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Journal articles on the topic 'Artist's books'
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1
Demir, Duygu. "Introduction to İsmail Saray's Leonardo da Vinci." ARTMargins 3, no. 3 (October 2014): 111–25. http://dx.doi.org/10.1162/artm_r_00097.
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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.
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Saray, İsmail. "Leonardo da Vinci." ARTMargins 3, no. 3 (October 2014): 126–30. http://dx.doi.org/10.1162/artm_r_00098.
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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.
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Cohen, Nathan. "AN ARTIST'S BOOKS." Art Book 1, no. 5 (December 1994): 34a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00242.x.
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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.
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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.
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Clay, Steven. "A Few Words about Artist's Books." Books at Iowa 60 (April 1994): 31–35. http://dx.doi.org/10.17077/0006-7474.1245.
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Agustí Camí, Eugènia. "El libro como presente continuo." Barcelona Investigación Arte Creación 9, no. 2 (June 3, 2021): 222. http://dx.doi.org/10.17583/brac.2021.8195.
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Review of the exhibition “The book as a continuous present. Artist's books around conceptual poetics”. Tecla Sala Art Center, L’Hospitalet de Llobregat (Barcelona). Framed in the Arts Libris Fair in Barcelona.
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Melnyk, Oksana, and Viktor Shtets. "Original graphics of Robert Lisovsky: Genre range and features of the author's artistic language." Text and Image: Essential Problems in Art History, no. 2 (2020): 85–93. http://dx.doi.org/10.17721/2519-4801.2020.2.05.
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The article highlights the work of the Ukrainian emigrant artist Robert Lisovsky (1893-1982), a representative of the Narbut school, a master of book, magazine and applied graphics. While the graphic works by Robert Lisovsky published in books, magazines, calendars and publishing stamps are relatively well-studied, his drawings and watercolors are remain lesser known. The analysis of these works could contribute in clarifying the features of the artist's creative method and author's language. Also, it will determine the stylistic and figurative as well as plot-content preferences of the artist. The article outlines the genre range of graphic works created by Robert Lisovsky, which included portraits, landscapes, urban motifs, floristics and still lifes. The authors consider Robert Lisovsky's graphics and make attempt to determine his plastic language are determined. They find out that Robert Lisovsky most often dealt with the landscapes, including the urban ones, as well as the motives of sacral architecture. A peculiar feature of the artistic language of Robert Lisovsky is a free realistic interpretation of nature with the use of rhythmic and generalization techniques. The sweeping expressive bar line and contrasting fillings used by Robert Lisovsky in the Lviv and Prague periods of his work are replaced by a light modeling line and fine hatching in Italian drawings. In the final London period of his work, the artist resorted to several approaches to the interpretation of nature and demonstrated the author's method of transforming a realistic fixation of nature into an artistic image. The article identifies the specifics of the artist's creative method, emphasizes the semantic and stylistic characteristics of his works.
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Protopapa, Efrosini. "A Choreographer's Score: Fase, Rosas Danst Rosas, Elena's Aria, Bartók." Dance Research Journal 47, no. 2 (July 27, 2015): 80–84. http://dx.doi.org/10.1017/s0149767715000236.
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In the past decade, a growing discourse has developed among choreographers, dance artists, and their collaborators, who are eager to articulate their processes, practices, and working methods through different types of writing and publication. Artists’ books, objects, and online platforms—from Thomas Lehmen's Schreibstück (2002) and FUNKTIONEN tool box (2004), to BADco's Whatever Dance Toolbox (2011) in collaboration with Daniel Turing, and the Forsythe Company's project Motionbank (2010–2013)—have contributed to what we may describe today as the “publishing of choreographic ideas,” as proposed by Scott deLahunta (2015). Jeroen Peeters, editor of Are We Here Yet? (2010), which focuses on the work of Meg Stuart, emphasizes the discourse intrinsic to dance making, while Mårten Spångberg invites artists to “write their own history,” with projects such as The Swedish Dance History (2009–today), to give but one example. Alongside these developments, practice-as-research, which involves dance making and writing, is becoming more established within university settings; and presentations of/on artistic research are now common in conferences, symposia, and other sites of knowledge exchange. We could argue then that the development of an artist's theory of knowledge, which scholars such as Susan Melrose (2007) have been encouraging since the early 2000s, is now well under way both within and without the academy.
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Moholy, Lucia. "El Lissitzky." October 172 (May 2020): 111–16. http://dx.doi.org/10.1162/octo_a_00395.
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Likely published in anticipation of a 1967 volume of primary documents relating to the Russian artist El Lissitzky, Lucia Moholy discusses the artist's biography, career, influences, major works, reception, and relation to the Bauhaus. Drawing on her involvement in the fields of publishing and printing, she also introduces his then little-known books and graphic art, as well as his conception of the “Proun.” Although not stating it explicitly, much of her knowledge draws on having known Lissitzky personally in the 1920s and his writings from that period. The text stands as one of the earliest discussions of Lissitzky outside of the Russian language.
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Myers, Ann K. D., and William Andrew Myers. "Opening Artists’ Books to the User: An Example with Potential Approaches." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 15, no. 1 (March 1, 2014): 56–67. http://dx.doi.org/10.5860/rbm.15.1.415.
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Artists’ books are an increasingly popular collecting area both for art libraries and for special collections. Their experimentation with the book form and emphasis on hand techniques for production dovetail nicely with early printed book collections, highlighting modern approaches to bookmaking techniques that have been used for hundreds of years. The 2010 OCLC Research Survey Taking Our Pulse identified artists’ books as “the specific area most frequently named” for new collecting in special collections.2 In this paper we will discuss a specimen artist’s book and various issues and approaches to cataloging it. Artists’ books pose particular challenges to special collections . . .
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Golick, Greta. "Making Booxs: iSchool Students De/Construct the Book." Art Libraries Journal 41, no. 4 (September 20, 2016): 187–97. http://dx.doi.org/10.1017/alj.2016.24.
