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This book provides a clear reading, with numerous examples, of the impact of globalization on local arts and culture.
Nobody performs better under pressure. Regardless of the task, pressure ruthlessly diminishes our judgment, decision-making, attention, dexterity, and performance in every professional and personal arena. In Performing Under Pressure, Drs. Hendrie Weisinger and J.P. Pawliw-Fry introduce us to the concept of pressure management, offering empirically tested short term and long term solutions to help us overcome the debilitating effects of pressure. Performing Under Pressure tackles the greatest obstacle to personal success, whether in a sales presentation, at home, on the golf course, interviewing for a job, or performing onstage at Carnegie Hall. Despite sports mythology, no one "rises to the occasion" under pressure and does better than they do in practice. The reality is pressure makes us do worse, and sometimes leads us to fail utterly. But there are things we can do to diminish its effects on our performance. Performing Under Pressure draws on research from over 12,000 people, and features the latest research from neuroscience and from the frontline experiences of Fortune 500 employees and managers, Navy SEALS, Olympic and other elite athletes, and others. It offers 22 specific strategies each of us can use to reduce pressure in our personal and professional lives and allow us to better excel in whatever we do. Whether you’re a corporate manager, a basketball player, or a student preparing for the SAT, Performing Under Pressure will help you to do your best when it matters most.
This book examines fundamental questions about funding for the arts: why should governments provide funding for the arts? What do the arts contribute to daily life? Do artists and their publics have a social responsibility? Challenging questionable assumptions about the state, the arts and a democratic society, Lambert Zuidervaart presents a vigorous case for government funding, based on crucial contributions the arts make to civil society. He argues that the arts contribute to democratic communication and a social economy, fostering the critical and creative dialogue that a democratic society needs. Informed by the author's experience leading a non-profit arts organisation as well as his expertise in the arts, humanities and social sciences, this book proposes an entirely new conception of the public role of art with wide-ranging implications for education, politics and cultural policy.
To the question of &lquo;what is art?&rquo;, it is often simply responded that art is whatever is produced by the artist. For John Molyneux, this clearly circular answer is deeply unsatisfying. In a tour de force spanning renaissance Italy and the Dutch Republic to contemporary leading figures, The Dialectics of Art instead approaches its subject matter as a distinct field of creative human labour that emerges alongside and in opposition to the alienation and commodification brought about by capitalism. The pieces and individuals Molyneux examines — from Michelangelo’s Slaves to Rembrandts Jewish Bride to the vast drip paintings of Jackson Pollock – are presented as embodying the social contradictions of their times, giving art an inherently political relevance. In its relationship of creative and dialectical tension to prevailing social relationships and norms, such art points beyond the existing order of things, hinting at a potential future society not based on alienated labour in which creative production becomes the property and practice of all.
This is an authoritative companion that is global in scope, recognizing the presence of African Diaspora artists across the world. It is a bold and broad reframing of this neglected branch of art history, challenging dominant presumptions about the field. Diaspora pertains to the global scattering or dispersal of, in this instance, African peoples, as well as their patterns of movement from the mid twentieth century onwards. Chapters in this book emphasize the importance of cross-fertilization, interconnectedness, and intersectionality in the framing of African Diaspora art history. The book stresses the complexities of artists born within, or living and working within, the African continent, alongside the complexities of Africa-born artists who have migrated to other parts of the world. The group of international contributors emphasizes and accentuates the interplay between, for example, Caribbean art and African Diaspora art, or Latin American art and African Diaspora art, or Black British art and African Diaspora art. The book will be of interest to scholars and students working in art history, the various branches of African studies, African American studies, African Diaspora studies, Caribbean studies, and Latin American studies.
'The very best book on the subject ever published' Bernard Ewell, Personal Property Journal (the trade publication of the American Society of Appraisers) The art world can appear impenetrable to the beginner. This classic book, in print since 1990, is an invaluable primer that will help anyone to penetrate the thickets of inscrutable 'insider info' and esoteric jargon. Updated for today's art market, including online buying, The Art of Buying Art is without a doubt the most accessible book on how to research, evaluate, price and buy artworks - for anyone who wants to buy art. No previous knowledgeof art or the art business is necessary. Topics include: · how to research and evaluate art prices like the professionals · how to build a quality collection · how to spot fakes and forgeries · how to buy art at auctions and directly from artists · how to negotiate prices · how to tell the difference between an original and a reproduction Bamberger provides the information needed to transform anyone into an informed art consumer, to protect collectors from bad buys and to help them locate the best art at the correct prices.
This book asks what is the quality of participation in contemporary art and performance? Has it been damaged by cultural policies which have 'entrepreneurialized' artists, cut arts funding and cultivated corporate philanthropy? Has it been fortified by crowdfunding, pop-ups and craftsmanship? And how can it help us to understand social welfare?