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Books on the topic 'Artist’s writing'

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Author: Grafiati
Published: 22 June 2024

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1

Davids, Betsy. Artists writing. Los Angeles: Alliance for Contemporary Book Arts, 1994.

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2

David, Levithan, ed. Best Young Writers And Artists In America. New York: Scholastic, 2002.

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3

Fusco, Maria. What am I? London: Book Works, 2010.

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4

Seed, John. Artist's statements of the old masters. [Place of publication not identified]: PoetsArtists., 2015.

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5

Mirea, Maria. Cenaclul literar-artistic "Pasăre de nea". Târgoviște: Editura Bibliotheca, 2017.

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6

Liese, Jennifer. Social medium: Artists writing, 2000-2015. Brooklyn, New York: Paper Monument, 2016.

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7

Grande, John K. Art allsorts: Writing on art & artists. [Montréal]: Random Tree Editions - Go If Press, 2008.

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8

Rothko, Mark. Writings on art. New Haven: Yale University Press, 2006.

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9

Corazón, Alberto. Damasco Suite, somos imágenes. Boadilla del Monte (Madrid): A. Machado Libros, 2011.

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10

Ellmann, Maud. The hunger artists: Starving, writing, and imprisonment. Cambridge, Mass: Harvard University Press, 1993.

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11

Ellmann, Maud. The hunger artists: Starving, writing, and imprisonment. Cambridge, Mass: Harvard University Press, 1993.

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12

Walwin, Jeni. Low tide: Writings on artists' collaborations. [London]: Black Dog Pub., 1997.

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13

Collection, Rubell Family. Rubell Family Collection: Highlights & artists' writings. Edited by Roselione-Valadez Juan. Miami, FL: Rubell Family Collection/Contemporary Arts Foundation, 2014.

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14

Sáiz, Manuel. Malos consejos para jóvenes artistas. Murcia]: CENDEAC, 2018.

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15

Neuenschwander, J. Brody. Silent writing performance. Warsaw: PIATK, 2019.

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16

Tillman, Lynne. Freedom. London: Book Works, 2013.

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17

Wiley, Christopher, and Ian Pace, eds. Researching and Writing on Contemporary Art and Artists. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39233-8.

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18

Cheng, Jianzhong. Huzhou writing brush in China. Paramus, New Jersey: Homa & Sekey Books, 2015.

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19

Alexander, Alberro, and Stimson Blake, eds. Institutional critique: An anthology of artists' writings. Cambridge, MA: MIT Press, 2009.

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20

1947-, Witzling Mara Rose, ed. Voicing our visions: Writings by women artists. London: Women's Press, 1992.

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21

1947-, Witzling Mara Ross, ed. Voicing our visions: Writings by women artists. New York: Universe, 1991.

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22

Rovner, Michal. Writings. Madrid, Spain: Ivorypress, 2020.

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23

Martin, Agnes. Writings. [Winterthur]: Kunstmuseum Winterthur/Edition Cantz, 1992.

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24

Maureen, Squires, and Guilford Handcraft Centre, eds. Writing beyond words. Guilford [Conn.]: Guilford Handcraft Center, 1999.

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25

Koh, Jolly. Artistic imperatives: Selected writings and paintings. Petaling Jaya, Selangor Darul Ehsan: Maya Press, 2004.

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26

Harb, Shuruq. A book of signatures. Birmingham: Ikon Gallery, 2010.

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27

1946-, Collins Judith, Lindner Elsbeth, and Tate Gallery, eds. Writing on the wall: Women writers on women artists. London: Weidenfeld & Nicolson, 1993.

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28

Cameron, Julia. The Artist's Way. New York: Penguin USA, Inc., 2010.

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29

Robertson, Jack. Twentieth-century artists on art: An index to artists' writings, statements, and interviews. Boston, Mass: G.K. Hall, 1985.

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30

Costa, Valérie Da. Jean Dubuffet: Works, writings and interviews. Barcelona: Polígrafa, 2006.

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31

Peter, Sarah. Pen in hand: Writers on writing. New York, N.Y: Sarah Peter, 1996.

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32

Martin, Agnes. Writings =: Schriften. [Stuttgart?]: Kunstmuseum Winterthur/Edition Cantz, 1991.

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33

Martin, Agnes. Writings =: Schriften. 4th ed. Ostfildern: Cantz Verlag, 1991.

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34

Martin, Agnes. Writings =: Schriften. 6th ed. Ostfildern-Ruit: Hatje Cantz, 2005.

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35

Balafrej, Lamia. The Making of the Artist in Late Timurid Painting. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474437431.001.0001.

