621 Results
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journals and magazines
journals and magazines
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Our built environment exists in a perpetual state of becoming, caught in a process of creation that is continuous and unending. If we wish to understand architecture today, we must engage with the state of flux that defines it. In 2015, Inflection Volume 02 considers the idea of projection, interrogating its meaning in architecture and the built environment. Bringing(...)
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Our built environment exists in a perpetual state of becoming, caught in a process of creation that is continuous and unending. If we wish to understand architecture today, we must engage with the state of flux that defines it. In 2015, Inflection Volume 02 considers the idea of projection, interrogating its meaning in architecture and the built environment. Bringing(...)
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Inflection, journal of the Melbourne school of design vol 2
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Our built environment exists in a perpetual state of becoming, caught in a process of creation that is continuous and unending. If we wish to understand architecture today, we must engage with the state of flux that defines it. In 2015, Inflection Volume 02 considers the idea of projection, interrogating its meaning in architecture and the built environment. Bringing together the work of students, academics and practitioners from Australia and around the world, this issue addresses the trajectories of the architectural design process, the changing role of architects in society, and the continuing state of becoming that defines our cities. Inflection is a student-run design journal based at the Melbourne School of Design, Melbourne University. Born from a desire to stimulate debate and generate ideas, it advocates the discursive voice of students, academics and practitioners.
Inflection, journal of the Melbourne school of design vol 2
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Our built environment exists in a perpetual state of becoming, caught in a process of creation that is continuous and unending. If we wish to understand architecture today, we must engage with the state of flux that defines it. In 2015, Inflection Volume 02 considers the idea of projection, interrogating its meaning in architecture and the built environment. Bringing together the work of students, academics and practitioners from Australia and around the world, this issue addresses the trajectories of the architectural design process, the changing role of architects in society, and the continuing state of becoming that defines our cities. Inflection is a student-run design journal based at the Melbourne School of Design, Melbourne University. Born from a desire to stimulate debate and generate ideas, it advocates the discursive voice of students, academics and practitioners.
Form:
journals and magazines
journals and magazines
Publication:
December 2015
December 2015
Subject:
Magazines
Magazines
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books
books
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Dans l'Antiquité, la sphère est la représentation de la perfection de ce qui n'a ni commencement, ni fin, échappe à la corruption du temps, symbolise le divin qui s'offre à la contemplation. Depuis les Grecs, la totalisation du monde s'opère sous la forme d'un globe, à la fois vision cosmogonique, projection géométrique et spéculation philosophique, mais aussi(...)
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Dans l'Antiquité, la sphère est la représentation de la perfection de ce qui n'a ni commencement, ni fin, échappe à la corruption du temps, symbolise le divin qui s'offre à la contemplation. Depuis les Grecs, la totalisation du monde s'opère sous la forme d'un globe, à la fois vision cosmogonique, projection géométrique et spéculation philosophique, mais aussi(...)
Title:
Peter Sloterdijk : Globes, sphères II
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Dans l'Antiquité, la sphère est la représentation de la perfection de ce qui n'a ni commencement, ni fin, échappe à la corruption du temps, symbolise le divin qui s'offre à la contemplation. Depuis les Grecs, la totalisation du monde s'opère sous la forme d'un globe, à la fois vision cosmogonique, projection géométrique et spéculation philosophique, mais aussi représentation physique de la souveraineté et attribut des empereurs, monarques ou papes. Quand s'ouvre le monde, quand la circonférence ne le contient plus et que les hiérarchies sont bouleversées, que devient cette représentation dont nous sommes malgré tout les héritiers ? Suffit-il de la déclarer obsolète pour en être affranchi ? Avec son brio habituel de conteur, Peter Sloterdijk nous entraîne dans un voyage passionnant à travers les civilisations et les époques, au gré de la position qu'y occupe le centre de la sphère
Peter Sloterdijk : Globes, sphères II
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Dans l'Antiquité, la sphère est la représentation de la perfection de ce qui n'a ni commencement, ni fin, échappe à la corruption du temps, symbolise le divin qui s'offre à la contemplation. Depuis les Grecs, la totalisation du monde s'opère sous la forme d'un globe, à la fois vision cosmogonique, projection géométrique et spéculation philosophique, mais aussi représentation physique de la souveraineté et attribut des empereurs, monarques ou papes. Quand s'ouvre le monde, quand la circonférence ne le contient plus et que les hiérarchies sont bouleversées, que devient cette représentation dont nous sommes malgré tout les héritiers ? Suffit-il de la déclarer obsolète pour en être affranchi ? Avec son brio habituel de conteur, Peter Sloterdijk nous entraîne dans un voyage passionnant à travers les civilisations et les époques, au gré de la position qu'y occupe le centre de la sphère
Form:
books
books
Publication:
March 2011
March 2011
Subject:
Critical Theory
Critical Theory
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books
books
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$30.00
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The Limestone Barrens Project is an international multidisciplinary investigation of the limestone cliffs and alvars in three areas: Ontario's Bruce Peninsula, Newfoundland's Great Northern Peninsula and the Burren in County Clare Ireland. Artists working in lens-based media (photography, video, video projection and video installation), writers, a composer and(...)
