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Author: Garry Neill Kennedy
Publisher: MIT Press
ISBN: 0262016907
Category : Art
Languages : en
Pages : 481
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Book Description
The long-awaited history of the art college that became an unlikely epicenter of the art world in the 1960s and 1970s. How did a small art college in Nova Scotia become the epicenter of art education—and to a large extent of the postmimimalist and conceptual art world itself—in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax. A partial list of visiting artists and faculty members at NSCAD would include Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Mel Bochner, Lucy Lippard, John Baldessari, Hans Haacke, Yvonne Rainer, Robert Frank, Jenny Holzer, Robert Morris, Eric Fischl, and Dara Birnbaum. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today's masters, including John Baldessari, Vito Acconci, and Claes Oldenburg. With The Last Art College, Garry Kennedy, the college's visionary president at the time, gives us the long-awaited documentary history of NSCAD during a formative era. From gallery openings to dance performances to visiting lectures to exhibitions to classroom projects, the book gives a rich historical and visual account of the school's activities, supplemented by details of specific events, reminiscences by faculty and students, accounts of artists' talks, and notes on memorable controversies.
Author: Garry Neill Kennedy
Publisher: MIT Press
ISBN: 0262016907
Category : Art
Languages : en
Pages : 481
Get Book Here
Book Description
The long-awaited history of the art college that became an unlikely epicenter of the art world in the 1960s and 1970s. How did a small art college in Nova Scotia become the epicenter of art education—and to a large extent of the postmimimalist and conceptual art world itself—in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax. A partial list of visiting artists and faculty members at NSCAD would include Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Mel Bochner, Lucy Lippard, John Baldessari, Hans Haacke, Yvonne Rainer, Robert Frank, Jenny Holzer, Robert Morris, Eric Fischl, and Dara Birnbaum. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today's masters, including John Baldessari, Vito Acconci, and Claes Oldenburg. With The Last Art College, Garry Kennedy, the college's visionary president at the time, gives us the long-awaited documentary history of NSCAD during a formative era. From gallery openings to dance performances to visiting lectures to exhibitions to classroom projects, the book gives a rich historical and visual account of the school's activities, supplemented by details of specific events, reminiscences by faculty and students, accounts of artists' talks, and notes on memorable controversies.
Author: Pamela Sachant
Publisher: Good Press
ISBN:
Category : Art
Languages : en
Pages : 614
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Book Description
Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics
Author: Loren Pope
Publisher: Penguin
ISBN: 1101221348
Category : Study Aids
Languages : en
Pages : 404
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Book Description
Prospective college students and their parents have been relying on Loren Pope's expertise since 1995, when he published the first edition of this indispensable guide. This new edition profiles 41 colleges—all of which outdo the Ivies and research universities in producing performers, not only among A students but also among those who get Bs and Cs. Contents include: Evaluations of each school's program and "personality" Candid assessments by students, professors, and deans Information on the progress of graduates This new edition not only revisits schools listed in previous volumes to give readers a comprehensive assessment, it also addresses such issues as homeschooling, learning disabilities, and single-sex education.
Author: Saara Liinamaa
Publisher: University of Toronto Press
ISBN: 1487516061
Category : Education
Languages : en
Pages : 327
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Book Description
The New Spirit of Creativity examines creativity as an embedded institutional value and priority within public art institutions and higher education. The book unpacks the everyday work, organization, and administration of artistic creativity and its clashes with a "new spirit" of creativity that has widely taken hold. Based on fieldwork conducted at three art and design universities in Canada, Saara Liinamaa tackles the fraught landscape of contemporary higher education, the uncertainties of cultural work, and ongoing concerns around austerity in Canada. This book traces how creativity is not simply practiced within the art school, but also inequitably recognized and rewarded. Liinamaa identifies the many compromises required between artistic creativity and the new spirit, while demonstrating how not all compromises are created equally; compromise can support or erode creative diversity. Drawing on a range of original sources – including interviews, participant observation, policy and planning, and media – this work makes a compelling case as to why art and design schools are worthy of sustained attention. By connecting shared interests across sociology, education, cultural studies, art history, and cultural theory, The New Spirit of Creativity makes a novel and agenda-setting contribution to our understanding of artistic creativity, compromise, and cultural work.
Author: Jo Applin
Publisher: Penn State Press
ISBN: 0271081368
Category : Art
Languages : en
Pages : 249
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Book Description
The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and ’70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art. The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London’s art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End’s familiar galleries and posed a radical challenge to established modes of making and understanding art. Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and ’70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking. In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Juliá, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.
