatedness before arriving at color theory.
Albers in Mexico reveals the profound link between the magnificent art and architecture of ancient Mesoamerica and Albers's abstract works on canvas and paper. 'Mexico is truly the promised land of abstract art', Josef Albers once wrote to Vassily Kandinsky. Albers in Mexico reveals the profound link between the magnificent art and architecture of ancient Mesoamerica and Albers's abstract works on canvas and paper. With his wife, the artist Anni Albers, he visited Mexico and other Latin American countries more than a dozen times from 1935 to 1968, where he toured pre-Columbian archeological sites and monuments. On each visit, Albers took blackand- white photographs of the pyramids, shrines, sanctuaries and landscapes in and around these ancient sites, often grouping multiple images printed at various scales onto 8 x 10 inch sheets. The result was nearly 200 photo-collages that illustrate formal characteristics of the pre-Columbian aesthetic. Albers in Mexico brings together rarely exhibited photographs, photo-collages, prints and significant paintings from the Homage to the Square and Variants/Adobe series from the Guggenheim Museum collection and the Anni and Josef Albers Foundation. This catalogue includes two scholarly essays, Albers's poetry from the period and an illustrated map, as well as rich colour reproductions of paintings and works on paper.