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The Limestone Barrens Project is an international multidisciplinary investigation of the limestone cliffs and alvars in three areas: Ontario's Bruce Peninsula, Newfoundland's Great Northern Peninsula and the Burren in County Clare Ireland. Artists working in lens-based media (photography, video, video projection and video installation), writers, a composer and(...)
Subject:
Architecture in Canada
Architecture in Canada
Publication:
April 2005, Corner Brook, Newfoundland
April 2005, Corner Brook, Newfoundland
Title:
The Limestone barrens project
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The Limestone Barrens Project is an international multidisciplinary investigation of the limestone cliffs and alvars in three areas: Ontario's Bruce Peninsula, Newfoundland's Great Northern Peninsula and the Burren in County Clare Ireland. Artists working in lens-based media (photography, video, video projection and video installation), writers, a composer and researchers walked and documented the sites so as to explore links between science, visual art, creative writing, sound and music. The project's publication is a stunning tribute to the fragile nature of these sites and their importance to our environment. Three essays, artist statements, poetry and sound recordings are accompanied by magnificent illustrations by some of the world's most distinguished landscape photographers, notably Marlene Creates, Har-Prakash Khalsa and Greg Staats. Accompanied by an audio CD. Produced in collaboration with Sir Wilfred Grenville College of Art Gallery, Newfoundland and Model Arts and Niland Gallery, Ireland.
The Limestone barrens project
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The Limestone Barrens Project is an international multidisciplinary investigation of the limestone cliffs and alvars in three areas: Ontario's Bruce Peninsula, Newfoundland's Great Northern Peninsula and the Burren in County Clare Ireland. Artists working in lens-based media (photography, video, video projection and video installation), writers, a composer and researchers walked and documented the sites so as to explore links between science, visual art, creative writing, sound and music. The project's publication is a stunning tribute to the fragile nature of these sites and their importance to our environment. Three essays, artist statements, poetry and sound recordings are accompanied by magnificent illustrations by some of the world's most distinguished landscape photographers, notably Marlene Creates, Har-Prakash Khalsa and Greg Staats. Accompanied by an audio CD. Produced in collaboration with Sir Wilfred Grenville College of Art Gallery, Newfoundland and Model Arts and Niland Gallery, Ireland.
Form:
books
books
Publication:
April 2005, Corner Brook, Newfoundland
April 2005, Corner Brook, Newfoundland
Subject:
Architecture in Canada
Architecture in Canada
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books
books
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$24.00
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Les notes retranscrites dans ce manuel visaient la réalisation d'un livre, imaginé pendant l'hiver 2003-2004, tandis que Pierre Leguillon était résident à la Villa Médicis, l'Académie de France à Rome. Pendant quelques semaines, il est resté cloîtré chez lui, vivant de manière totalement décalée, dans l'espoir de trouver la forme que prendrait son livre. Ce livre tentait(...)
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Les notes retranscrites dans ce manuel visaient la réalisation d'un livre, imaginé pendant l'hiver 2003-2004, tandis que Pierre Leguillon était résident à la Villa Médicis, l'Académie de France à Rome. Pendant quelques semaines, il est resté cloîtré chez lui, vivant de manière totalement décalée, dans l'espoir de trouver la forme que prendrait son livre. Ce livre tentait(...)