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What can current students preparing for careers as librarians, archivists and museum curators learn from the book as object and the book as art? How can artists’ books and artisans engaged in bookmaking, conservation and curating books inform our ideas of the book as more than its text? How does bookmaking deepen the connection for students between content and form? This article describes a 6-week workshop conducted at the Faculty of Information at the University of Toronto that explores the book from its earliest forms to artists’ books and includes many descriptions of books constructed by iSchool students.
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Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (February 27, 2020): 32. http://dx.doi.org/10.3390/arts9010032.
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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of such work. This has been accompanied by a growing interest in the artist’s book as a public artwork in its own right. These two distinct yet interrelated approaches form the subject of our essay. Drawing on examples of artists’ books held in the Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute as well as from our own curatorial practice, we argue that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art and provide an important space in which to critically engage with the complexities of place.
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Rojewski, Oskar Jacek. "“Quien será un gran pintor...” Análisis de las condicionantes y de las capacidades necesarias para ser artista según Durero." Revista de Humanidades, no. 42 (May 4, 2021): 59. http://dx.doi.org/10.5944/rdh.42.2021.25543.
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Resumen: La historiografía artística de la Edad Moderna, plasmada en tratados, paragonae, discursos y correspondencias entre humanistas, permite a los historiadores del arte reconstruir y analizar distintos aspectos de la producción artística italiana de esa época. En el caso de los territorios del Norte de Europa, la ausencia de esta documentación no permite precisar con claridad de detalle fenómenos análogos para los pintores flamencos o acerca de la llamada escuela alemana hasta las primeras décadas del siglo XVI. La poca documentación conservada imposibilita una definición profunda de los aspectos teóricos y estéticos ligados a la producción de los artistas. Además, la estructura gremial del Norte disuadía el proceso de individualización de los artistas. Alberto Durero, artista vinculado a la corte de Maximliano I y posteriormente a la corte de Carlos V, se considera el primer autor de tratados teóricos sobre la creación artística al Norte de los Alpes. Gracias a sus viajes a Italia, Durero entró en contacto con las corrientes de pensamiento acerca de la teoría del arte, que le llevaron a redactar varias publicaciones: Proyecto para el tratado sobre la pintura(1508-1513), Los cuatro libros sobre medidas. Instrucciones de medir con compás y regla(1525) y Cuatro libros sobre las proporciones humanas (1528). El objetivo de este estudio es analizar los tres tratados mencionados con una atención especial a las recomendaciones del autor respecto a la formación del artista. A partir del corpus dureriano, traducido por Bialostocki en 1954 ,este estudio permitirá revisar la difusión y aplicación de las sugerencias en el ámbito de los artistas durante las primeras décadas del siglo XVI.Abstract: The artistic historiography of the Modern Age, formed by theoretical treatises, paragonae, speeches and correspondence between humanists, permit the Historians of art to reconstruct and to analyse various aspects of Italian artistic production. In the case of Northern Europe, the absence of that kind of documentation does not allow to precise clear analogous phenomena for Flemish painters or for German school, until the early decades of the sixteenth century. Not much preserved documentation makes impossible to define well theoretical and aesthetic aspects relate to the artistic production. Besides, the guild structure on the Northern Europe dissuades the process of artists individualization. Albrecht Durer, connected to the court of Maximlian I and to the Charles V court artist, is considered as the first author of artistic theoretical treaties on the North of the Alps. Thanks for the trip to Italy, Dürer came into contact with modern art theory, which resulted in writing several treaties: Project for the Treatise on Painting (1508-1513), Four Books on Measurement. Instructions for Measuring with Compass and Ruler (1525) and Four Books on Human Proportion (1528). The aim of this study is to analyse the three mentioned treaties with special attention on the author's recommendations for appropriated formation of the artist. The base is the Durer´s corpus, translated by Bialostocki in 1954. This study will review the dissemination and implementation of Durer´s suggestions for artists during the first decades of the sixteenth century.
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Muñoz López, Pilar. "Las publicaciones y la investigación sobre mujeres artistas en España." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 317. http://dx.doi.org/10.25115/raudem.v3i0.633.
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Resumen: El tema de las mujeres artistas ha sido escasamente tratado en la abundante bibliografía de Historia del Arte. La mayor parte de las publicaciones que se han editado en los últimos años son fundamentalmente de carácter divulgatorio de la actividad de las artistas en el contexto internacional y en nuestro país. En el artículo se revisan los libros y artículos publicados y, finalmente, se exponen los contenidos de mi obra Artistas españolas en la dictadura de Franco. 1939-1975, que, desde una perspectiva histórica, trata de dar a conocer la actividad creativa de muchas artistas españolas en este periodo histórico. Publications and Research about Women Artists in Spain Abstract: The topic of Women Artists has been hardly presented in abundant bibliography of Art History. The majority of publications issued in latest years are popular science books about the activity of artists in an international context and in our country. In this paper I revise books and articles, and finally, I thoroughly explain thoroughly the contents of my book Artistas españolas en la dictadura de Franco. 1939-1975, which from an historic perspective, attempts to show the prominence of creative activity from many Spanish women artists in this historic period.
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Farmer, Jennie. "Artists’ books in the National Art Library, Victoria and Albert Museum." Art Libraries Journal 32, no. 2 (2007): 27–31. http://dx.doi.org/10.1017/s0307472200019167.
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The National Art Library’s collection of artists’ books is described here by one of the librarians, who is herself trained as a book artist, having completed an MA in Book Arts at Camberwell College of Art. She has built upon this knowledge through working with the large numbers of artists’ books at the NAL and begins this article by discussing the terminology relating to the book arts, going on to talk about the history of the NAL’s collection and touching on its future. She finishes by highlighting a few very distinctive items available for consultation.
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Bury, Stephen. "The Artist’s Book in the Age of Digital Reproduction: Walter Benjamin and the Artist’s Book." Arts 8, no. 4 (October 21, 2019): 138. http://dx.doi.org/10.3390/arts8040138.
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Walter Benjamin, who was familiar with the pre-Second World War avant-garde, argued that mechanization threatens the aura of art objects. The digital revolution has been seen as reconfirming Benjamin’s thesis, but the digital can be seen to reaffirm the value of the actual, physical artist’s book, and moreover, artists have exploited the digital—as technologies and subject matter—to make artists’ books.
