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"But it is his skill as a historian as well as a printer that endears his name to the student of typography. His four volumes on the practice of typography are considered classics. In an age when few American scholars were examining early printed books, he made significant scholarly contributions to the study of incunables. When the Grolier Club was founded in 1884, it was not surprising that, as New York's most illustrious printer, he was asked to be one of the founding members and to provide much the Club's early printing."--BOOK JACKET.
In a response to the sleek forms and perfect angles of most late twentieth century design objects, many of today's artists and designers are returning to handmade work such as hand lettering, hand drawing, and hand sewing. By Hand features an international collection of the most noteworthy artists and shows their work in detailed photography and insightful texts. From books to pillows to T-shirts to toys, the pieces in this volume define an alternative view of contemporary design. Personal craft is emphasized over perfection and the personality of the artist is put forth as a key element of the finished product. From Kiki Smith's lovingly etched birds to Barb Hunt's knitted land mines to dynamo-ville's one-of-a-kind puppets to Evil Twin's hand-stitched publications, today's art revels in the care and consideration of craft.
What is craft? How is it different from fine art or design? In A Theory of Craft, Howard Risatti examines these issues by comparing handmade ceramics, glass, metalwork, weaving, and furniture to painting, sculpture, photography, and machine-made design from Bauhaus to the Memphis Group. He describes craft's unique qualities as functionality combined with an ability to express human values that transcend temporal, spatial, and social boundaries. Modern design today has taken over from craft the making of functional objects of daily use by employing machines to do work once done by hand. Understanding the aesthetic and social implications of this transformation forces us to see craft as well as design and fine art in a new perspective, Risatti argues. Without a way of understanding and valuing craft on its own terms, the field languishes aesthetically, being judged by fine art criteria that automatically deny art status to craft objects. Craft must articulate a role for itself in contemporary society, says Risatti; otherwise it will be absorbed by fine art or design and its singular approach to understanding the world will be lost. A Theory of Craft is a signal contribution to establishing a craft theory that recognizes, defines, and celebrates the unique blend of function and human aesthetic values embodied in the craft object.
For more than thirty years Natalie Goldberg has been challenging and cheering on writers with her books and workshops. In her groundbreaking first book, she brings together Zen meditation and writing in a new way. Writing practice, as she calls it, is no different from other forms of Zen practice—"it is backed by two thousand years of studying the mind." This thirtieth-anniversary edition includes new forewords by Julia Cameron and Bill Addison. It also includes a new preface in which Goldberg reflects on the enduring quality of the teachings here. She writes, "What have I learned about writing over these thirty years? I’ve written fourteen books, and it’s the practice here in Bones that is the foundation, sustaining and building my writing voice, that keeps me honest, teaches me how to endure the hard times and how to drop below discursive thinking, to taste the real meat of our minds and the life around us."
Stop trying to beat everyone else. True success is playing by your own rules, creating work that no one can replicate. Don’t be the best, be the only. You’re on the conventional path, checking off accomplishments. You might be doing okay by normal standards, but you still feel restless, bored, and limited. Srinivas Rao gets it. As a new business school graduate, Srinivas’s dreams were crushed by a soulless job that demanded only conformity. Sick of struggling to keep his head above water, Srinivas quit his job and took to the waves, pursuing his dream of learning to surf. He also found the freedom to chart his own course. Interviewing more than five hundred creative people on his Unmistakable Creative podcast was the ultimate education. He heard how guests including Seth Godin, Elle Luna, Tim Ferriss, Simon Sinek, and Danielle LaPorte blazed their own trails. Srinivas blends his own story with theirs to tell you: You can find that courage too. Don’t be just one among many—be the only. Be unmistakable. Trying to be the best will chain you to others’ definition of success. Unmistakable work, on the other hand, could only have been created by one person, so competition is irrelevant. Like Banksy’s art or Tim Burton’s films, unmistakable work needs no signature and has no precedent. Whether you’re a business owner, an artist, or just someone who wants to leave your mark on the world, Unmistakable will inspire you to create your own path and define your own success.
"How Art Works explores puzzles that have preoccupied philosophers as well as the general public: Can art be defined? How do we decide what is good art? Why do we gravitate to sadness in art? Why do we devalue a perfect fake? Could 'my kid have done that'? Does reading fiction enhance empathy? Drawing on careful observations, probing interviews, and clever experiments, Ellen Winner reveals surprising answers to these and other artistic mysteries. We may come away with a new understanding of how art works on us."--Jacket.
Author : Maria Elena Buszek Publisher : Duke University Press Page : 321 pages File Size : 45,5 Mb Release : 2011-03-04 Category : Art ISBN : 9780822347620
Artists, critics, curators, and scholars develop theories of craft in relation to art, chronicle how fine art institutions understand and exhibit craft media, and offer accounts of activist crafting.
Craft in Art Therapy is the first book dedicated to illustrating the incorporation of craft materials and methods into art therapy theory and practice. Contributing authors provide examples of how they have used a range of crafts including pottery, glass work, textiles (sewing, knitting, crochet, embroidery, and quilting), paper (artist books, altered books, book binding, origami, and zines), leatherwork, and Indian crafts like mendhi and kolam/rangoli in their own art and self-care, and in individual, group, and community art therapy practice. The book explores the therapeutic benefits of a range of craft materials and media, as well as craft’s potential to build community, to support individuals in caring for themselves and each other, and to play a valuable role in art therapy practice. Craft in Art Therapy demonstrates that when practiced in a culturally sensitive and socially conscious manner, craft practices are more than therapeutic—they also hold transformational potential.
