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Art Instruction
Give books new life filled with creative expression
Turn old books into personalized works of art with Altered Books Workshop. Altered books bring together a variety of mixed media and papercrafting techniques including collage, journaling, rubber stamping, embellishing and scrapbooking. The creative possibilities are endless - go where your imagination takes you!
Through 18 step-by-step demonstrations and 65 variation ideas, Bev Brazelton teaches you basic, intermediate and creative techniques for crafting unique altered books. You'll find helpful tips as you're guided through the process of altering pages along with captivating embellishment ideas such as adding doors and drawers to your altered books.
Whether you're a beginning crafter or a fine artist, Altered Books Workshop will give you comprehensive instruction and inspiration for creating multi-dimensional art that is a reflection of your moods, thoughts and life. Make your altered book the greatest story ever seen!
In this posthumous collection of John Updike's art writings, a companion volume to the acclaimed Just Looking (1989) and Still Looking (2005), readers are again treated to "remarkably elegant essays" (Newsday) in which "the psychological concerns of the novelist drive the eye from work to work until a deep understanding of the art emerges" (The New York Times Book Review).
Always Looking opens with "The Clarity of Things," the Jefferson Lecture in the Humanities for 2008. Here, in looking closely at individual works by Copley, Homer, Eakins, Norman Rockwell, and others, the author teases out what is characteristically "American" in American art. This talk is followed by fourteen essays, most of them written for The New York Review of Books, on certain highlights in Western art of the last two hundred years: the iconic portraits of Gilbert Stuart and the sublime landscapes of Frederic Edwin Church, the series paintings of Monet and the monotypes of Degas, the richly patterned canvases of Vuillard and the golden extravagances of Klimt, the cryptic triptychs of Beckmann, the personal graffiti of Miró, the verbal-visual puzzles of Magritte, and the monumental Pop of Oldenburg and Lichtenstein. The book ends with a consideration of recent works by a living American master, the steely sculptural environments of Richard Serra. John Updike was a gallery-goer of genius. Always Looking is, like everything else he wrote, an invitation to look, to see, to apprehend the visual world through the eyes of a connoisseur.
Once in a great while, a photographer and their photographs break new ground and people sit right up and take notice. Zoe Strauss is such a photographer. The Philadelphia native who has brought us searing images of that city's marginalized people and places on the fringe of society, has taken her no holds barred, up close and personal style of photography to the roads less traveled across America. At times witty, touching, poetic, and downright shocking, Zoe Strauss's photographs capture the beauty and struggle of everyday life and resonate as a social document of our time, and as sheer and powerful art.
Zoe Strauss picked up a camera on her 30th birthday, but in only eight years, has generated a huge body of work that has been exhibited in the Whitney Biennial, and has garnered her a United States Artists grant.
This book will present images from these three bodies of work: Badlands, on his time with the Lakota; The Masters, from his work with musicians like Bill Monroe, Johnny Cash, Ray Charles, Dolly Parton, George Jones, Kitty Wells, Willie Nelson, and Waylon Jennings; and Blue Line Hot Shots. As Stuart explains, The newly built Interstate Highway System was at one time represented on our maps by the color red, while the two-lane highways and back roads of the nation were represented in blue. The back roads are where you'll find some of the people that I admire, respect, and always keep an eye out for. ... They are renegades ... As Roger Miller once said, 'These people flush to the beat of a different plumber.'
The photographs are framed by an introduction by Stuart and a context-setting essay by photography historian Susan Edwards, executive director of the First Center for the Visual Arts. The book and accompanying exhibition at the First Center demonstrate that Marty Stuart is a master storyteller not only through his songs but also through his revealing and compelling photographs.
Excerpt
When I first began traveling I loved the adventure of going from town to town and exploring what each place had to offer. Whenever possible, on the day of the show I walked the streets and back roads, gathering stories and songs from local folks. I studied everything from the different kinds of architecture that surrounded me to the majesty of the sunsets and how they affected the mood of the town I was in. That first season was filled with the joy of a new musical life taking flight. The applause, the spotlight, the sparkle of the fame, the freedom of 'here today, go somewhere else tomorrow' charmed me night after night, day after day, until show business found its mark and became a way of life. I enjoyed every minute of the dance. I still love those things, but most of all it's the people that I've enjoyed along the way, namely the characters. The kind of characters who can be defined as American originals.