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Cardoso, Catarina Figueiredo. "Past’s Present: Artist’s Books by José Oliveira." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 2, no. 1 (November 8, 2014): 135–56. http://dx.doi.org/10.14195/2182-8830_2-1_7.
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José Oliveira is a book artist who takes inspiration from the history and evolution of the Western book and of Western writing. His artist’s books take the form of codices, scrolls and leporellos and embody the beliefs, grief and hopes of their author. They ask us about our conceptions of the book and the nature of reading. They are evidences of their author’s resolute rejection of contemporary techniques applied to books. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_7
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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.
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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the paper itself) is the creator’s own work. From the Early Modern Age and especially from Romanticism onwards, the sketchbook of the artist grew rapidly in its importance. In this paper, however, I would like to survey another aspect: when the book, and especially its material property or physicality, serves as the basis of the creation of a novel artwork. In other words, I focus on pieces of art where the book is not simply a depicted motif or an attribute and it is not even a newly-created book-art object. Hence my current examination aims to analyze the phenomenon of the book, as how its materiality and referential ability may inspire the artist to further develop considerations on cultural, social and political issues. Works by Sophia Pompéry, Ákos Czigány, the art collective Slavs and Tatars, Jorge Méndez Blake and Carla Filipe are analyzed.Article received: April 15, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review ArticleHow to cite this article: Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies 19 (2019): 69-75. doi: 10.25038/am.v0i19.306
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Fawcett, Trevor. "The nineteenth-century art book: Content, Style and Context." Art Libraries Journal 17, no. 3 (1992): 12–17. http://dx.doi.org/10.1017/s0307472200007902.
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Although ‘art books’ of various kinds existed before 1800, art publishing grew significantly and with increasing speed through the 19th century. Two key factors, each encouraging the other, were the growth of interest in art among a heterogeneous public, and developments in printing technology, especially in methods of reproducing illustrations. Increasing numbers of illustrated art books contributed to the dissemination of awareness of an ever-broader spectrum of works of art, and of the decorative arts, throughout society, and nourished the historicism and eclecticism practised by contemporary artists and designers. The Romantic Movement’s cult of the individual artist prepared the way for the emergence of the artist’s monograph as a significant category of art book, made possible by the capacity to reproduce an artist’s works. The growth of art historical scholarship, informed by a new rigour, brought about the publishing of scholarly works incorporating documentary research, and of previously unpublished or newly-edited source material; art reference works, of several kinds, also multiplied. By 1900 art publishing had set all the precedents it would need until well into the second half of the 20th century.
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Butler, Jim. "Blackrock Sequence: A creative dialogue between an artist and a poet." Book 2.0 10, no. 2 (December 1, 2020): 161–74. http://dx.doi.org/10.1386/btwo_00027_1.
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In 2016, my brother David1 was awarded a grant from Dún Laoghaire/Rathdown Council in Ireland, to write a sequence of poems. He invited me to collaborate with him to make a book of poems and images. I had never collaborated with my brother before, so it was important for me to establish my role and how the project would work in practical and financial terms. There was no formal agreement but just discussions over drinks in the Harbour Bar, near where my brother lives outside Dublin. David had received a grant of €11,000 to write the poems and he would keep all of this – he would see if he could get some additional funding to cover art materials and the cost of an exhibition. The book, however, would be my project – I would design and print the book and all money from sales would be mine. My practice as a printmaker and book artist meant that I have a particular ambition for the material aspects of a book, for example the way ink interacts with different papers, and this would not be compromised. I had previously printed and bound a number of my artist’s books in small editions, and these had been acquired by many public collections including the Tate.2 I had also written about the financial challenges involved, so I was going into this project with my eyes open. In terms of the book itself, David had initially suggested a chapbook but was happy to respect my judgement, creative independence and expertise. We also agreed that if we ended up in a situation in which either of us felt there was a significant mismatch between his intentions for the suite of poems, my images and the book I had designed, then I would not publish the book. In deciding what I wanted to achieve with the book, two texts were fundamental to my thinking: Ulises Carrión’s essay The New Art of Making Books and Yves Peyré’s study of artists’ books Peinture et Poésie (‘Painting and poetry’). This article explores the relationship that we established between poems and images and how the book’s structure developed to allow this relationship to be realized.
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Rocaciuc, Victoria. "Illustrations for the ABC book in the works of Moldovan artists (1945-2015). Preliminary research of the genesis and evolution of aesthetic values." Arta 30, no. 1 (August 2021): 104–11. http://dx.doi.org/10.52603/arta.2021.30-1.15.
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The ABC book is the most important book that affects the cognitive the aesthetic development of the child. The history of this book goes back several centuries, and its prehistory can be traced back to the days of the appearance of writing. This article is dedicated to the study of the processes associated with the evolution of the principles of illustrating ABC books in the works of artists of the Soviet and post-Soviet periods. Among the famous Moldovan artists, who illustrated books of this didactic nature, are: Valentina Nechaeva, Valentina Rusu-Ciobanu, Leonid Grigorashenco, Ilya Bogdesco, Evgheni Merega, Boris Brânzei, Igor Vieru, Lică Sainciuc, Isai Cârmu, Alexei Colîbneac,Vasile Movileanu, Aurel Guțu-Resteu, Vasili Tsehmister, Anna Evtushenco, Violeta Zabulica-Diordiev, Elena Leshcu, Mihail Brunea, Oleg Cojocari, Elvira Voloshin-Cemortan and others. The study of ABC illustrations in the works of Moldovan book graphic artists provided an opportunity to analyze the genesis and evolution of its aesthetic aspects, and to identify the main artistic values of this branch of fine arts.
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Adascalita, Lucia. "Satirical graphics in the creation of the plastic artist Iurie Rumeanțev." Arta 30, no. 1 (August 2021): 112–17. http://dx.doi.org/10.52603/arta.2021.30-1.16.