Today when we hear the word “craft,” a whole host of things come immediately to mind: microbreweries, artisanal cheeses, and an array of handmade objects. Craft has become so overused, that it can grate on our ears as pretentious and strain our credulity. But its overuse also reveals just how compelling craft has become in modern life. In The Shape of Craft, Ezra Shales explores some of the key questions of craft: who makes it, what do we mean when we think about a crafted object, where and when crafted objects are made, and what this all means to our understanding of craft. He argues that, beyond the clichés, craft still adds texture to sterile modern homes and it provides many people with a livelihood, not just a hobby. Along the way, Shales upends our definition of what is handcrafted or authentic, revealing the contradictions in our expectations of craft. Craft is—and isn’t—what we think.
The popular craft designer and lifestyle blogger shares a rainbow of new project ideas—all using the creative power of paper. What began as a project collection and viral Instagram hashtag (#CrafttheRainbow) has become an inspiring book featuring all-new paper project ideas. Learn how to make playful party decorations, luscious flowers, amazing cards, and sophisticated wreaths, garlands, centerpieces, and more than you can imagine. Brittany Watson Jepsen is known for the unusually imaginative and amazingly beautiful designs she creates for her website and host of clients (including Anthropologie). In Craft the Rainbow, Jepsen walks readers through the easy basics of transforming simple paper—including tissue, crepe, cardstock, leaves of books, and vintage and recycled paper—into vibrant, fanciful, handmade projects suitable for every occasion.
End-of-Art Philosophy in Hegel, Nietzsche and Danto by Stephen Snyder Pdf
This book examines the little understood end-of-art theses of Hegel, Nietzsche, and Danto. The end-of-art claim is often associated with the end of a certain standard of taste or skill. However, at a deeper level, it relates to a transformation in how we philosophically understand our relation to the ‘world’. Hegel, Nietzsche, and Danto each strive philosophically to overcome Cartesian dualism, redrawing the traditional lines between mind and matter. Hegel sees the overcoming of the material in the ideal, Nietzsche levels the two worlds into one, and Danto divides the world into representing and non-representing material. These attempts to overcome dualism necessitate notions of the self that differ significantly from traditional accounts; the redrawn boundaries show that art and philosophy grasp essential but different aspects of human existence. Neither perspective, however, fully grasps the duality. The appearance of art’s end occurs when one aspect is given priority: for Hegel and Danto, it is the essentialist lens of philosophy, and, in Nietzsche’s case, the transformative power of artistic creativity. Thus, the book makes the case that the end-of-art claim is avoided if a theory of art links the internal practice of artistic creation to all of art’s historical forms.
Art, Design, Craft, Beauty and All Those Things... by Donald Richardson Pdf
Responding to many recent calls for redress and restitution, Richardson summarises the historical and current situation and attributes its problematics to the fact that theorists and historians have taken the concept art as a generic that includes both design and craft – which are actually and validly distinguishable from art by application of the concept function/al – or else ignored the two entirely. Considering the concept function/al, he maintains, calls into question the view that the three may be sub-classes of the one class: whereas in a work of art, typically there is a resolution of the tension between form and content, in works of design and craft the resolution is between form and function. How this recognition can clarify the issue informs the entire book. The book’s other major thesis is the realisation that aesthetic values are inherently human and that, therefore, they apply not only to art but to life in general. Far from being frivolous or a mere ‘emotion’, the aesthetic is a sense of equivalent psychic status to sight and hearing and, like them, is employed at almost every moment of our daily lives – which fact grounds art, design and craft deeply in human life. This is reflected in the universal use of the human form (including the exhibition of sexual characteristics) in art. The eternal conflict between making art and making a living from making art is examined and contrasted to the rarely-recognised, but positive, role of design in planning and industry. Richardson also critiques common theories of representation and composition, including ‘creativity’, Albertian perspective and scientific and geometric theories of beauty and composition; also the relevance of the camera and the computer in the field.
What does 'literature' mean in our time? While names like Proust, Kafka and Woolf still stand for something, what that something actually is has become obscured by the claims of commerce and journalism. Perhaps a new form of attention is required. Stephen Mitchelmore began writing online in 1996 and became Britain's first book blogger soon after, developing the form so that it can respond in kind to the singular space opened by writing. Across 44 essays, he discusses among many others the novels of Richard Ford, Jeanette Winterson and Karl Ove Knausgaard, the significance for modern writers of cave paintings and the moai of Easter Island, and the enduring fallacy of 'Reality Hunger', all the while maintaining a focus on the strange nature of literary space. By listening to the echoes and resonances of writing, this book enables a unique encounter with literature that many critics habitually ignore. With an introduction by the acclaimed novelist Lars Iyer, This Space of Writing offers a renewed appreciation of the mystery and promise of writing.
Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the author of such a work? And just what is the difference between a work of art and a work of craft? In the first book of its kind, Michael Petry tackles these questions head on.
The New Politics of the Handmade by Anthea Black,Nicole Burisch Pdf
Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy. The authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft's connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time.