Author: Wendy Fischman
Publisher: MIT Press
ISBN: 0262046539
Category : Education
Languages : en
Pages : 406
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Book Description
Why higher education in the United States has lost its way, and how universities and colleges can focus sharply on their core mission. For The Real World of College, Wendy Fischman and Howard Gardner analyzed in-depth interviews with more than 2,000 students, alumni, faculty, administrators, parents, trustees, and others, which were conducted at ten institutions ranging from highly selective liberal arts colleges to less-selective state schools. What they found challenged characterizations in the media: students are not preoccupied by political correctness, free speech, or even the cost of college. They are most concerned about their GPA and their resumes; they see jobs and earning potential as more important than learning. Many say they face mental health challenges, fear that they don’t belong, and feel a deep sense of alienation. Given this daily reality for students, has higher education lost its way? Fischman and Gardner contend that US universities and colleges must focus sharply on their core educational mission. Fischman and Gardner, both recognized authorities on education and learning, argue that higher education in the United States has lost sight of its principal reason for existing: not vocational training, not the provision of campus amenities, but to increase what Fischman and Gardner call “higher education capital”—to help students think well and broadly, express themselves clearly, explore new areas, and be open to possible transformations. Fischman and Gardner offer cogent recommendations for how every college can become a community of learners who are open to change as thinkers, citizens, and human beings.
Author: Bruce M. Carnes
Publisher:
ISBN:
Category : Education, Humanistic
Languages : en
Pages : 88
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Book Description
This study examines the trends that are discernible in the aggregate data available from private liberal arts colleges. The study does not propose to describe institutional conditions at a particular moment in history. Rather, it attempts to construct a profile of private liberal arts colleges as a group, a profile in the process of change through time and the force of new conditions and circumstances. The universe to be studied is the approximately 690 private liberal arts colleges in the Nation and the important contribution they make by increasing the educational options available to students. It is anticipated that this publication will provide educators, legislators, and concerned citizens with a convenient, yet thorough, compilation of the extant information regarding these important institutions. The major source of data is the Higher Education General Information Survey; however, the study also makes use of data from numerous private organizations and independent scholars.
Author: Jamie Jelinski
Publisher: McGill-Queen's Press - MQUP
ISBN: 022802305X
Category : Art
Languages : en
Pages : 411
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Book Description
In 1891 J. Murakami travelled from Japan, via San Francisco, to Vancouver Island and began working in and around Victoria. His occupation: creating permanent images on the skin of paying clients. From this early example of tattooing as work, Jamie Jelinski takes us from coast to coast with detours to the United States, England, and Japan as he traces the evolution of commercial tattooing in Canada over more than one hundred years. Needle Work offers insight into how tattoo artists navigated regulation, the types of spaces they worked in, and the dynamic relationship between the images they tattooed on customers and other forms of visual culture and artistic enterprise. Merging biographical narratives with an examination of tattooing’s place within wider society, Jelinski reveals how these commercial image makers bridged conventional gaps between cultural production and practical, for-profit work, thereby establishing tattooing as a legitimate career. Richly illustrated and drawing on archives, print media, and objects held in institutions and private collections across Canada and beyond, Needle Work provides a timely understanding of a vocation that is now familiar but whose intricate history has rarely been considered.
Author: Robert Bailey
Publisher: Duke University Press
ISBN: 0822374129
Category : Art
Languages : en
Pages : 223
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Book Description
In Art & Language International Robert Bailey reconstructs the history of the conceptual art collective Art & Language, situating it in a geographical context to rethink its implications for the broader histories of contemporary art. Focusing on its international collaborations with dozens of artists and critics in and outside the collective between 1969 and 1977, Bailey positions Art & Language at the center of a historical shift from Euro-American modernism to a global contemporary art. He documents the collective’s growth and reach, from transatlantic discussions on the nature of conceptual art and the establishment of distinct working groups in New York and England to the collective’s later work in Australia, New Zealand, and Yugoslavia. Bailey also details its publications, associations with political organizations, and the internal power struggles that precipitated its breakdown. Analyzing a wide range of artworks, texts, music, and films, he reveals how Art & Language navigated between art worlds to shape the international profile of conceptual art. Above all, Bailey underscores how the group's rigorous and interdisciplinary work provides a gateway to understanding how conceptual art operates as a mode of thinking that exceeds the visual to shape the philosophical, historical, and political.
Author: Edward A. Vazquez
Publisher: University of Chicago Press
ISBN: 022640806X
Category : Art
Languages : en
Pages : 248
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Book Description
Stretching lengths of yarn across interior spaces, American artist Fred Sandback (1943–2003) created expansive works that underscore the physical presence of the viewer. This book, the first major study of Sandback, explores the full range of his art, which not only disrupts traditional conceptions of material presence, but also stages an ethics of interaction between object and observer. Drawing on Sandback’s substantial archive, Edward A. Vazquez demonstrates that the artist’s work—with all its physical slightness and attentiveness to place, as well as its relationship to minimal and conceptual art of the 1960s—creates a link between viewers and space that is best understood as sculptural even as it almost surpasses physical form. At the same time, the economy of Sandback’s site-determined practice draws viewers’ focus to their connection to space and others sharing it. As Vazquez shows, Sandback’s art aims for nothing less than a total recalibration of the senses, as the spectator is caught on neither one side nor the other of an object or space, but powerfully within it.