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d cultural barometer, it highlighted the perception and plastic reflection of events and changes typical of the weather. Quite a few plastic artists contributed to this, among whom the graphic artist Iurie Rumeanțev. The artist showed skill, artistry and originality in the perspective of emphasizing some interesting facets of everyday life. During his creative activity, the artist creates numerous satirical sheets that see the light of day in various publications, including the satire and humor magazine "Chipăruș", the magazine "Femeia Moldovei", the newspaper "Tinerimea Moldovei", etc. Frequently participating in international exhibitions, Iurie Rumeanțev is appreciated with diplomas and medals both for his caricatures and for his book graphics. Artistically reflecting the social life of the era in which he worked, Iurie Rumeanțev managed to create valuable graphic sheets in which, situations, frequently encountered in everyday life, are mirrored in an ironic way. At the same time, the artist excludes distortions of shape and hideousness in the representation of the characters, emphasizing the artistic revelations of the human essence. Simultaneously with the satirical graphics, Iurie Rumeanțev also manages to persevere in book graphics by making reference works.
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Plate, S. Brent. "What the Book Arts Can Teach Us About Sacred Texts." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 8, no. 1-2 (August 19, 2017): 5–25. http://dx.doi.org/10.1558/post.32516.
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Religion and art became separated in the modern age, or so the secularized story goes. But looking at a history of books, including their artistic creation, we find interesting ongoing parallels occurring between religious and artistic texts. Illustrations and scripts, bindings and papers, printmaking and performance, all serve artistic and religious ends. The artistic and the religious are tied together, ultimately, by appealing to the senses, bringing texts and reading into the realm of the aesthetic (Gk. aesthetikos: pertaining to sense perception). Books are powerful and enjoyable as well as dangerous and condemned, because they are felt, seen, tasted, heard, and touched. By looking at contemporary “book arts” and noting their sensual affects, we can understand “sacred texts” in better ways. Ultimately we find modern secular arts are not so far from religious experiences. Examples come from modern book artists such as John Latham, Brian Dettmer, Luigi Serafini, Meg Hitchcock, and Guy Laramée.
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Alaca, Ilgım Veryeri. "Flexographic Artists’ Books." Leonardo 49, no. 3 (June 2016): 270–71. http://dx.doi.org/10.1162/leon_a_01241.
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This article introduces experimental artists’ books created in the interstices between technology and tradition. The series of books are created by utilizing scraps produced via flexographic label printing. Each book is constituted by means of the accumulation of paper on the machine, which introduces a never-ending page structure as a result of the continuous roll, creating a swirling formation. The work is an inquiry on growth, imperfection, form and time, enriched by the impact of mechanical processes that are inherent to the creation of the book. It also investigates experimental uses of printing and papercutting mechanisms.
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Vishnyakova, Yulia I. "Person being in love of Book». Book Exhibition from the Collection of Sokolsky." Bibliotekovedenie [Russian Journal of Library Science], no. 2 (April 27, 2012): 73–76. http://dx.doi.org/10.25281/0869-608x-2012-0-2-73-76.
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On the event dedicated to the 50th anniversary of the death of artiste, people's artist of the RSFSR, writer, bibliographer and historian of the book - N. Smirnov-Sokolsky. The exhibition was held in the Research Department of Rare Books (Book Museum) of the Russian State Library.
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Gemaque, Maria Pinho. "Livro de Artista: Processo de Criação em Performance e Poéticas Visuais em uma Escola Amapaense." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 10 (May 27, 2021): 51. http://dx.doi.org/10.18542/arteriais.v6i10.10576.
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ResumoA lógica da pesquisa desenvolvida intercambia vivências dentro do espaço escolar nas aulas de arte com processos de criação, intervenção artística/educativa desenvolvidas na Escola Estadual Raimunda Virgolino, Macapá/AP/Brasil. Trata-se de um trabalho coletivo que envolveu estudantes do Ensino Médio, professoras de Arte e artistas amapaenses. Procurou compreender os enlaces dos processos de criação em arte por meio de ações em performances de alunos e professores. O estudo possui caráter qualitativo por entender as relações entre os indivíduos, e, por isso, de intenção etnográfica, inspirado pela metodologia a/r/tográfica. Esse processo metodológico engendra saberes entre a atividade do professor/artista que investiga e constrói significados sobre a sua prática a partir de experiências artísticas e educativas. Foi produzido um material que se atem a desvelar o processo de criação imerso na pesquisa: um livro de artista contendo quatro conversas interativas, um CD do filme “Viagens Poéticas” e imagens dos processos que se desaguam em mesas de cafés, encontro com teóricos e com as cidades que estão atravessadas nestas conversas pesquisantes. Os fins – e – afins inacabados da investigação consiste em aproximação e diálogos horizontalizados entre alunos e professor, diluir fronteiras entre saberes e fazeres do conhecimento em educação em arte, apropriações percepções artísticas e estéticas em torno da vida dentro do ambiente escolar.AbstractThe logic of the research that was developed exchanges with the experiences within the space of coexistence in the art classes with processes of creation, artistic / educational intervention developed in the State School Raimunda Virgolino, Macapá / AP / Brazil. It is a collective work that involved high school students, art teachers and amapaenses artists. It sought to understand the links of the processes of creation in art through actions in performances of students and teachers. The study has a qualitative character because it understands the relations between individuals, and therefore of ethnographic intention, inspired by the a / r / tographic methodology. This methodological process generates knowledge between the activity of the teacher / artist who investigates and constructs meanings about his practice based on artistic and educational experiences. A material was produced which began to reveal the process of creation immersed in research: an artist’s book containing four interactive talks, a CD of the movie “Poetic Travels” and images of the processes that pour into coffee tables, meeting with theorists and with the cities that are going through these research conversations. The unfinished ends and ends of the research consist of horizontal approximation and dialogues between the students and their teacher, diluting boundaries between knowledge and actions knowledge in art education, appropriation of artistic and aesthetic perceptions around life within of the school environment.
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Kolosnichenko, M. V., T. F. Krotova, K. L. Pashkevych, and N. M. Pshinka. "STYLISTIC AND CONSTRUCTIONAL SOLUTIONS IN BOOK SERIES DESIGN "FAIRY TALES FROM AROUND THE WORLD" OF THE NATIONAL CHILDREN`S LITERATURE PUBLISHING HOUSE "VESELKA"." Art and Design, no. 2 (August 11, 2021): 20–29. http://dx.doi.org/10.30857/2617-0272.2021.2.2.