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This book constitutes the first exploration of artistic self-reflection in Islamic art. In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist’s imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist’s signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed. In addition, each chapter explores a different theme: how painters challenged the conventions of royal representation (chapter 1); the role of writing in painting, its relation to ekphrasis and the context of the majlis (chapter 2); image, mimesis and potential world (Chapter 3); the line and its calligraphic quality (Chapter 4); signature (Chapter 5); the mobility of manuscripts (epilogue).
36

Pooler, Mhairi. Writing Life: Early Twentieth-Century Autobiographies of the Artist-Hero. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781781381977.001.0001.

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Writing Life offers a revisionary exploration of the relationship between an author’s life and art. By examining the self-representation of authors across the schism between Victorianism and Modernism via the First World War, this study offers a new way of evaluating biographical context and experience in the individual creative process at a critical point in world and literary history. Writing Life is also the story of four literarily and personally interconnected writers – Edmund Gosse, Henry James, Siegfried Sassoon and Dorothy Richardson – and how and why they variously adapted the model of the German Romantic Künstlerroman, or artist narrative, for their autobiographical writing, reimagining themselves as artist-heroes. By appropriating key features of the genre to underpin their autobiographical narratives, Writing Life examines how these writers achieve a form of life-writing that is equally a life story, artist’s manifesto, aesthetic treatise and modern autobiographical Künstlerroman. Pooler argues that by casting their autobiographical selves in this role, Gosse, James, Sassoon and Richardson shift the focus of their life-stories towards art and its production and interpretation, each one conducting a Romantic-style conversation about literature through literature as a means of reconfirming the role of the artist in the face of shifting values and the cataclysm of the Great War.
37

Curtis, Cathy. Illuminating Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190498474.003.0004.

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Elaine began reviewing exhibitions for ARTnews in April 1948, working under Thomas B. Hess, with whom she had a romantic relationship. (She was also briefly involved with critic Harold Rosenberg.) Tutelage with critic Edwin Denby helped hone her craft. Her reviews ranged widely, deftly encapsulating an artist’s style and approach within the 200-word limit. In 1949, she switched to the magazine’s “X Paints a Picture” features, a detailed treatment of the featured artist’s process. The function of criticism is to “cast some light on” the work, she said, rather than to sit in judgment. But she maintained the critic’s right of interpretation, regardless of the artist’s intentions. Among the artists and writers she befriended during this period were Larry Rivers, Fairfield Porter, and Frank O’Hara. In 1955, she began writing about larger themes, beginning with “Subject: What, How or Who?” which bravely countered ideas promulgated by critic Clement Greenberg.
38

Larson, Stephanie. Seventh-Century Material Culture in Boiotia. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.33.

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This chapter briefly discusses aspects of the material culture of seventh-century bce Boiotia in general and makes specific reference to sites and areas of relevance in studying Hesiod, in particular Askra, Thespiai, the Valley of the Muses, Thebes, Plataiai, and Akraiphnia. It pays special attention to the sanctuary of Apollo on the Ismenion hill and to the Herakleion in Thebes, the sanctuary of the hero Herakles, who was worshipped there as an epichoric figure, and discusses inscriptions and finds from these two sites. The chapter also offers a view of Boiotia and of the environs of Thebes in particular as an early Greek center for artistic production during the time of Hesiod, as shown through vase painting, figurines, early writing, sculpture, and an artist’s signature.
39

O'Donnell, Nathan. Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621662.001.0001.

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Wyndham Lewis was both a serious proponent and forthright critic of modernism. His assault upon his contemporaries foreshadowed the twenty-first century scholarly interest in the networks, professions, and coteries – rather than the myths and heroics – of modernism. Lewis, after a long period of neglect, now sits increasingly at the heart of a revised field of modernist studies. This book explores Lewis’s cultural criticism as a valuable body of writing which posed questions that have yet to be answered about subsidy and the function of the artist, about professionalism and ethics, about who should pay for the arts, and what the artist’s obligations should be in return. It is the first book-length study of this body of critical writing, through which Lewis articulated the central and most lasting of his critical preoccupations: the question of how the work of the artist is to be valued, and the artist to be paid, in a professionalised society. This book makes an important contribution to the long overdue reassessment of a complex, contrarian figure, spanning the disciplines of literature and the visual arts, who asked pressing questions about the role and status of the artist, and ultimately about the value (economic, civic, political) of the work of art.
40

Levithan, David. Best Young Writers And Artists In America. Push, 2002.

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41

Jaworski, Adam. Language Ideologies in the Text-Based Art of Xu Bing. Edited by James W. Tollefson and Miguel Pérez-Milans. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190458898.013.34.

