This book is the first in-depth exploration of the revolutionary designers who defined American fashion in its emerging years and helped build an industry with global impact, yet have been largely forgotten. Focusing on female designers, the authors reclaim a place in history for the women who created not only for celebrities and socialites, but for millions of fashion-conscious customers across the United States. From one of America's first couturiers, Jessie Franklin Turner, to Zelda Wynn Valdes, the book captures the lost histories of the luminaries who paved the way in the world of American fashion design. This fully illustrated collection takes us from Hollywood to Broadway, from sportswear to sustainable fashion, and explores important crossovers between film, theater, and fashion. Uncovering fascinating histories of the design pioneers we should know about, the book enlarges the prevailing narrative of fashion history and will be an important reference for fashion students, historians, costume curators, and fashion enthusiasts alike.
Draw #34 takes you from Middle Earth to a Galaxy Far Far Away with award-winning illustrator Greg Hildebrandt! As one of the Hildebrandt Brothers (along with his late brother Tim), Greg has been charging our imaginations for almost 60 years, and now Draw! goes in-depth with this Grand Master to reveal his techniques and working methods. Then we dive under the waves with Brad Walker (Aquaman, Guardians of the Galaxy, Birds of Prey, Legends of the Dark Knight) for a how-to interview and demo. Plus there’s regular columnist Jerry Ordway’s tutorial, Jamar Nicholas reviewing the latest art supplies, and Bret Blevins and Draw! editor Mike Manley’s Comic Art Bootcamp complete the circle of artistic goodness.
An examination of a 1970s Conceptual art project—advertisements for fictional shows by fictional artists in a fictional gallery—that hoodwinked the New York art world. From the summer of 1970 to March 1971, advertisements appeared in four leading art magazines—Artforum, Art in America, Arts Magazine, and ARTnews—for a group show and six solo exhibitions at the Jean Freeman Gallery at 26 West Fifty-Seventh Street, in the heart of Manhattan's gallery district. As gallery goers soon discovered, this address did not exist—the street numbers went from 16 to 20 to 24 to 28—and neither did the art supposedly exhibited there. The ads were promoting fictional shows by fictional artists in a fictional gallery. The scheme, eventually exposed by a New York Times reporter, was concocted by the artist Terry Fugate-Wilcox as both work of art and critique of the art world. In this book, Christopher Howard brings this forgotten Conceptual art project back into view. Howard demonstrates that Fugate-Wilcox's project was an exceptionally clever embodiment of many important aspects of Conceptualism, incisively synthesizing the major aesthetic issues of its time—documentation and dematerialization, serialism and process, text and image, publishing and publicity. He puts the Jean Freeman Gallery in the context of other magazine-based work by Mel Bochner, Judy Chicago, Yoko Ono, and Ed Ruscha, and compares the fictional artists' projects with actual Earthworks by Walter De Maria, Peter Hutchinson, Dennis Oppenheim, and more. Despite the deadpan perfection of the Jean Freeman Gallery project, the art establishment marginalized its creator, and the project itself was virtually erased from art history. Howard corrects these omissions, drawing on deep archival research, personal interviews, and investigation of fine-printed clues to shed new light on a New York art world mystery.
"بعد أن قلب هاري الظرف، ويداه ترتعدان، رأى هاري ختمًا شمعيًا أرجوانيًا يحمل شعار النبالة؛ أسدًا، ونسرًا، وفرو الغرير وثعبانًا يُحيط بالحرف "H"." لم يسمع هاري بهوجورتس من قبل على الإطلاق عندما بدأت الخطابات بالتساقط على ممسحة الباب على الرقم الرابع في شارع برايفت درايف. وكانت مغلّفة باللون الأخضر على مخطوطة ورقية صفراء مع ختم أرجواني، واستولى عليها عمه وعمته المخيفان بصورة سريعة. بعد ذلك، في عيد ميلاد هاري الحادي عشر، اقتحم رجل عملاق ذو عيون بارزة يُدعى روبياس هاغريد المكان حاملًا بعض الأخبار المذهلة: هاري بوتر أصبح ساحرًا، وتم قبوله في مدرسة هوجورتس لفنون السحر والشعوذة. مغامرة رائعة على وشك البدء!