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Aim: to analyze the stylistic and constructive features of the design of the books in the series “Fairy Tales from Around the World“ by the publishing house “Veselka“, to trace the sequence of the publishing project and the role of the designer and art-designer in it. Methodology. Historical and comparative methods, as well as art history methods of image and stylistic and formal analysis have been used in the research. Results. The artistic approaches to the creation of 25 books of the series “Fairy Tales from Around the World“ (1978–2016) have been analyzed, the stages of creating the book design of this series have been studied with the help interview of the main artist of the publishing house “Veselka“ (1975–2015), national artist of Ukraine M. Pshinka; the image and stylistic features of this series design have been revealed, which allowed synthesizing the verbal, figurative and architectonic levels of books, ensured the integrity of the book as an artistic object, contributed to the emotional and aesthetic expressiveness of illustrations. Scientific novelty. The image and stylistic features of the decoration of the series “Fairy Tales from Around the World“, founded in 1978 by the National Children's Literature Publishing House “Veselka“, have been analyzed for the first time. The analysis of the books` design in this series as a synthesis of text, illustrations, and layout design has been presented. The sequence of the artistic and production process and the designer`s role in achieving the synergy of visual and verbal images has been traced. The constructive elements of the layout have been analyzed and introduced to ensure the serial stylistic unity of the books, which illustrations were made by different artists, keeping their own bright individual style. Practical significance. The study allowed analyzing the design features of the layout, which due to the creative approach of designers and collaboration with leading Ukrainian illustrators ensured the continued popularity of the books “Fairy Tales from Around the World“ among several generations of young readers, success and awards at numerous international and national competitions over four decades. The construction and serial elements of the layout design, which provided the stylistic unity and recognizability of all books of the series, have been described. The results of the research can be used for further study of the traditions of the art school of illustration and design of Ukrainian books, and also serve as theoretical and visual material in the educational process specializing in “graphic design“.
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Ametova, L. "PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA." Innovative Solution in Modern Science 6, no. 42 (March 4, 2021): 230. http://dx.doi.org/10.26886/2414-634x.6(42)2020.14.
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The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.
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Montero, Gustavo Grandal, and Erica Foden-Lenahan. "Occasional Papers: archival troves, affordability and accessories." Art Libraries Journal 40, no. 1 (2015): 20–29. http://dx.doi.org/10.1017/s0307472200000079.
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The world of art publishing is often characterized by hefty exhibition catalogues and glossy artist monographs that aim to be comprehensive documentation of a theme or an artist’s output, but also cost more than pocket money to purchase. As art librarians we purchase, move, and sometimes read them every day. Occasionally a publication will catch your attention, maybe because it appears ephemeral, or perhaps because it more closely resembles books that you might accession into an artists’ books or artists’ publications collection. Occasional Papers publications have that look and yet their content points to a wider audience. Their philosophy of the cheap paperback makes them unusual in mainstream art publishing. How does a small publisher survive? Clearly by disregarding just about everything the publishing textbooks say. Occasional Papers has found its niche and sat down to tell us about it.
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Sullivan, James D. "A Poem Is a Material Object: Claire Van Vliet’s Artists Books and Denise Levertov’s “Batterers”." Humanities 8, no. 3 (July 16, 2019): 124. http://dx.doi.org/10.3390/h8030124.
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A literary text is, for a book artist, like a score for a musician or a script for an actor: a basis on which to construct an artistic performance. Book artist Claire Van Vliet has, at her Janus Press, constructed dazzling broadsides and artist books based on poetry by, among others, Hayden Carruth, Galway Kinnell, and Margaret Kaufman. These works test or ignore boundaries between conventional categories such as book and broadside, two-dimensional display, and three-dimensional construction. The object she built based on Denise Levertov’s poem “Batterers” unfolds especially powerfully in time and three-dimensional space.
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Erman, Deniz Onur. "Purest form of creation: Art Brut." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 134–42. http://dx.doi.org/10.18844/prosoc.v5i6.3850.
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In many cultures, it has been a long-established practice to apply various domains of art as therapy methods in asylums, prisons and rehabilitation centres in order to help people express themselves and their current circumstances and to aid cure themselves. Hans Prinzhorn’s book entitled ‘Artistry of the mentally ill’, which was published in 1924 in Berlin has been the initial resource for Art Brut, also known as ‘raw art’. A French artist, Jean Dubuffet has first used Art Brut as an artistic term in 1945, which has ignited major debates in the artistic milieu. The ultimate goal of these artists was to unveil the works of those with no art education, of mentally ill patients, rejected and marginalised individuals, children and major criminals, in order to question the authenticity of all established approaches to art through the revelation of instinctive expression andthe purest form of creation.Keywords: Art Brut, Jean Dubuffet, raw art, outsider art, primitive art.
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Bodman, Sarah. "Book arts at the Centre for Fine Print Research in Bristol." Art Libraries Journal 32, no. 2 (2007): 15–20. http://dx.doi.org/10.1017/s0307472200019143.
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This article describes some of the research projects investigating contemporary artists’ books at the Centre for Fine Print Research at the University of the West of England in Bristol. As part of its remit, the Centre explores and promotes many aspects of the book arts including contemporary creative processes and outputs. Some recent projects include the Arcadia id est touring exhibition of 118 artists’ books on the themes ornature and the landscape; Bookmarks: infiltrating the library system; and the Regenerator altered books project. The Centre also works with artists, academics, curators, institutions, galleries and bookshops to promote the book arts to a wider community. In addition it publishes reference information, guides and critical essays on artists’ books through its Impact Press imprint; these include the Artists book yearbook and The blue notebook, a journal for artists’ books.
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Čiricaitė, Egidija. "On Photographing Artists’ Books." Journal of Medical Humanities 41, no. 1 (December 20, 2019): 81–83. http://dx.doi.org/10.1007/s10912-019-09593-7.
