eBooks de Historia y estudios de Bellas Artes, página 3 de 18

Un libro de manualidades, una apuesta por el reciclaje y una recopilación de propuestas orientadas al desarrollo de la sensibilidad y creatividad infantil.Un proyecto original de Ediciones B para el cual se ha buscado a los expertos: Kireei lleva ya varios años buscando y reseñando todo lo que existe sobre manualidades (y otras artes) en la Red.Con fotografias que ilustran, paso a paso, el proceso de reciclado,lo cual, sin duda, aporta un valor añadido al libro. Productos originales que son el resultado de los mas de diez proyectos de trabajo manual pensados para hacer en casa. Mamas y papas podran contar con una herramienta basica que los ayudara a entretener a los niños, especialmente en los largos dias de lluvia.Este libro es una coleccion de manualidades orientadas al desarrollo de la sensibilidad y creatividad infantil. Se trata de un conjunto de propuestas que inspiran a niñas y niños para encontrar sus propias soluciones tecnicas y esteticas. Utilizando materiales de reciclaje, Crear y reciclar servira para inspirar a todos los que busquen elaborar objetos originales, pasando al mismo tiempo un muy buen rato.

Aquest llibre no és només un intent de reparar la injustícia que representa el desconeixement de Gori Muñoz en les seues diferents facetes creatives: la descenògraf, dibuixant, pintor i, la que ací e

Stopgap Measures presents an exciting selection of essays, interviews and shorter pieces on the work of American artist Mike Kelley (19542012) written over more than three decades by the noted art historian and cultural critic John C. Welchman. Kelleys provocative career gave rise to some of the most conceptually and materially diverse work of recent times in performance, writing, painting, drawing, sculpture, banners, multimedia installation, appropriated objects and images and video, as well as numereous collaborations. This volume includes reflections on specific works, and features a signature series of pathbreaking essays on Kelleys innovations in photography and writing as well as explorations of major themes in his practice, research and thinking: physical comedy and verbal humor; memory; popular culture, dress-up and Americana; the uncanny; imaginative projection and dark fantasy; appropriation and giving; authorship and self-construction; and the artists littleremarked upon negotiation with the histories of and ideas about Asia. The book concludes with new essays on Kelleys engagement with animals and the nonhuman; and on the refrain disappearances that punctuate Kelleys career set in relation to specters of social catastrophe and nuclear annihilation.

Stopgap Measures presents an exciting selection of essays, interviews and shorter pieces on the work of American artist Mike Kelley (19542012) written over more than three decades by the noted art historian and cultural critic John C. Welchman. Kelleys provocative career gave rise to some of the most conceptually and materially diverse work of recent times in performance, writing, painting, drawing, sculpture, banners, multimedia installation, appropriated objects and images and video, as well as numereous collaborations. This volume includes reflections on specific works, and features a signature series of pathbreaking essays on Kelleys innovations in photography and writing as well as explorations of major themes in his practice, research and thinking: physical comedy and verbal humor; memory; popular culture, dress-up and Americana; the uncanny; imaginative projection and dark fantasy; appropriation and giving; authorship and self-construction; and the artists littleremarked upon negotiation with the histories of and ideas about Asia. The book concludes with new essays on Kelleys engagement with animals and the nonhuman; and on the refrain disappearances that punctuate Kelleys career set in relation to specters of social catastrophe and nuclear annihilation.

Where is Charles Simonds? Throughout the 1970s, his diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling infrastructure of downtown New York. Preoccupied with the relationship between the grown and the built, the archaeological and the urban, Simonds shared friendship and ideas with Gordon Matta-Clark and Robert Smithson. Like Lucy Lippard, with whom he lived during that decade, Simonds believed in combining art and activism, always preferring what he called the "real world" to the art world. Yet despite taking part in many of the seminal exhibitions and art events of 1970s New York, Simonds has left few traces on art history. In order to explain Simondss absence while simultaneously arguing for his central place within it, Jules Pelta Feldman reconsiders the decades self-conception, finding that Simonds exemplifies much of what has been ignored in 1970s artand much of what establishes it as a unique period of experimentation and possibility.