Title:
La légende punaisée dans le ciel : manuel pour un livre
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Les notes retranscrites dans ce manuel visaient la réalisation d'un livre, imaginé pendant l'hiver 2003-2004, tandis que Pierre Leguillon était résident à la Villa Médicis, l'Académie de France à Rome. Pendant quelques semaines, il est resté cloîtré chez lui, vivant de manière totalement décalée, dans l'espoir de trouver la forme que prendrait son livre. Ce livre tentait d'adapter à l'espace de la page une projection de diapositives sonorisée, un format que l'artiste utilisait exclusivement depuis une dizaine d'années. Les formules, au ton péremptoire et au caractère définitif, étaient presque toujours rédigées au feutre et en capitales, très tard dans la nuit ou au réveil, tardif. Ce livre n'a toujours pas vu le jour, mais égalera-t-il jamais l'entité que forment ces idées contradictoires ? Car ce fatras, remanié dans ces pages pour pouvoir être partagé, dessine en creux une forme idéale, convoitée par beaucoup d'autres avant lui.
La légende punaisée dans le ciel : manuel pour un livre
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Les notes retranscrites dans ce manuel visaient la réalisation d'un livre, imaginé pendant l'hiver 2003-2004, tandis que Pierre Leguillon était résident à la Villa Médicis, l'Académie de France à Rome. Pendant quelques semaines, il est resté cloîtré chez lui, vivant de manière totalement décalée, dans l'espoir de trouver la forme que prendrait son livre. Ce livre tentait d'adapter à l'espace de la page une projection de diapositives sonorisée, un format que l'artiste utilisait exclusivement depuis une dizaine d'années. Les formules, au ton péremptoire et au caractère définitif, étaient presque toujours rédigées au feutre et en capitales, très tard dans la nuit ou au réveil, tardif. Ce livre n'a toujours pas vu le jour, mais égalera-t-il jamais l'entité que forment ces idées contradictoires ? Car ce fatras, remanié dans ces pages pour pouvoir être partagé, dessine en creux une forme idéale, convoitée par beaucoup d'autres avant lui.
Form:
books
books
Publication:
January 2022
January 2022
Subject:
Literature and poetry
Literature and poetry
Form:
books
books
Title:
FAT: a french american trip
FAT: a french american trip
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Poursuivant son étude pop et sérielle du paysage français, Eric Tabuchi interroge la validité de sa démarche photographique face à la puissance considérable de Google qui, via son entreprise de numérisation du territoire global, réalise finalement le projet d'une photographie véritablement objective et totalisante. Ainsi, contrairement à son habitude qui consiste à(...)
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Poursuivant son étude pop et sérielle du paysage français, Eric Tabuchi interroge la validité de sa démarche photographique face à la puissance considérable de Google qui, via son entreprise de numérisation du territoire global, réalise finalement le projet d'une photographie véritablement objective et totalisante. Ainsi, contrairement à son habitude qui consiste à(...)
Title:
FAT: a french american trip
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Poursuivant son étude pop et sérielle du paysage français, Eric Tabuchi interroge la validité de sa démarche photographique face à la puissance considérable de Google qui, via son entreprise de numérisation du territoire global, réalise finalement le projet d'une photographie véritablement objective et totalisante. Ainsi, contrairement à son habitude qui consiste à sillonner le terrain, Eric Tabuchi s'est attaché à explorer des lieux qui lui sont familiers mais cette fois dans ce monde parallèle, sorte d'empreinte du réel, que constitue Street View. De fait, FAT met en tension les deux niveaux de perception que sont désormais, pour chacun de nous, le virtuel et le réel, l'espace de projection et le territoire concret. FAT, c'est l'Amérique projeté dans l'imaginaire français, numérisé par Google et finalement compilé par Eric Tabuchi comme une sorte de condensé vertigineux de ce que pourrait être la mondialisation à l'ère du web.
FAT: a french american trip
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Poursuivant son étude pop et sérielle du paysage français, Eric Tabuchi interroge la validité de sa démarche photographique face à la puissance considérable de Google qui, via son entreprise de numérisation du territoire global, réalise finalement le projet d'une photographie véritablement objective et totalisante. Ainsi, contrairement à son habitude qui consiste à sillonner le terrain, Eric Tabuchi s'est attaché à explorer des lieux qui lui sont familiers mais cette fois dans ce monde parallèle, sorte d'empreinte du réel, que constitue Street View. De fait, FAT met en tension les deux niveaux de perception que sont désormais, pour chacun de nous, le virtuel et le réel, l'espace de projection et le territoire concret. FAT, c'est l'Amérique projeté dans l'imaginaire français, numérisé par Google et finalement compilé par Eric Tabuchi comme une sorte de condensé vertigineux de ce que pourrait être la mondialisation à l'ère du web.