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AbstractArtists’ books are challenging to photograph. They function as a unit of tightly conceptually-bound visual, textual and material elements in addition to a heightened self-awareness of the work's booksness. Binding, size, weight, and shape of the book, translucency, texture, thickness of paper, placement of images and/or text on the page or off the page interact with other graphic elements; they control, and direct the reader towards the expressive components of meaning which arise from pace, haptic experience, and visual or structural stylistic choices. Most of such information gets sacrificed in the process of documentation. Here I discuss some of such issues of photographing artists books for this journal and my solutions to replicating each artists’ book within the physical and thematic constraints of this publication: I tried not only to visualize the books’ content but also to translate some of the experience of how that content makes itself meaningful to the reader.
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Sowden. "Exploring Appropriation as a Creative Practice." Arts 8, no. 4 (November 15, 2019): 152. http://dx.doi.org/10.3390/arts8040152.
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During the 1960s and 1970s, Ed Ruscha produced a series of 16 small, self-published books that became a catalyst for how artists could approach the book form. This reputation has grown through the subsequent decades, and his influence on book artists remains strong to this day to the extent that his books have been, and continue to be, appropriated across the world by successive generations of artists. Writing from a practitioner perspective, I will begin by looking at how Ruscha has become so influential to generations of book artists. I will look at what influenced him, and how he may possibly have appropriated the work of others. I will then focus in on the community of book artists who reference Ruscha’s books in their practice. The research of Ruscha’s books is embodied in each of these individual outcomes, but I will show that it is through the collective act and the bringing together of all of these books, through the community, that the work/s gain currency, strengthening both the Ruscha books and those that have come after.
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Lowe, Tyne. "Artists’ Books and the Problem of Digital Preservation." Preservation, Digital Technology & Culture 46, no. 4 (December 6, 2017): 132–35. http://dx.doi.org/10.1515/pdtc-2017-0019.
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Abstract:Artists’ books have become a popular genre for many institutions collecting art objects and unique books. The attempt to preserve the physical artists’ books often competes with the desire to extend user access to these highly tactile works. Partial digitization of artists’ books has allowed many institutions to cultivate an online presence for these collections, increasing access without compromising the physical integrity of the objects. However, creation of digital surrogates for artists’ books often sacrifices the authenticity and access to the intellectual content of the work. The challenge of digital preservation for artists’ books demonstrates the shortcomings of digital reformatting for works that may be intellectual and artistic.
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Phillpot, Clive. "Twentysix gasoline stations that shook the world: the rise and fall of cheap booklets as art." Art Libraries Journal 18, no. 1 (1993): 4–13. http://dx.doi.org/10.1017/s0307472200008178.
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The term ‘artists’ books’ has been used since about 1970 to denote inexpensive booklets produced by artists in ‘unlimited’ editions, but can legitimately embrace a variety of artefacts; the word ‘bookwork’, coined in 1975, carries the more specific meaning of a work of art in book form. Ed Ruscha’s Twentysix Gasoline Stations, published in 1963, was a pioneering bookwork; it was followed by more bookworks from the same artist through the next ten years; however, Ruscha’s innovatory productions had been preceded by a number of experiments with the book format, by Bruno Munari, Åke Hodell, and others, during the 1950s and early 1960s. Bookworks flourished in the 1970s as a means of making actual works of art available to a wide audience, but in the 1980s this ideal was gradually overtaken by a growing tendency towards making bookworks as precious, costly collectables, in limited editions, while some of the earlier, once cheap bookworks began to sell for inflated prices on the secondhand market. Nonetheless, many artists are continuing to produce relatively inexpensive bookworks, sometimes using photocopiers, or to publish artists’ magazines. The work of Telfer Stokes demonstrates that the multiple book format remains an exciting and accessible medium in the hands of a committed artist.
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SÜLÜN, Ebru Nalan. "A LOST NAME IN THE HISTORY OF TURKISH ART: ARİF DİNO." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 454–75. http://dx.doi.org/10.7456/11102100/009.
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Arif Dino is one of the important figures in the contemporary art and culture history in Turkey. His is the brother of Abidin Dino who is one of the important artists of Turkish Contemporary art history. Playing a major role in the development of Abidin Dino's artistic style. Arif Dino is a figure who contributed to culture and arts scene of Turkey with his paintings in addition to his passion for sports, his designs, poetry, and articles of art criticism. This study is carried out in order to create a literature on Arif Dino, who was not involved in exhibitions and in research as much as his brother Abidin Dino, and in order to examine the artistic interaction between him and Abidin Dino. Arif Dino is an artist known for his versatile, unique and creative personality. In addition to his personality as a poet and a sportsman, he also produced works as exhibition stand and book cover designer in the Early Republican Period of Turkey. In this context, Arif Dino's artistry and works as well as his artistic ties with Abidin Dino will be analyzed.
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Gauzer, Irina V., and Evgeny A. Ermolin. "MYTHOPOETICAL IMAGE OF GENIUS ARTIST IN K. BALMONT’S ARTISTIC EXPERIENCE: RECEPTION OF SPANISH ARTISTRY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 12–21. http://dx.doi.org/10.17223/22220836/39/2.