Where is Charles Simonds? Throughout the 1970s, his diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling infrastructure of downtown New York. Preoccupied with the relationship between the grown and the built, the archaeological and the urban, Simonds shared friendship and ideas with Gordon Matta-Clark and Robert Smithson. Like Lucy Lippard, with whom he lived during that decade, Simonds believed in combining art and activism, always preferring what he called the "real world" to the art world. Yet despite taking part in many of the seminal exhibitions and art events of 1970s New York, Simonds has left few traces on art history. In order to explain Simondss absence while simultaneously arguing for his central place within it, Jules Pelta Feldman reconsiders the decades self-conception, finding that Simonds exemplifies much of what has been ignored in 1970s artand much of what establishes it as a unique period of experimentation and possibility.

When Abdul Rahman Munif embarked on the first extensive study in Arabic about Marwan Kassab Bachi, he mailed the artist asking about how his art emerged, its contextual influences, and timely interpretations. Marwan recorded his answers on seven audio tapes and sent them to Munif, but also started writing his memoirs in Arabic. This book is an anthology of the letters exchanged between two friends, Marwan in Berlin and Munif in Damascus, from 1990 to 2004.

When Abdul Rahman Munif embarked on the first extensive study in Arabic about Marwan Kassab Bachi, he mailed the artist asking about how his art emerged, its contextual influences, and timely interpretations. Marwan recorded his answers on seven audio tapes and sent them to Munif, but also started writing his memoirs in Arabic. This book is an anthology of the letters exchanged between two friends, Marwan in Berlin and Munif in Damascus, from 1990 to 2004.

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

Jadwiga Maziarska was one of the most important voices of the Polish avant-garde. Her explorations in the field of "matter painting" were groundbreaking and far ahead of similar attempts by other local artists as well as contemporaries in other countries. Between 193439 she studied at the Faculty of Painting of the Academy of Fine Arts in Krakow (with Erna Rosenstein and Tadeusz Kantor). During this period, she was closely associated with the 1st Krakow Group and the Cricot Theatre. She graduated from the Academy of Fine Arts in Krakow in 1939. At the same time, she was actively involved in political movements. From the 1940s to the 1990s, Jadwiga Maziarska created appliques, paintings, collages, wax reliefs, spatial forms and sculptures that were influenced by science, phenomenology, mass photography, printed reproductions and newspaper clippings, from which she developed autonomous structures. This comprehensive monograph introduces the unusual artist and makes her known outside her home country.Jadwiga Maziarska (19132003) studied and lived in Krakow. She was a member of the artist group "Grupa Krakowska" founded by Tadeusz Kantor. She was known as an outsider who focused on her daring and progressive experimentation with different media.

Jadwiga Maziarska was one of the most important voices of the Polish avant-garde. Her explorations in the field of "matter painting" were groundbreaking and far ahead of similar attempts by other local artists as well as contemporaries in other countries. Between 193439 she studied at the Faculty of Painting of the Academy of Fine Arts in Krakow (with Erna Rosenstein and Tadeusz Kantor). During this period, she was closely associated with the 1st Krakow Group and the Cricot Theatre. She graduated from the Academy of Fine Arts in Krakow in 1939. At the same time, she was actively involved in political movements. From the 1940s to the 1990s, Jadwiga Maziarska created appliques, paintings, collages, wax reliefs, spatial forms and sculptures that were influenced by science, phenomenology, mass photography, printed reproductions and newspaper clippings, from which she developed autonomous structures. This comprehensive monograph introduces the unusual artist and makes her known outside her home country.Jadwiga Maziarska (19132003) studied and lived in Krakow. She was a member of the artist group "Grupa Krakowska" founded by Tadeusz Kantor. She was known as an outsider who focused on her daring and progressive experimentation with different media.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

A unique insight into the work of Irene Zurkinden with sketchbooks published for the very first timeAccompanying the exhibition of the same name, this book offers a fascinating insight into the multifaceted work of Irene Zurkinden. Over more than five decades, the artist created intimate, powerful, and uncompromisingly expressive works that continue to captivate today. The beautifully designed catalogue not only presents her most renowned paintings and drawings but also, for the very first time, her sketchbooks a rare window into the creative process of an exceptional artist. Book Highlights: First-ever publication of Irene Zurkindens sketchbooks Comprehensive overview of more than 50 years of artistic work High-quality reproductions of paintings, drawings, and sketches Exhibition catalogue and collectors item for art enthusiasts This publication reveals how Zurkindens oeuvre oscillates between grace, beauty, and critical engagement with her time an art book that unites inspiration, insight, and visual intensity.Swiss painter Irene Zurkinden (19091987) trained as a fashion illustrator in Basel before turning to the visual arts. A leading figure of the citys cultural scene, she spent her life between Basel and Parisher place of longing. Throughout her career, she exhibited widely in Basel galleries and Swiss institutions, with her paintings and sketchbooks bearing witness to a unique view of society and her personal surroundings.