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books
books
Publication:
February 2012
February 2012
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books
books
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$73.00
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Working at the intersection of natural science, technology, and art, Austrian-French artist duo Christa Sommerer and Laurent Mignonneau pioneered the ''Art of interface''—innovative technical interfaces that enable physical interaction between simulative visual worlds and the world of natural sensory organs. Early on, the pair used algorithms to represent not only forms(...)
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Working at the intersection of natural science, technology, and art, Austrian-French artist duo Christa Sommerer and Laurent Mignonneau pioneered the ''Art of interface''—innovative technical interfaces that enable physical interaction between simulative visual worlds and the world of natural sensory organs. Early on, the pair used algorithms to represent not only forms(...)
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Publication:
February 2023
February 2023
Title:
Christa Sommerer & Laurent Mignonneau: The artwork as a living system 1992-2022
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Working at the intersection of natural science, technology, and art, Austrian-French artist duo Christa Sommerer and Laurent Mignonneau pioneered the ''Art of interface''—innovative technical interfaces that enable physical interaction between simulative visual worlds and the world of natural sensory organs. Early on, the pair used algorithms to represent not only forms of the living but also their evolution and growth. In the artists’ installations, which are possible only through interactions with the viewer, devices designed by the artist couple produce novel virtual realities and immersive environments. In ''Portrait on the fly,'' for instance, a viewer stands in front of an interactive plasma screen, behind which a swarm of thousands of flies is moving. Gradually, the flies settle on the shadowed areas of the projection, thereby collectively reproducing the person’s likeness. Works such as these, now almost classics of digital art, open a new horizon in which artworks can function as living systems.
Christa Sommerer & Laurent Mignonneau: The artwork as a living system 1992-2022
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Summary:
Working at the intersection of natural science, technology, and art, Austrian-French artist duo Christa Sommerer and Laurent Mignonneau pioneered the ''Art of interface''—innovative technical interfaces that enable physical interaction between simulative visual worlds and the world of natural sensory organs. Early on, the pair used algorithms to represent not only forms of the living but also their evolution and growth. In the artists’ installations, which are possible only through interactions with the viewer, devices designed by the artist couple produce novel virtual realities and immersive environments. In ''Portrait on the fly,'' for instance, a viewer stands in front of an interactive plasma screen, behind which a swarm of thousands of flies is moving. Gradually, the flies settle on the shadowed areas of the projection, thereby collectively reproducing the person’s likeness. Works such as these, now almost classics of digital art, open a new horizon in which artworks can function as living systems.
Form:
books
books
Publication:
February 2023
February 2023
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
Membrane structures
Membrane structures
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$115.00
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In this comprehensive work to date on membrane technology for architecture, pioneers show how one of the world's oldest forms of building material is also its most innovative. Today, the cutting edge in architecture is not sharp but curved and undulating. It is also impermeable to moisture, resistant to extreme temperatures, flexible and portable. Known as the fifth(...)
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In this comprehensive work to date on membrane technology for architecture, pioneers show how one of the world's oldest forms of building material is also its most innovative. Today, the cutting edge in architecture is not sharp but curved and undulating. It is also impermeable to moisture, resistant to extreme temperatures, flexible and portable. Known as the fifth(...)
Title:
Membrane structures
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$115.00
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In this comprehensive work to date on membrane technology for architecture, pioneers show how one of the world's oldest forms of building material is also its most innovative. Today, the cutting edge in architecture is not sharp but curved and undulating. It is also impermeable to moisture, resistant to extreme temperatures, flexible and portable. Known as the fifth building material after wood, stone, glass, and metal, membranes are popping up everywhere: in Olympic stadiums in Berlin and Atlanta, in airports from Denver to Bangkok, over fashion shows, formal gardens, and soccer fields. Membranes' ability to not only let in but also reflect light portends enormous possibilities for harnessing energy. This fascinating survey of membrane structures throughout the world discusses the history of the medium, describes the materials and their uses, explores the technology of membrane construction, and investigates numerous current and future projects. A final chapter offers a reasoned argument for further research and experimentation in this rapidly expanding field and a projection of its future.