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The Russian culture of the turn of the XX century is characterized by actualization of the prob-lems of intercultural dialogue. Thus, the analysis of the Silver age is impossible without considering the fact of such a dialogue as a cultural phenomenon. The problem of hispanism reception is considered in the aspect of creative genius in K. Bal-mont’s works. In the context of Balmont's symbolism, it is important to take into account his specific conceptualization of the artist's status and interpretation of creativity as dreaming. The task of the re-search is to study the implementation of this mental usus within the Spanish theme, the discourse of the painter as a genius-overman by Balmont, and the existentials of the poet's spiritual experience correlated with it. Spain by Balmont is primarily a country of great artists. He creates portraits-myths of the great Spaniards, almost overmen for him. In the article “Poetry of horror” Balmont calls Goya's “a poet-symbolist in painting”, and relates his genius with other representatives of world culture: Poe, Bosch, Teniers etc. Spanish artist is de-clared a predictor of a new art. Goya in Balmont’s interpretation is an actual genius-creator, artist of borderline, mystical experience. Goya’s grotesques are interpreted as a breakout to otherness. Artist's chimeras scare with credibility and live. Goya created an infernal world with the character of universality. Balmont calls “Capricious” a theodicy, as this hymn to the aesthetics of ugliness justifies the existence of evil. The poet highlights in Goya’s aesthetics something close to the era of the early ХХ century. Cultural fashion finds its source and consonance in Spaniard’s drawing (mysticism of terrible, “attraction” to demonism, themes of disease, suffering and dreams). Also, the great painter in the poet’s interpretation is a dreamer reflecting his prophetic dreams on canvas. If Goya’s dreams are marked by a dark, night element in the poet’s artistic metaphysics, the oneirism of Velasquez is marked as sunny. The artist’s mythological image is embodied in the rhyme “Velasquez”. Solar genius of Velasquez organically becomes one of the main figures in the artistic metaphysics of Balmont's poetic collection “Let's be like the Sun”. The last limit of the volitional effort called for in the title of the collection is specified with Velasquez’s image. By binary logic a dark genius should confront Velasquez-Sun. In the book this role is assigned to the painter José de Ribera, Goya’s analog in the context of Balmont’s works. A mythological image was created with reference to the stockpile of ancient myths, the antithesis of Prometheus and Epimetheus. Entering into a dialogue with the culture of Spain and creating myths of Spanish artists, Balmont was looking for a reflection of himself in the Spaniards. Regarding their heroes as the dreamers, he oneirically dreamed about the essence of the Spanish genius basing on his travel impressions but trusting much more his mythic-creative speculation and accentuating the central existentials of his experience.
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Dolgodrova, Tatiana A. "Inspired by Rubens: Antwerp Baroque Books Stored in the Russian State Library." Observatory of Culture 17, no. 6 (February 10, 2021): 648–56. http://dx.doi.org/10.25281/2072-3156-2020-17-6-648-656.
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The article is devoted to the history of Antwerp printed books, which, in the first half of the 17th century, underwent a profound transformation caused by the influence of the Baroque style emerging in the Netherlands, with its characteristic contrast, dynamism and intensity of images, and combination of reality and illusion. The author demonstrates the Baroque book development by the example of the sources that she first introduces into scientific circulation: books stored in the Research Department of Rare Books (Book Museum) of the Russian State Library (RSL). The article gives examples of the formation of a new allegorical thinking of the Baroque, in which allegory became the norm of artistic vocabulary. The new allegorical imagery is noted in the title pages and illustrations of books that characterize the printing of that period. The Antwerp printer Balthazar Moretus (1574—1641) was an excellent master of this new Baroque book. By using leading artists to design his books, he took an important step in the development of book design. There are well known publications by B. Moretus featuring beautiful title pages designed by his friend Peter Paul Rubens (1577—1640). The typical appearance of text sheets is also the result of the use of elegant fonts, rich design and abundance of decorative elements. The article analyzes the influence of Rubens on the Baroque book formation in Antwerp.
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Bernacki, Paweł. "Artists’ books, czyli czym jest owoc małżeństwa książki ze sztuką." Studia o Książce i Informacji (dawniej: Bibliotekoznawstwo) 36 (July 5, 2018): 29–44. http://dx.doi.org/10.19195/2300-7729.36.2.
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Artists’ books, or what is the fruit of the marriage of a book with artThis text is an attempt to looking at the status of artists’ books — interesting phenomenon, which blends worlds of book and art. It includes the opinions of art critics, bibliophiles, publishers, creators of literature and artists. History of the artists’ books and external conditions, which have an influence on its birth were briefly outlined. Image of this phenomenon turns out indeterminate and internally contradictory. Theories, typologies, attempts to define or even fix the right term are often mutually exclusive. This situation raises questions about their legitimacy. Maybe we should accept the fact that certain indeterminacy and impossibility to enclose in rigid frames is an inherent feature of artists’ books because otherwise they would lose their diverse and open character.
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Jagersma, Rindert, and Joanna Rozendaal. "Female Book Ownership in the Eighteenth-Century Dutch Republic." Quaerendo 50, no. 1-2 (June 4, 2020): 109–40. http://dx.doi.org/10.1163/15700690-12341463.
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Abstract This article analyses the private library book sale catalogue of paper-cutting artist (knipkunstenaar) Johanna Koerten (1650-1715), one of the most famous artists in the Dutch Republic. The study draws on data gathered for the ERC-funded MEDIATE project (Measuring Enlightenment: Disseminating Ideas, Authors and Texts in Europe, 1665-1830). The bibliometric approach of this digital humanities project uses book sale catalogues to study the circulation of books and ideas in eighteenth-century Europe. This article analyses the catalogue of Koerten, her background and professional interests, the ‘femininity’ of female book collections in general, and the problems and opportunities one faces when using bibliometric data on book sale catalogues.
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Sherwood, Rosie. "New Readings: The Comic as Artists’ Book." Art Libraries Journal 40, no. 1 (2015): 16–19. http://dx.doi.org/10.1017/s0307472200000067.
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Artists’ books consider every aspect of the book in the creation of meaning. How might reading the comic book through this context extend the possibilities of the art form? Can considering the whole book change the way creators and readers approach the comic? This article considers the space between book arts and comics, asking how they might fit together and considering the possible benefits of this expanded reading for the comic book as a form.
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Mader-Meersman, Julie. "Artists’ books for handheld mobile devices: Expanding the artist’s book genre." Book 2.0 7, no. 1 (April 1, 2017): 79–94. http://dx.doi.org/10.1386/btwo.7.1.79_1.
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Bury, Stephen. "1, 2, 3, 5: building a collection of artists’ books." Art Libraries Journal 32, no. 2 (2007): 5–9. http://dx.doi.org/10.1017/s030747220001912x.
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Because artists’ books can be expensive to buy and to keep, institutions need to have a clearly articulated rationale for collecting them. This could range from documenting the history of art, and contemporary art in particular, to a survey of how artists have used the book format to explore their ideas. This latter approach would support the use of artists’ books in practical workshops leading to the creation of yet further artists’ books.