Da essência à embalagem — transforme seu conhecimento em uma fonte de renda. Aprenda como fazer velas aromáticas e transforma-lo em um negocio.

Edvard Munch A Master of Emotion and Existential AngstBest known for The Scream, Munchs art captured the struggles of the human psyche in a way that resonates across generations. His works form a unique "soul diary," chronicling inner turmoil, fear, and profound melancholy.In this volume of the Hatje Cantz AZ series, Munchs life and work are explored through 26 concise and engaging themes, from "Anxiety" to "Ghosts" and "Revolver" to "Zoo." This book offers surprising insights into Munchs personal and universal artistic expressions, highlighting why his work remains as compelling today as ever.Highlights:The creator of The Scream: Discover Munchs iconic and timeless masterpiece. A soul laid bare: Munchs art as a profound expression of psychological states. Surprising themes: 26 fresh perspectives on Munchs life and work. Hatje Cantz AZ Compact and Inspiring Art HistoryThe Hatje Cantz AZ series presents the great artists of art history in a compact and engaging format. From Lucas Cranach and Paul Cezanne to Piet Mondrian, Edvard Munch, and Niki de Saint Phalle each volume offers biographical insights, surprising details, and fascinating perspectives on their work. With its clear structure and handy format, the series is the perfect companion for art enthusiasts, collectors, and curious minds alike.In his painterly and graphic work Edvard Munch (18631944) made feelings and states of mind the subject of his work. In intense colors and expressive figuration, he created a highly individual artistic language that makes his oeuvre as enigmatic as it is appealing. Born in Norway, his travels took him to Paris and Berlin, where he cultivated contacts with important writers, artists, and intellectuals of the time. He spent the end of his life in seclusion in Oslo, where he died in 1944. The art historian Ulf Kuster (*1966, Stuttgart) has worked at the Fondation Beyeler in Riehen/Basel since 2004. He has curated internationally acclaimed exhibitions and written numerous publications. His books on Edward Hopper and Piet Mondrian (A-Z series) and Louise Bourgeois (Kunst zum Lesen series) have been published by Hatje Cantz.

Edvard Munch A Master of Emotion and Existential AngstBest known for The Scream, Munchs art captured the struggles of the human psyche in a way that resonates across generations. His works form a unique "soul diary," chronicling inner turmoil, fear, and profound melancholy.In this volume of the Hatje Cantz AZ series, Munchs life and work are explored through 26 concise and engaging themes, from "Anxiety" to "Ghosts" and "Revolver" to "Zoo." This book offers surprising insights into Munchs personal and universal artistic expressions, highlighting why his work remains as compelling today as ever.Highlights:The creator of The Scream: Discover Munchs iconic and timeless masterpiece. A soul laid bare: Munchs art as a profound expression of psychological states. Surprising themes: 26 fresh perspectives on Munchs life and work. Hatje Cantz AZ Compact and Inspiring Art HistoryThe Hatje Cantz AZ series presents the great artists of art history in a compact and engaging format. From Lucas Cranach and Paul Cezanne to Piet Mondrian, Edvard Munch, and Niki de Saint Phalle each volume offers biographical insights, surprising details, and fascinating perspectives on their work. With its clear structure and handy format, the series is the perfect companion for art enthusiasts, collectors, and curious minds alike.In his painterly and graphic work Edvard Munch (18631944) made feelings and states of mind the subject of his work. In intense colors and expressive figuration, he created a highly individual artistic language that makes his oeuvre as enigmatic as it is appealing. Born in Norway, his travels took him to Paris and Berlin, where he cultivated contacts with important writers, artists, and intellectuals of the time. He spent the end of his life in seclusion in Oslo, where he died in 1944. The art historian Ulf Kuster (*1966, Stuttgart) has worked at the Fondation Beyeler in Riehen/Basel since 2004. He has curated internationally acclaimed exhibitions and written numerous publications. His books on Edward Hopper and Piet Mondrian (A-Z series) and Louise Bourgeois (Kunst zum Lesen series) have been published by Hatje Cantz.

