Cut and Fold Subway Sketchbook is a set of eight different subway car paper models from the world's coolest cities. Cut, fold, glue and bam! You've created your own miniature subway model car. For the last four decades, these subway trains have served as the canvases for one of the most explosive art movements ever. While the kings of graffiti go through great trouble putting their art on trains, these innovative canvases are now available to everyone. Includes two subway models each for New York, London, Berlin, Paris, Moscow, Toronto, Rome and Stockholm.
Beginning with an introduction to the philosophy of learning through the process of play, this book brings you through a series of basic warm-up exercises that can be combined with later projects. Then you'll move quickly on to more challenging and engaging exercises, including word games, dimensional shapes, and inventive sketchbooks and letterforms, eventually creating a "toolkit" of ideas and skills developed through the process of play. This book features creative, adaptable ideas, and numerous examples of designers and artists responses to each exercise, giving you a peek into their way of thinking and seeing.
In the twentieth century, avant-garde artists from Mexico, Central and South America, and the Caribbean created extraordinary and highly innovative paintings, sculptures, assemblages, mixed-media works, and installations. This innovative book presents more than 250 works by some seventy of these artists (including Gego, Joaquin Torres-Garcia, Xul Solar, and Jose Clemente Orozco) and artists' groups, along with interpretive essays by leading authorities and newly translated manifestoes and other theoretical documents written by the artists. Together the images and texts showcase the astonishing artistic achievements of the Latin American avant-garde. The book focuses on two decisive periods: the return from Europe in the 1920s of Latin American avant-garde pioneers; and the expansion of avant-garde activities throughout Latin America after World War II as artists expressed their independence from developments in Europe and the United States. As the authors explain, during these periods Latin American art was fueled by the belief that artistic creations could present a form of utopia - an inversion of the original premise that drove the European avant-garde - and serve as a model for
In this ode to all the things we gain and lose and gain again, seventeen-year-old Penelope Marx curates her own mini-museum to deal with all the heartbreaks of love, friendship, and growing up. Welcome to the Museum of Heartbreak. Well, actually, to Penelope Marx’s personal museum. The one she creates after coming face to face with the devastating, lonely-making butt-kicking phenomenon known as heartbreak. Heartbreak comes in all forms: There’s Keats, the charmingly handsome new guy who couldn’t be more perfect for her. There’s possibly the worst person in the world, Cherisse, whose mission in life is to make Penelope miserable. There’s Penelope’s increasingly distant best friend Audrey. And then there’s Penelope’s other best friend, the equal-parts-infuriating-and-yet-somehow-amazing Eph, who has been all kinds of confusing lately. But sometimes the biggest heartbreak of all is learning to let go of that wondrous time before you ever knew things could be broken…
Crafted from archives, interviews, memories, and bankers’ boxes of papers sent to the author during the years before her death, Always Someone to Kill the Doves: A Life of Sheila Watson is the portrait of a woman shaped by her times, by her turbulent marriage, by the clarity of genius, and by the moral sense of her Catholic upbringing. With the gentle touch of an old friend, Flahiff provides a poignant insight into the woman, the westerner, and the writer. Best known for the modernist novel, The Double Hook, and her part in creating the literary magazine White Pelican, Watson’s life was as rich and complex as her finest literary creation.
"For more than thirty years now, Cindy Sherman has been visualizing a whole gamut of role models and female identities. ... Contrary to popular belief, the famous Untitled Film Stills (1978-80) are not her earliest works, but rather those photographs she took as a student in Buffalo between 1975 and 1977. During those years, Sherman made playing with disguises her artistic concept, producing numerous previously unknown photographs that unite a striking number of theatrical elements. Using a variety of wigs, make-up, mimicry, gestures, expressions, and costumes, Sherman reveals different social identities by playing different roles. Gabriele Schor, director of the SAMMLUNG VERBUND, has performed a scholarly assessment of the conceptual beginnings of her oeuvre and is now publishing a catalogue raisonné of her early work."--Publisher description.