Download Free Klassnik Robin Book in PDF and EPUB Free Download. You can read online Klassnik Robin and write the review.

Artists have worked from home for many reasons, including care duties, financial or political constraints, or availability and proximity to others. From the 'home studios' of Charles and Ray Eames, to the different photographic representations of Robert Rauschenberg's studio, this book explores the home as a distinct site of artistic practice, and the traditions and developments of the home studio as concept and space throughout the 20th and into the 21st century. Using examples from across Europe and the Anglophone world between the mid-20th century and the present, each chapter considers the different circumstances for working at home, the impact on the creative lives of the artists, their identities as artists and on the work itself, and how, sometimes, these were projected and promoted through photographs and the media. Key themes include the gendered and performative aspects of women practising 'at home', collaborative studio communities of the 1970s – 90s including the appropriation of abandoned spaces in East London, and the effects of Covid on artistic practices and family life within the spaces of 'home'. The book comprises full-length chapters by artists, architects, art and design historians, each of whom bring different perspectives to the issues, interwoven with short interviews with artists to enrich and broaden the debates. At a time when individual relationships to home environments have been radically altered, The Artist at Home considers why some artists in previous decades either needed to or chose to work from home, producing work of vitality and integrity. Tracing this long tradition into the present, the book will provide a deeper understanding of how the home studio has affected the practices and identity of artists working in different countries, and in different circumstances, from the mid-20th century to the present.
Across a series of 12 in-depth interviews with a diverse range of major artists, Dominic Johnson presents a new oral history of performance art. From uses of body modification and physical extremity, to the creation of all-encompassing personae, to performance pieces lasting months or years, these artists have provoked and explored the vital limits between art and life. Their discussions with Johnson give us a glimpse of their artistic motivations, preoccupations, processes, and contexts. Despite the diversity of art forms and experiences featured, common threads weave between the interviews: love, friendship, commitment, death and survival. Each interview is preceded by an overview of the artist's work, and the volume itself is introduced by a thoughtful critical essay on performance art and oral history. The conversational tone of the interviews renders complex ideas and theoretical propositions accessible, making this an ideal book for students of theatre and performance, as well as for artists, scholars and general readers.
Contiene:
The book reveals how the ‘social value of art’ may have one meaning for a policy maker, another for a museum and still yet another for an artist – and it is therefore in the interaction between these agents that we learn the most about the importance of rhetoric and interpretation. As a trajectory in art history, socially engaged art has a long and established history. However, in recent years—or since ‘the social turn’ that occurred in the 1990s—the rhetoric surrounding the social value of art has been assimilated by cultural policy makers and museums. Interdisciplinary in its approach, and bringing together contributions from artists, curators and academics, the volume explores rhetoric, social value and the arts within different social, political and cultural contexts.
Exploring key issues for the anthropology of art and art theory, this fascinating text provides the first in-depth study of community art from an anthropological perspective.The book focuses on the forty year history of Free Form Arts Trust, an arts group that played a major part in the 1970s struggle to carve out a space for community arts in Britain. Turning their back on the world of gallery art, the fine-artist founders of Free Form were determined to use their visual expertise to connect, through collaborative art projects, with the working-class people excluded by the established art world. In seeking to give the residents of poor communities a greater role in shaping their built environment, the artists' aesthetic practice would be transformed.Community Art examines this process of aesthetic transformation and its rejection of the individualized practice of the gallery artist. The Free Form story calls into question common understandings of the categories of "art," "expertise," and "community," and makes this story relevant beyond late twentieth-century and early twenty-first-century Britain.
This text examines the collection of feminist art in the Museum of Modern Art. It features essays presenting a range of generational and cultural perspectives.
You have the camera, you have the skills, and you have the pictures. Now what? Author Shirley Read expertly leads you through the world of exhibiting your photography one minute detail at a time. From finding a space and designing the exhibition to actually constructing a show and publicizing yourself, every aspect of exhibiting your photography is touched upon and clarified with ample detail, anecdotes, and real life case studies. In this new and expanded second edition, Shirley Read further illuminates the world of social networking, exhibiting, and selling photography online so your work is always shown in the best light. Packed with photos of internationally successful exhibitions, check lists, and invaluable advice, this essential reference guide will help amateur and professional photographers alike successfully showcase their bodies of work with confidence and finesse.
Art mirrors life; life returns the favor. How could nineteenth and twentieth century technologies foster both the change in the world view generally called postmodernism and the development of new art forms? Scholar and curator Faye Ran shows how interactions of art and technology led to cultural changes and the evolution of Installation art as a genre unto itself - a fascinating hybrid of expanded sculpture in terms of context, site, and environment, and expanded theatre in terms of performer, performance, and public.
ROCK FORMATIONS is a non-fiction title covering the origins of music group and artist stage names. The entries (of which there are more than 1,000) are grouped into categories with similar themes, for example, those names which were inspired by movies, those inspired by places, etc. There is a comprehensive index, and hypertext links to all entries within the e-book.
These days artists like Damien Hirst and Tracey Emin are major celebrities. But Gregor Muir knew them at the start; his unique memoir chronicles the birth of Young British Art. Muir, YBA’s ‘embedded journalist’, happened to be in Shoreditch and Hoxton before Jay Jopling arrived with his White Cube Gallery, when this was still a semi-derelict landscape of grotty pubs and squats. There he witnessed, amid a whirl of drunkenness, scrapes and riotous hedonism, the coming-together of a remarkable array of young artists – Hirst, the Chapman brothers, Rachel Whiteread, Sam Taylor-Wood, Angus Fairhurst - who went on to produce a fresh, irreverent, often notorious form of art - Hirst’s shark, Sarah Lucas’s two fried eggs and a kebab. By the time of the seminal Sensation show at the Royal Academy YBA had changed the art world for ever.