--from the Introduction by Marty Stuart
Detroit's architecture reflects Detroit's role in the early years of the twentieth century as the country's leading industrial center, the place where, with the rise of the automobile industry, the future was happening. The metropolitan Detroit area was also home to some of the largest private fortunes assembled in the modern age. All of this is visible in the cutting-edge structures built to serve the needs of the modern business community that was committed to innovation and new processes. Detroit's public buildings-its museums, libraries, schools, and monuments-are second to none in terms of their overall scale, materials, and detailing. Hotels, stores, theaters, and other commercial venues display a breezy cosmopolitanism consistent with the city's position as both a technology hub and a crossroads of immigration. Yet despite this remarkable legacy, many of downtown Detroit's architecturally significant buildings are under threat of demolition and have been placed on the National Trust for Historic Preservation's 2005 list of America's most endangered landmarks.
American City: Detroit Architecture, 1845-2005 is intended to showcase a Detroit that might surprise many readers and bring long-overdue attention to the city's heritage of fine design. In 90 stunning full-color photographs, the book documents the innovative features of fifty of Detroit's most impressive buildings. An introductory essay offers an overview of the city's architectural history and outlines the social forces and the personalities that helped shape the city's built environment. The heart of American City, however, is the photography, which brings Detroit's architecture to life in gorgeous detail. Accompanying text identifies each building and provides basic information such as date, location, and architect, pointing out features that make the building of particular interest and importance.
Buildings photographed: Fort Wayne; Lighthouse Supply Depot; R. N. Traver Building; Wright-Kay Building; R. Hirt Jr. Company Building; Chauncey Hurlbut Memorial Gate; Detroit Cornice and Slate Company; Wayne County Building; Savoyard Center; Belle Isle Conservatory; Harmonie Centre; Dime Building; L. B. King and Company Building; Michigan Central Railroad Station; R. H. Fyfe's Shoe Store Building; Orchestra Hall; Detroit Public Library, Main Branch; Cadillac Place; Women's City Club; Banker's Trust Company Building; James Scott Fountain; Buhl Building; Detroit Institute of Arts; Fox Theater; Penobscot Building; Park Place Apartments; Guardian Building; David Stott Building; Fisher Building; Horace H. Rackham Building; Coleman A. Young Municipal Center; Turkel House; McGregor Memorial Conference Center; Lafayette Park; Cobo Hall and Convention Center; One Woodward; First Federal Bank Building; Frank Murphy Hall of Justice; Smith, Hinchman, and Grylls Building; Kresge-Ford Building, College for Creative Studies; SBC Building; Renaissance Center; Horace E. Dodge and Son Memorial Fountain; Detroit Receiving Hospital; Coleman A. Young Community Center; One Detroit Center; John B. Dingell VA Hospital and Medical Center; Charles H. Wright Museum of African American History; Compuware Building; and Cass Technical High School
As "Rolling Stone's" chief photographer for over thirteen years, Leibovitz created a legendary body of work. Her portraits of some of the world's most talented musicians capture more than the performer, they convey the art of making music. For AMERICAN MUSIC, Leibovitz traveled across the country to juke joints in the Mississippi Delta, honkytonks in Texas, and jazz clubs in New Orleans "to take pictures in places that mean something." In her signature style, she shares stunning portraits of American greats -- B.B. King, Willie Nelson, Bonnie Raitt, Bruce Springsteen, Beck, Bob Dylan, Mary J. Blige, Jon Bon Jovi, Steve Earle, Ryan Adams, Miles Davis, Etta James, Pete Seeger, Emmylou Harris, Tom Waits, The Dixie Chicks, Dr. Dre, The Roots and many more.
AMERICAN MUSIC includes a commentary about the American Music project by Leibovitz, short essays by musicians Patti Smith, Rosanne Cash, Steve Earle, Mos Def, Ryan Adams, and Beck as well as biographical sketches of all the musicians.
"From the Hardcover edition."
Emma Dial is a virtuoso painter who executes the works of Michael Freiburg, a preeminent figure in the New York art world. She has a sensuous and exacting hand, hips like a matador, and long neglected ambitions of her own. She spends her days completing a series of pictures for Freiburg's spring exhibition and her nights drinking and dining with friends and luminaries. Into this landscape walks Philip Cleary, Emma's longtime painting hero and a colleague and rival of her boss. Philip Cleary represents the ideal artistic existence, a respected painter, fearless and undeterred by fashion. He is unmatched by anyone from Emma's generation. Except, just possibly, Emma herself. Emma Dial must choose between the security of being a studio assistant to a renowned painter and the unknown future as an artist in her own right.
Samantha Peale writes with astonishing insight about a young woman who risks everything to fulfill her ambitions as an artist.
This book tells the tale of a genre as utterly American as the paintings of Edward Hopper, describing its origins and development in detail and showcasing the most important artists. With over 500 illustrations, The Great American Pin-Up is a comprehensive studies of the genre. Text in English, French, and German