The fully illustrated book, Richard McGuire: Art for the Street - New York 1978-1982, edited by Todd Alden with a foreword by Luc Sante, with an interview of Richard McGuire by Todd Alden, focuses on two strains of protean artist Richard McGuire's early work: the Ixnae Nix street drawings (1979-81) and his original art created for band posters, including Liquid Liquid, the influential downtown post-punk band in which he played bass and co-founded. For the first time, this book unpacks an untold story from the New York No Wave scene. Before they were discovered and developed into international art stars, Jean-Michel Basquiat and Keith Haring were fans and supporters of Richard McGuire's art; Haring included McGuire's works in numerous exhibitions he curated in the early 1980s, Basquiat included McGuire's music (from Liquid Liquid) in his film "Downtown 81." "For the last forty years," Luc Sante writes, "McGuire has been effortlessly dissolving the border between fine and applied art, in addition to the one between high and low that he vaporized back then along with his contemporaries Basquiat and Haring."
“A comprehensive guide.” —Artspace Aspiring and new art gallery owners can find everything they need to plan and operate a successful art gallery with How to Start and Run a Commercial Art Gallery. This new edition has been updated to mark the changes in market and technology over the past decade. Edward Winkleman and Patton Hindle draw on their years of experience to explain step by step how to start your new venture. From finding the ideal locale and renovating the space to writing business plans and securing start-up capital, this helpful guide has it all. Chapters detail how to: Manage cash flow Grow your new business Hire and manage staff Attract and retain artists and clients Represent your artists Promote your gallery and artists online Select the right art fair And more How to Start and Run a Commercial Art Gallery, Second Edition, also includes sample forms, helpful tips from veteran collectors and dealers, a large section on art fairs, and a directory of art dealer associations.
A veteran art critic helps us make sense of modern and contemporary art The landscape of contemporary art has changed dramatically during the last hundred years: from Malevich's 1915 painting of a single black square and Duchamp's 1917 signed porcelain urinal to Jackson Pollock's midcentury "drip" paintings; Chris Burden's "Shoot" (1971), in which the artist was voluntarily shot in the arm with a rifle; Urs Fischer's "You" (2007), a giant hole dug in the floor of a New York gallery; and the conceptual and performance art of today's Ai Weiwei and Marina Abramovic. The shifts have left the art-viewing public (understandably) perplexed. In The Art of Looking, renowned art critic Lance Esplund demonstrates that works of modern and contemporary art are not as indecipherable as they might seem. With patience, insight, and wit, Esplund guides us through the last century of art and empowers us to approach and appreciate it with new eyes. Eager to democratize genres that can feel inaccessible, Esplund encourages viewers to trust their own taste, guts, and common sense. The Art of Looking will open the eyes of viewers who think that recent art is obtuse, nonsensical, and irrelevant, as well as the eyes of those who believe that the art of the past has nothing to say to our present.
This exhibition, comprised of nearly 150 paintings and works on paper, will trace the many routes traveled by German and Austrian artists and will demonstrate the artistic developments that foreshadowed, reflected, and accompanied the beginning of World War II. Central topics of the exhibition will be the reaction of the artists towards their historical circumstances, the development of style with regard to the appropriation of various artistic idioms, the personal fate of artists, and major political events that shaped the era. The show assembles key works by leading artists such as Max Beckmann, Otto Dix, Max Ernst, Oskar Kokoschka, and Alfred Kubin, and artists less familiar to audiences in the United States including Friedl Dicker-Brandeis, Albert Paris Gütersloh, Karl Hubbuch, Richard Oelze, Franz Sedlacek, Josef Scharl, and Rudolf Wacker, who will each be represented by small groups of significant works. Among the important loans to the exhibition will be Max Beckmann's "Bird Hell" from 1937-38, Oskar Kokoschka's "Portrait of Thomas G. Masaryk" from 1935-36, and Richard Oelze's uncanny ?Expectation" from 1935-36. The exhibition will also feature photographic portraits by Helmar Lerski and August Sander. 00Exhibition: Neue Galerie, New York, USA (08.03. - 28.05.2018).