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Nesterenko, Petro. "PUBLISHING SIGN OF UKRAINE OF THE SECOND HALF OF XX – BEGINNING OF XXI CENTURY: TRANSFORMATION IN TIME." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 116–23. http://dx.doi.org/10.33838/naoma.28.2019.116-123.
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Annotation. The article analyzes the little-studied art of the Ukrainian publishing sign, which has a history of almost fifty years and is well known for its highly artistic works. An excursion into the past of the Ukrainian publishing label has been made, collecting documents scattered across various sources of reports on samples of the publishing labels, both known and in the vast majority of unknown authors, and we pay tribute to this important cultural heritage that has developed in the course of the European process. The publishing signs of the second half of XX – beginning of XXI centuries are described and their artistic features are analyzed. The art of the Ukrainian emblem, especially in the last century, has not been practically studied. Probably, the topic is considered too small to draw enough attention. Turning pages of the book, few people pay atten- tion to the publishing house, thanks to which we have the happy opportunity to hold it. The artistic decision of modern publishing signs, which often quite often has a small font character, is not striking. They are created mainly by artists, editorial staff, without paying much attention to this process. However, there are times when they turn out to be the work of talented young artists who, over time, become famous. For example, the well-known art publishing signs for the leading Kiev publishing houses "Art" (artist V. E. Perevalsky) and "Rainbow" (artist O. I. Gubarev), created at that time by young graphic artists, who are now well-known folk artists of Ukraine. However, the art of the sign is an important component of book graphics, it does not lose its relevance at a new stage of society and deserves in-depth study.
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Wolf, Stacy. "The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R. Laird. Cambridge: Cambridge University Press, 2002; pp. xvii + 310 + 18 illus. $65 cloth, $23 paper; Boy Loses Girl: Broadway's Librettists. By Thomas S. Hischak. Lanham, MD: Scarecrow Press, 2002; pp. x + 277. $39.95 cloth." Theatre Survey 45, no. 1 (May 2004): 129–31. http://dx.doi.org/10.1017/s0040557404270089.
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“Those who created this book, and many of its readers, think of the musical as art,” write Everett and Laird in their preface to The Cambridge Companion to the Musical (xv). Indeed, many of us who study or teach musical theatre feel the need to defend it as a viable artistic form worthy of scholarly examination. Both of these books demonstrate the musical's importance in cultural history and amply illustrate the artistry of its production.
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Спасскова, О. П. "ТВОРЧІСТЬ ВІКТОРА ЄФИМЕНКА В КОНТЕКСТІ РОЗВИТКУ УКРАЇНСЬКОЇ КНИЖКОВОЇ ГРАФІКИ (остання третина ХХ ст.)." Art and Design, no. 2 (September 24, 2019): 144–51. http://dx.doi.org/10.30857/2617-0272.2019.2.14.
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The purpose of the work is to study the creativity of the Odessa graphic artist Viktor Efimenko (1933-1994) in the context of the development of Ukrainian book graphics of the last third of the twentieth century. The method The basis of our research is the historical-cultural, comparative-typological and figurative-stylistic research methods, which made it possible to achieve a holistic analysis of the graphic works of V. Efimenko. The main thing is the art history analysis of works of book and easel graphic. The last third of the twentieth century is marked by changes in the cultural life of the country. Ukrainian artists sought to join the European and world trends in artistic development, which was characterized by a variety of styles and methods. Despite the fact that state requirements and standards were of great importance, the artists tried to put in to practice the socially relevant topics of concern to them. Two directions of the master's creativity are considered: book and easel illustration. The relationship between the individual graphic style of V. Efimenko and the general artistic process is considered. On the basis of the artistic and stylistic analysis, the interrelation of V. Efimenko’s creativity with the Ukrainian and world artist revealed. It is revealed that the master's works are characterized by a deeply personal, philosophical reading of texts and their figurative reproduction in the language of graphics. It is noted that V. Efimenko could express his philosophical ideas thanks to his free possession of linocut and etching techniques.
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Boguszewska, Anna. "Twórcza działalność na rzecz książki dla dzieci Krystyny Lipki-Sztarbałły." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 6 (November 30, 2018): 154–67. http://dx.doi.org/10.24917/23534583.6.13.
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Krystyna Lipka-Sztarbałło’s creation for children bookShaping full personality includes an introduction to cultural messages understanding and requires preparation from the earliest years of life. The use of picture books and book illustrations as the key assumption in visual education of children. Picture books represent the first artistic medium as the primary carrier of aesthetic values and a potential chance to stimulate cognitive, social development of a child. History of Polish picture book dates back to the turn of XIX and XX centuries. However, the realizations gaining more widespread range occurred much later. Krystyna Lipko-Sztarbałło, a graphic artist and an animator of Polish book for children, has been of key importance for the development of Polish picture book for the last twenty-odd years. The significance of the illustrations book in child development is proven by the examples of graphic designs taken from Krystyna Lipka-Sztarbałło’s works.
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Kuzmenko, Halyna. "Borys Hrinchenko Literary Heritage in Works of Graphic Artists." ART Space, no. 3 (2018): 50–67. http://dx.doi.org/10.28925/2519-4135.4.2018.3.10.
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The article, in the retrospect of time, covers the peculiarities of publishing development in Ukraine in late nineteenth — early twentieth century the time of Borys Hrinchenko literary activity. It refines the essence of the term “illustration” and determines the specific character of the book illustration design, highlights the role and characteristics of the artist concerning the art of creation and finishing of the book. The article also reveals a brief art analysis of artistic features of the specific illustrations created by the graphic artists for the works of Borys Grinchenko.
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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (January 1, 2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.
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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical treatises to courtly literature. The Museum places late medieval book production squarely in its historical and artistic context. Visitors are not only introduced to the urban culture that provided a fruitful meeting place between artists, craftsmen, and patrons, but also to the broader artistic culture of the late Middle Ages. By presenting the manuscripts in dialogue with other forms of art such as panel paintings and sculpture, the exhibition stresses that artists at times moved between various media (e.g. illumination and painting) and were influenced by iconography in other forms of art.