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Contemporary art has been a site of intense linguistic production for several decades. Visual artists experiment with new ways of displaying or enframing language that contest or subvert dominant language ideologies. Thus artists produce new regimes of language that regulate or unsettle moral or political visions, shaping attitudes and behaviour. The works of the contemporary artist Xu Bing, as well as interpretations of his work by the artist and commentators, demonstrate how artistic production and criticism contribute to language ideological debates about Chinese—in particular, about Chinese writing—and the nature of language more broadly. This chapter discusses aspects of Xu Bing’s biography and artistic practice related to his use of language. It discusses the language ideological positions underpinning four of his major works. It concludes with reflections on what language policy and planning scholars might learn from extending the scope of their interest to text-based art.
42

Downes, Rackstraw. Nature and Art are Physical: Writings on Art, 1967-2008. Edgewise Press, 2014.

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43

Bochner, Mel. Solar System & Rest Rooms: Writings and Interviews, 1965–2007 (Writing Art). The MIT Press, 2008.

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44

Brown, Kathryn. Dialogues with Degas. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350258730.

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Dialogues with Degas demonstrates the ongoing relevance of Edgar Degas to 20th- and 21st-century ideas and art practices. The first in-depth examination of this major artist’s impact on contemporary art, this book explores how contemporary practitioners have used Degas’s creativity as a springboard to engage imaginatively and critically with themes of colonialism, gender, race and class. Individual chapters are devoted to dialogues between Degas’s art and works produced by Frank Auerbach, Cecily Brown, Xinyi Cheng, Ryan Gander, Maggi Hambling, Damien Hirst, Howard Hodgkin, Chantal Joffe, Leon Kossoff, R.B. Kitaj, Juan Muñoz, Paula Rego, Jenny Saville, Yinka Shonibare, Cy Twombly and Rebecca Warren. Through close analyses of selected paintings, drawings, prints and sculptures, Kathryn Brown explores how Degas’s technical and compositional experiments have been extended or challenged in innovative ways. By experimenting with the materials and methods of existing works, contemporary artists generate visual palimpsests that make new demands of the viewer and prompt a reconsideration of ideas that have informed histories of 19th-century French art. The book overturns familiar conceptions of influence by eschewing a genealogical approach and prioritizing, instead, the analysis of non-linear encounters between artworks. This encourages a new conception of the agency of visual artefacts and of the conversations they are capable of entertaining with each other. While this study sheds new light on Degas’s art and that of his interlocutors, it also has methodological significance for the writing of art history.
45

Beck, Stephen, Eugeni Bonet, Peter Campus, A. A. Bronson, and Peter D'Agostino. Video Writings by Artists. Mousse Publishing, 2018.

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46

Chow, Rey. Leung Ping-kwan. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.29.

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In a writing career that spanned nearly half a century, Leung Ping-kwan produced tens of volumes of poems, essays, short stories, novels, and newspaper columns, as well as literary, film, and cultural criticism. His versatility was evident in the experiments he undertook in different genres and in the moves he made between artistic creativity and scholarly study. Leung also collaborated with photographers, visual artists, musicians, choreographers, translators, and academics in various multimedia projects, proving with his own work the rich possibilities of partnership that lie between academic pursuits and society at large. A recurrent theme of Leung’s writings is the literary and artistic mode he refers to asshuqing, a term usually (but less than ideally) translated as “lyrical” or “lyricism.” This chapter offers observations about the connotations and implications of this, Leung’s beloved, mode, especially as it is imbricated with his approaches to space.
47

Smith, Larry David. Writing Dylan. 2nd ed. ABC-CLIO, LLC, 2018. http://dx.doi.org/10.5040/9798216039709.

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This study of Dylan's mission-driven music reveals a functional approach to art that not only sustained his 60-year career but forever changed an art form. The second edition of Writing Dylan: The Songs of a Lonesome Traveler examines Nobel Laureate Bob Dylan's historic career, yielding unique insights into a distinctively American artist's creative world. The book opens with a short biography and description of Dylan's artistic method before diving into the seven missions of his life's work. Chapters are supported by song lyrics, of which the author's license agreement with Bob Dylan Music enables a definitive presentation. Since the release of the first edition in 2005, the laureate has produced three albums of original material as well as three widely praised albums of American standards. Columbia Records has issued multiple boxed sets chronicling specific periods of Dylan's career, and several films have been made about him. Dylan himself has also given numerous speeches and interviews, often while accepting prestigious awards. This second edition not only features these new materials but draws on them to recast the first edition, presenting Dylan's music as an indelible art form.
48

Ellmann, Maud. Hunger Artists: Starving, Writing, and Imprisonment. Harvard University Press, 1993.

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49

Jaffe, Harold. Brut: Writings on Art & Artists. Anti-Oedipus Press, 2021.

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50

Acconci, Vito, and Gloria Moure. Vito Acconci: Writings, Works, Projects. Poligrafa, 2001.

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