When painting goes beyond the canvasKatharina Grosse is one of todays most radical painters. Her art spills beyond the canvas, claiming entire rooms, buildings, and landscapes with bold color and immersive gesture. Over two years, she met with writer and theologian Klaus Dermutz for a series of in-depth conversations exploring her thoughts on painting, perception, space, and time.This book brings together ten of these intense dialogues deeper and more personal than any previous publication. Grosse speaks about visibility and invisibility, repetition and origin, methods and materials, and how painting can be a physical, spatial, and conceptual experience. Unpublished images from her personal archive complement this multifaceted insight into her creative world.Highlights of the Book: Ten in-depth conversations offering new insights into Katharina Grosses artistic thinking Rare archival materials and previously unpublished images Reflections on four decades of evolving techniques and concepts Part of the acclaimed Hatje Cantz Text series A must-read for anyone interested in contemporary painting, artistic process, and the power of visual thought.KATHARINA GROSSE (*1961 in Freiburg i. Br.) has held professorships at Weiensee Kunsthochschule Berlin (200009) and Kunstakademie Dusseldorf (201018). Her works are represented in numerous international collections. Most recently, the Albertina in Vienna presented her solo exhibition Why Three Tones Do Not Form a Triangle, 202324) and currently the Centre Pompidou Metz is staging three large-scale in-situ works (Deplacer les etoiles, until February 2025). Grosse lives and works in Berlin and New Zealand.KLAUS DERMUTZ (*1960 in Judenburg, Austria) is an author and publicist in the fields of visual arts and theater. Since 1990, he has published in Die Zeit, Suddeutsche Zeitung, Theater heute, and others; from 200109 he was co-editor of Edition Burgtheater. He has written numerous books on theater, e.g., on Andrea Breth, Otto Sander, Klaus Michael Gruber, Christoph Marthaler, Peter Zadek; he has also published of a volume of conversations with Anselm Kiefer.

When painting goes beyond the canvasKatharina Grosse is one of todays most radical painters. Her art spills beyond the canvas, claiming entire rooms, buildings, and landscapes with bold color and immersive gesture. Over two years, she met with writer and theologian Klaus Dermutz for a series of in-depth conversations exploring her thoughts on painting, perception, space, and time.This book brings together ten of these intense dialogues deeper and more personal than any previous publication. Grosse speaks about visibility and invisibility, repetition and origin, methods and materials, and how painting can be a physical, spatial, and conceptual experience. Unpublished images from her personal archive complement this multifaceted insight into her creative world.Highlights of the Book: Ten in-depth conversations offering new insights into Katharina Grosses artistic thinking Rare archival materials and previously unpublished images Reflections on four decades of evolving techniques and concepts Part of the acclaimed Hatje Cantz Text series A must-read for anyone interested in contemporary painting, artistic process, and the power of visual thought.KATHARINA GROSSE (*1961 in Freiburg i. Br.) has held professorships at Weiensee Kunsthochschule Berlin (200009) and Kunstakademie Dusseldorf (201018). Her works are represented in numerous international collections. Most recently, the Albertina in Vienna presented her solo exhibition Why Three Tones Do Not Form a Triangle, 202324) and currently the Centre Pompidou Metz is staging three large-scale in-situ works (Deplacer les etoiles, until February 2025). Grosse lives and works in Berlin and New Zealand.KLAUS DERMUTZ (*1960 in Judenburg, Austria) is an author and publicist in the fields of visual arts and theater. Since 1990, he has published in Die Zeit, Suddeutsche Zeitung, Theater heute, and others; from 200109 he was co-editor of Edition Burgtheater. He has written numerous books on theater, e.g., on Andrea Breth, Otto Sander, Klaus Michael Gruber, Christoph Marthaler, Peter Zadek; he has also published of a volume of conversations with Anselm Kiefer.