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Carle is one of the most beloved illustrators of children's books. This retrospective is more than just an appreciation of his art, however. The book also contains an insightful autobiography illustrated with personal photographs, an anecdotal essay by his longtime editor, a photographic essay on how Carle creates his collages, and writings by Carle and his colleagues. Still, it is the artwork in the oversize volume that seizes the imagination. More than 60 of his full-color collage pictures are handsomely reproduced and serve as a statement of Carle's impressive talent. - Booklist
“I Can Make Art” is an art activity book meant to guide the child re-create major artworks by Picasso, Matisse, Van Gogh, Gauguin, GeorgiaO’Keeffe in the form of art cards. Step-by-step instructions with photos are provided so any child, skilled or less skilled, can create paper cutouts and collage art. Before they know, children and parents will be in front of an art card made by a first-grader after van Gogh’s Lemons on a plate or Picasso’s Child playing with a toy truck. The book offers an open approach to art, inviting the child to be original, create his own version or style, find new ways of doing a project. Having hands-on projects for age 6+ the book is of great benefit to any child, a formative tool along with education in art genres,styles, masters, arts terms. This can also be the first in my series of art activities books to re-create masters works in collage and cutout art cards form. Parents, educators, schools can expand and enrich these projects in home and class activities offering exposure through work to fine art masterpieces.
Please note: This is a companion version & not the original book. Sample Book Insights: #1 Art wants quality, while business wants profit. Great artists fight for quality expenditures, while successful businessmen fight against them. #2 The Gift explains why artists don’t make money: because art is a gift, and anything that is not a gift in some sense is not art. In the market economy, profits start to demand giving less and charging more. #3 The art of the genius is not rewarded by capitalism. The art of the entrepreneur is not appreciated by society. The art of the artisan is not appreciated by society, and yet it is the only way to make a living as an artist. #4 The artist who sells his own creations must develop a more subjective feel for the two economies and his own rituals for keeping them apart and bringing them together. He must be able to disengage from the work and think of it as a commodity, while also remembering that it is worth more than just money.
Art Teaching speaks to a new generation of art teachers in a changing society and fresh art world. Comprehensive and up-to-date, it presents fundamental theories, principles, creative approaches, and resources for art teaching in elementary through middle-school. Key sections focus on how children make art, why they make art, the unique qualities of children’s art, and how artistic development can be encouraged in school and at home. Important aspects of curriculum development, integration, evaluation, art room management, and professional development are covered. A wide range of art media with sample art activities is included. Taking the reader to the heart of the classroom, this practical guide describes the realities, challenges, and joys of teaching art, discusses the art room as a zone for creativity, and illustrates how to navigate in a school setting in order to create rich art experiences for students. Many textbooks provide information; this book also provides inspiration. Future and practicing teachers are challenged to think about every aspect of art teaching and to begin formulating independent views and opinions.
Learn to make art that can change the world.
The long-awaited history of the art college that became an unlikely epicenter of the art world in the 1960s and 1970s. How did a small art college in Nova Scotia become the epicenter of art education—and to a large extent of the postmimimalist and conceptual art world itself—in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax. A partial list of visiting artists and faculty members at NSCAD would include Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Mel Bochner, Lucy Lippard, John Baldessari, Hans Haacke, Yvonne Rainer, Robert Frank, Jenny Holzer, Robert Morris, Eric Fischl, and Dara Birnbaum. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today's masters, including John Baldessari, Vito Acconci, and Claes Oldenburg. With The Last Art College, Garry Kennedy, the college's visionary president at the time, gives us the long-awaited documentary history of NSCAD during a formative era. From gallery openings to dance performances to visiting lectures to exhibitions to classroom projects, the book gives a rich historical and visual account of the school's activities, supplemented by details of specific events, reminiscences by faculty and students, accounts of artists' talks, and notes on memorable controversies.
This resource comprises a collection of accessible, flexible, tried-and-tested activities for use with people in a range of care and therapy settings, to help them explore their knowledge of themselves and to make sense of their experiences. Among the issues addressed by the activities are exploring physical changes, emotional trauma, interpersonal problems and spiritual dilemmas. Designed with simple and inexpensive art tools in mind for individual and group activities of varying difficulty, it also includes real-life anecdotes that bring the techniques to life. This new edition contains extra activities and resources to promote the continuing wellness of patients and clients outside of therapy settings. This new edition of the Expressive Arts Activity Book is full of fun, easy, creative ideas for workers in hospitals, clinics, schools, hospices, spiritual and religious settings, and in private practice.
The purpose of this book is to present to the reader a series of philosophical ideas that assist in understanding one s position in the world of art and some thinking on art and creativity intended to awaken the aesthetic aspects of making art. There is no intention to review historical philosophical concepts, nor is there any specific inclusion of contemporary theories on art philosophy. What is included are those philosophies important to the developing artist that are more commonplace in nature, often neglected in art education, yet vitally necessary to the true artist. Finally, this book is intended to stimulate the reader into asking such questions as who am I, why art, and what is art. It is hopeful that the reader finds an aesthetic foundation, a personal and honest place in the world of art.
*Winner of the American Society for Aesthetics 2019 Outstanding Monograph Prize* Until now, research on art schools has been largely occupied with the facts of particular schools and teachers. This book presents a philosophical account of the underlying practices and ideas that have come to shape contemporary art school teaching in the UK, US and Europe. It analyses two models that, hidden beneath the diversity of contemporary artist training, have come to dominate art schools. The first of these is essentially an old approach: a training guided by the artistic values of a single artist-teacher. The second dates from the 1960s, and is based around the group crit, in which diverse voices contribute to an artist’s development. Understanding the underlying principles and possibilities of these two models, which sit together in an uneasy tension, gives new insights into the character of contemporary art school teaching, demonstrating how art schools shape art and artists, how they can be a potent engine of creativity in contemporary culture and how they contribute to artistic research. A Philosophy of the Art School draws on first-hand accounts of art school teaching, and is deeply informed by disciplines ranging from art history and art theory, to the philosophy of art, education and creativity.
This is the third book in the series Creating Art for All Ages. The series takes students on an interdisciplinary cross content journey. Each book provides experiences in language arts, social studies, math and art as the students investigate ancient and modern civilizations. Industry and Imagination in Ancient and Modern Civilizations is the third book of the series and examines the generations of the Industrial Revolution, society during WWI and WWII, Modern and Contemporary times. During the era of the Industrial Revolution, the role of the artist transformed as the patronage changed and advancements in photography were able to portray likenesses. The artist sought new avenues by using art as an expressive tool. As time progressed, artistic expression navigated the art into innovative, imaginative and unique styles. Art became whatever the artist intended it to be.