"How does one get to be an artist? How does one get to be anything at all? It's not as if we come into the world with pre-set destinies, or do we? and if we do, what's actually baked in, what's learned, what's a product of circumstance? Jackson Pollock started by painting Jungian archetypes in what are called his psychoanalytic drawings. He moved on to Picassoesque figurative work, as in "Guardians of the Secret" and "Moon Woman Cuts the Circle." Then, one average day, he threw a canvas on the floor. He became, miraculously, Jack the Dripper. What he'd done was so unforeseen, so puzzling, legend has it he turned to his partner Lee Krasner (herself a painter) and asked, "Is this art?""--
The canonical work of cultural criticism by the “profoundly influential critic” (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas Called “one of the country’s most influential feminist thinkers” by Artforum, bell hooks and her work have enjoyed a huge resurgence of popularity since her passing in 2021. Her 2018 book All About Love has sold upwards of 700,000 copies, and posthumous tributes have credited her with being “instrumental in cracking open the white, western canon for Black artists” (Artnet). To celebrate the thirtieth anniversary of her groundbreaking essay collection Art on My Mind, The New Press will publish a handsome, celebratory edition, featuring a new foreword by Tony-nominated producer and all-around creative phenom Mickalene Thomas and a new cover featuring original photos of bell hooks shot by African American photojournalist Eli Reed. This classic work, which, as the New York Times wrote, “examines the way race, sex and class shape who makes art, how it sells and who values it,” includes what Artforum calls “incisive essays” on the work of Jean-Michel Basquiat, Isaac Julien, Carrie Mae Weems, and Romare Bearden, among others. Her essays on Black vernacular architecture, representation of the Black male body, and the creative process of women artists, are complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie, which Kirkus Reviews calls “excellent indeed,” and “a real contribution to our understanding of the situation of black women artists.”
INDIVIDUAL ARTISTS. A beautifully illustrated book which pairs Van Gogh's passionate letters to family and friends with his paintings and newly popular drawings. They exhibit the artist's genius and depth of observation and feeling in its most naked form. Here, they have been excerpted and re-translated and set side-by-side with his drawings and paintings from the same period, 1875-1890.
How do the arts stack up as a major discipline? What is their effect on the brain, learning, and human development? How might schools best implement and assess an arts program? Eric Jensen answers these questions--and more--in this book. To push for higher standards of learning, many policymakers are eliminating arts programs. To Jensen, that's a mistake. This book presents the definitive case, based on what we know about the brain and learning, for making arts a core part of the basic curriculum and thoughtfully integrating them into every subject. Separate chapters address musical, visual, and kinesthetic arts in ways that reveal their influence on learning. What are the effects of a fully implemented arts program? The evidence points to the following: * Fewer dropouts * Higher attendance * Better team players * An increased love of learning * Greater student dignity * Enhanced creativity * A more prepared citizen for the workplace of tomorrow * Greater cultural awareness as a bonus To Jensen, it's not a matter of choosing, say, the musical arts over the kinesthetic. Rather, ask what kind of art makes sense for what purposes. How much time per day? At what ages? What kind of music? What kind of movement? Should the arts be required? How do we assess arts programs? In answering these real-world questions, Jensen provides dozens of practical, detailed suggestions for incorporating the arts into every classroom. Note: This product listing is for the Adobe Acrobat (PDF) version of the book.
Learning in and through the visual arts can develop complex and subtle aspects of the mind. Reviews in: Journal of aesthetic education. 38(2004)4(Winter. 71-98), available M05-194.
Literary Nonfiction. Art. Psychology. Finally—someone is saying what successful artists have always known. This practical book helps the creative mind to thrive, not just survive, in the everyday world. A systematic approach to the fascinating and complex topic of the artist's imagination as revealed in ordinary situations is explored in Dr. Marianne Roccaforte's useful, honest, and encouraging book. Drawing on well-grounded psychological research and theory—and informed by years of direct experience counseling and teaching college-student artists—Dr. Roccaforte examines the realities, delights, and challenges of having a strong sense of wonder and an imagination that's constantly "on." In a tone that both honors and guides the reader, the author weaves in voices of successful writers, visual artists, musicians, actors, and dancers, and offers easy-to-practice techniques for such situations as transitioning from an absorbing session of art-making, communicating effectively in social and business settings, managing intense sensory and emotional experience, and sustaining a healthy and active creative life. Insightful and applicable for any person possessing an artistic sensibility—as well as for parents and teachers of young artists—this book enlightens, validates, and empowers, ultimately helping to build new bridges of understanding.
This collection of thoughts from artists and thinkers of the past and present has been lovingly gathered over many years in the personal journals of the artist Astrid Fitzgerald and reveals something of the mystery in which creativity finds its way from the energies of the cosmos into the imagination and faculties of the individual artist and eventually into the solitude of the studio and finally into a work of art. From the reports of mystics to the observations of scientists, these passages have been arranged in this volume to provide brief glimpses into the recesses of artistic being, into the tentative formations in consciousness, the first glimmers of imagination, the distinctive faculties of the creative mind, and the tensions of artistic expression in the workshop and the creative life. Fitzgerald's great contribution has been to gather into a meaningful collection the words of 2,500 years of genius as a resource and inspiration for all those who would break out of creative limitations and take a bold step into the future. Illustrated with the art of the author and others. CONTENTS: The Ground of Artistic Being The Field of Creative Play The Universal Qualities and Forces of Creativity The Flowering of Creative Energy The Faculties of Creative Expression The Nature of the Calling The Ideals of Artistic Expression Infinite Forms of Expression The Dynamics of Creative Work The Experience of the Creative Life Bibliography and Index of Authors
"More than any other artist in the Impressionist group, Degas was fascinated by ideas and consciously based his work on them. "What I do is the result of reflection and study of the great masters," he once confessed, "of inspiration, spontaneity, temperament I know nothing." Yet his work has been understood very inadequately from that point of view. Publications on him, once dominated by memoirs inspired by his remarkable personality, are now concerned with cataloguing and studying limited aspects of his complex art. Its intellectual power and originality, which were evident to contemporary writers like Duranty and Valery, have not been studied sufficiently by more recent critics. It is this side of Degas's art--as seen in his ingenious pictorial strategies and technical innovations, his use of motifs like the window, the mirror, and the picture within the picture, his invention of striking, psychologically compelling compositions, and his creation of a sculptural idiom at once formal and vernacular--that is the subject of these essays. Inevitably, given the range of his intellectual interests, the essays are also concerned with his contacts with leading novelists and poets of his time and his efforts to illustrate or draw inspiration from their works. Throughout, the author makes use of an important, largely unpublished source, the material in Degas's notebooks, on which he has recently published a complete catalogue"--Publisher's description.