Membrane structures
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$115.00
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Summary:
In this comprehensive work to date on membrane technology for architecture, pioneers show how one of the world's oldest forms of building material is also its most innovative. Today, the cutting edge in architecture is not sharp but curved and undulating. It is also impermeable to moisture, resistant to extreme temperatures, flexible and portable. Known as the fifth building material after wood, stone, glass, and metal, membranes are popping up everywhere: in Olympic stadiums in Berlin and Atlanta, in airports from Denver to Bangkok, over fashion shows, formal gardens, and soccer fields. Membranes' ability to not only let in but also reflect light portends enormous possibilities for harnessing energy. This fascinating survey of membrane structures throughout the world discusses the history of the medium, describes the materials and their uses, explores the technology of membrane construction, and investigates numerous current and future projects. A final chapter offers a reasoned argument for further research and experimentation in this rapidly expanding field and a projection of its future.
Form:
books
books
Publication:
May 2004, Munich
May 2004, Munich
Subject:
Engineering Structures
Engineering Structures
Form:
books
books
Title:
Like origami gone wrong
Like origami gone wrong
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Simon Dybbroe M0ller's first monograph folds Modernist art history into something new. His interest stems in part from personal nostalgia and in part from intellectual fascination; he once told an interviewer, "You and I grew up in a society where a certain kind of provincial Modernism has had a major influence on how schools are constructed and everything. Furthermore,(...)
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Simon Dybbroe M0ller's first monograph folds Modernist art history into something new. His interest stems in part from personal nostalgia and in part from intellectual fascination; he once told an interviewer, "You and I grew up in a society where a certain kind of provincial Modernism has had a major influence on how schools are constructed and everything. Furthermore,(...)
Title:
Like origami gone wrong
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$34.00
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Simon Dybbroe M0ller's first monograph folds Modernist art history into something new. His interest stems in part from personal nostalgia and in part from intellectual fascination; he once told an interviewer, "You and I grew up in a society where a certain kind of provincial Modernism has had a major influence on how schools are constructed and everything. Furthermore, Modernism represents--and I guess it is almost a cliche to say--the last period of utopia, and a belief in actually producing truths." One installation, a darkened room with scattered light sources and projection screens, recalls both a party and the fusty setting of an academic conference; in another, a portrait of Le Corbusier emerges from a stain in the ceiling. Frieze magazine has called Moller's celebration of both the past and the uninterrupted march of artistic progress "a welcome alternative to thinking about art history as a daunting public library with strict rules for readers."
Like origami gone wrong
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$34.00
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Summary:
Simon Dybbroe M0ller's first monograph folds Modernist art history into something new. His interest stems in part from personal nostalgia and in part from intellectual fascination; he once told an interviewer, "You and I grew up in a society where a certain kind of provincial Modernism has had a major influence on how schools are constructed and everything. Furthermore, Modernism represents--and I guess it is almost a cliche to say--the last period of utopia, and a belief in actually producing truths." One installation, a darkened room with scattered light sources and projection screens, recalls both a party and the fusty setting of an academic conference; in another, a portrait of Le Corbusier emerges from a stain in the ceiling. Frieze magazine has called Moller's celebration of both the past and the uninterrupted march of artistic progress "a welcome alternative to thinking about art history as a daunting public library with strict rules for readers."
Form:
books
books
Publication:
October 2007, Thun
October 2007, Thun
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
Title:
La Fabrique de Rudi Meyer
La Fabrique de Rudi Meyer
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En 1976, lorsque la SNCF lui commande le dessin de la carte voyageurs, c’est une première pour le designer suisse Rudi Meyer qui n’a jusque-là jamais dessiné de plans de réseaux ferrés. Des logos, des affiches, des caractères typographiques, du mobilier, des scénographies d’exposition, des montres, des dispositifs de projection vidéo, oui. Mais des cartes ? Aucune encore.(...)
$37.95
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En 1976, lorsque la SNCF lui commande le dessin de la carte voyageurs, c’est une première pour le designer suisse Rudi Meyer qui n’a jusque-là jamais dessiné de plans de réseaux ferrés. Des logos, des affiches, des caractères typographiques, du mobilier, des scénographies d’exposition, des montres, des dispositifs de projection vidéo, oui. Mais des cartes ? Aucune encore.(...)
Title:
La Fabrique de Rudi Meyer
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En 1976, lorsque la SNCF lui commande le dessin de la carte voyageurs, c’est une première pour le designer suisse Rudi Meyer qui n’a jusque-là jamais dessiné de plans de réseaux ferrés. Des logos, des affiches, des caractères typographiques, du mobilier, des scénographies d’exposition, des montres, des dispositifs de projection vidéo, oui. Mais des cartes ? Aucune encore. Il dut, pour relever ce défi, inventer quelques outils au passage. Sa capacité à décloisonner a fait de lui un inclassable et donc un marginal au sein du cadastre des champs disciplinaires, plutôt imperméables et hiérarchisés en France. On en est parfois venu à ne plus savoir exactement quel était son métier. Qu’à cela ne tienne. Ne prenant racine dans aucun pré carré spécialisé, il multiplia les incartades, les rencontres, les collaborations et autres fertilisations croisées, sans jamais se sédentariser ni s’attacher. Dans cet entretien, Rudi Meyer revient sur des moments fondateurs de sa carrière et donne à voir sa conception d’un design inclassable, sans cesse réinventé.
La Fabrique de Rudi Meyer
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$37.95
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Summary:
En 1976, lorsque la SNCF lui commande le dessin de la carte voyageurs, c’est une première pour le designer suisse Rudi Meyer qui n’a jusque-là jamais dessiné de plans de réseaux ferrés. Des logos, des affiches, des caractères typographiques, du mobilier, des scénographies d’exposition, des montres, des dispositifs de projection vidéo, oui. Mais des cartes ? Aucune encore. Il dut, pour relever ce défi, inventer quelques outils au passage. Sa capacité à décloisonner a fait de lui un inclassable et donc un marginal au sein du cadastre des champs disciplinaires, plutôt imperméables et hiérarchisés en France. On en est parfois venu à ne plus savoir exactement quel était son métier. Qu’à cela ne tienne. Ne prenant racine dans aucun pré carré spécialisé, il multiplia les incartades, les rencontres, les collaborations et autres fertilisations croisées, sans jamais se sédentariser ni s’attacher. Dans cet entretien, Rudi Meyer revient sur des moments fondateurs de sa carrière et donne à voir sa conception d’un design inclassable, sans cesse réinventé.
Form:
books
books
Publication:
November 2023
November 2023
Subject:
Graphic Designers, Monographs
Graphic Designers, Monographs
Form:
books
books
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$22.99
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Summary:
What is the first thing to learn in art school? "Art can be anything." The second thing? "Learn to draw." With "101 things to learn in art school," artist and teacher Kit White delivers and develops such lessons, striking an instructive balance between technical advice and sage concepts. These 101 maxims, meditations, and demonstrations offer both a toolkit of ideas for(...)
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Summary:
What is the first thing to learn in art school? "Art can be anything." The second thing? "Learn to draw." With "101 things to learn in art school," artist and teacher Kit White delivers and develops such lessons, striking an instructive balance between technical advice and sage concepts. These 101 maxims, meditations, and demonstrations offer both a toolkit of ideas for(...)
Title:
101 things to learn in art school, revised
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What is the first thing to learn in art school? "Art can be anything." The second thing? "Learn to draw." With "101 things to learn in art school," artist and teacher Kit White delivers and develops such lessons, striking an instructive balance between technical advice and sage concepts. These 101 maxims, meditations, and demonstrations offer both a toolkit of ideas for the art student and a set of guiding principles for the artist. Complementing each of the 101 succinct texts is an equally expressive drawing by the artist, often based on a historical or contemporary work of art, offering a visual correlative to the written thought. "Art can be anything" is illustrated by a drawing of Duchamp’s famous urinal; a description of chiaroscuro art is illuminated by an image "after Caravaggio"; a lesson on time and media is accompanied by a view of a Jenny Holzer projection; advice about surviving a critique gains resonance from Piero della Francesca’s arrow-pierced Saint Sebastian.
101 things to learn in art school, revised
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Summary:
What is the first thing to learn in art school? "Art can be anything." The second thing? "Learn to draw." With "101 things to learn in art school," artist and teacher Kit White delivers and develops such lessons, striking an instructive balance between technical advice and sage concepts. These 101 maxims, meditations, and demonstrations offer both a toolkit of ideas for the art student and a set of guiding principles for the artist. Complementing each of the 101 succinct texts is an equally expressive drawing by the artist, often based on a historical or contemporary work of art, offering a visual correlative to the written thought. "Art can be anything" is illustrated by a drawing of Duchamp’s famous urinal; a description of chiaroscuro art is illuminated by an image "after Caravaggio"; a lesson on time and media is accompanied by a view of a Jenny Holzer projection; advice about surviving a critique gains resonance from Piero della Francesca’s arrow-pierced Saint Sebastian.
Form:
books
books
Publication:
October 2024
October 2024
Subject:
Art Theory
Art Theory
