Artists in the University


Book Description

This book focuses on the relationship between the university and a particular cohort of academic staff: those in visual and performing arts disciplines who joined the university sector in the 1990s. It explores how artistic researchers have been accommodated in the Australian university management framework and the impact that this has had on their careers, identities, approaches to their practice and the final works that they produce. The book provides the first analysis of this topic across the artistic disciplinary domain in Australia and updates the findings of Australia’s only comprehensive study of the position of research in the creative arts within the government funding policy setting reported in 1998 (The Strand Report). Using lived examples and a forensic approach to the research policy challenges, it shows that while limited progress has been made in the acceptance of artistic research as legitimate research, significant structural, cultural and practical challenges continue to undermine relationships between universities and their artistic staff and affect the nature and quality of artistic work.




Art Subjects


Book Description

"Few sites within the university open a richer critical reflection than that of the M.F.A., with its complex crossing of professionalism, theory, humanistic knowledge, and the absolute exposure of practice. Howard Singerman's Art Subjects does a magnificent job of both laying out our current crises, letting us see the shards of past practices embedded in them, and of demonstrating—rendering urgent and discussable—what it now means either to assume or award the name of the artist."—Stephen Melville, author of Seams, editor of Vision and Textuality "Art Subjects is a must read for anyone interested in both the education and status of the visual artist in America. With careful attention to detail and nuance, Singerman presents a compelling picture of the peculiarly institutional myth of the creative artist as an untaught and unteachable being singularly well adapted to earn a tenure position at a major research university. A fascinating study, thoroughly researched yet oddly, and movingly, personal."—Thomas Lawson, Dean, Art School, CalArts




Introduction to Art: Design, Context, and Meaning


Book Description

Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics




Why Art Cannot Be Taught


Book Description

He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes.




How to Become a Successful Artist


Book Description

The must-have business guide for visual artists, written by the leading specialist in the global art trade




Is It Ours?


Book Description

If you have tattoos, who owns the rights to the imagery inked on your body? What about the photos you just shared on Instagram? And what if you are an artist, responding to the surrounding landscape of preexisting cultural forms? Most people go about their days without thinking much about intellectual property, but it shapes all aspects of contemporary life. It is a constantly moving target, articulated through a web of laws that are different from country to country, sometimes contradictory, often contested. Some protections are necessary—not only to benefit creators and inventors but also to support activities that contribute to the culture at large—yet overly broad ownership rights stifle innovation. Is It Ours? takes a fresh look at issues of artistic expression and creative protection as they relate to contemporary law. Exploring intellectual property, particularly copyrights, Martha Buskirk draws connections between current challenges and early debates about how something intangible could be defined as property. She examines bonds between artist and artwork, including the ways that artists or their heirs retain control over time. The text engages with fundamental questions about the interplay between authorship and ownership and the degree to which all expressions and inventions develop in response to innovations by others. Most importantly, this book argues for the necessity of sustaining a vital cultural commons.




The Unforgettables


Book Description

"In the past, histories of American art have traditionally highlighted the work of a familiar roster of artists, often white and male. Over time the achievements of others worthy of attention, including numerous women and artists of color, as well as white men, have gone uncelebrated and fallen into obscurity. In this collection of essays, sixty-three scholars from various institutions, specialties, and locales respond to the challenge to nominate one maker deserving remembrance and detail the reasons for their choice. The collection is headed by a preface from editor Charles C. Eldredge, explaining the genesis of the anthology, and an introduction by Dr. Kirsten Pai Buick, promoting the value of recovered reputations and oeuvres in the training of future art experts and audiences"--




The Force of Art


Book Description

Redefining art as a transformative "forcework," The Force of Art offers a new theory of the artwork, in which art's force is explained as a contestation of power in its modern technological manifestations.




On Site


Book Description

This beautifully designed publication commemorates the 50th anniversary of the public art collection of the University of Houston System. This beautifully designed publication commemorates the 50th anniversary of Public Art of the University of Houston System, including works by esteemed artists such as Carlos Cruz-Diez, Margo Sawyer, Alyson Shotz, Frank Stella and Andy Warhol. An essay by Alison de Lima Greene delves into the history of the collection and an essay by Public Art UHS director and chief curator María C. Gaztambide, Ph.D., looks towards its future. In addition, the volume highlights about 40 of the collection's most notable works, illustrated with all-new colour photography and accompanied by entries written by artists, scholars, curators and other members of the arts community. The book gives readers access to the nearly 300 artworks on view to the public every day throughout the University of Houston System. Contents: Foreword Acknowledgments The State of Public Art of the University of Houston System at Fifty by María C. Gaztambide On Site, In Time by Alison de Lima Greene Highlights of the Collection Selected Works Contributors Index.




Dewey for Artists


Book Description

John Dewey is known as a pragmatic philosopher and progressive architect of American educational reform, but some of his most important contributions came in his thinking about art. Dewey argued that there is strong social value to be found in art, and it is artists who often most challenge our preconceived notions. Dewey for Artists shows us how Dewey advocated for an “art of democracy.” Identifying the audience as co-creator of a work of art by virtue of their experience, he made space for public participation. Moreover, he believed that societies only become—and remain—truly democratic if its citizens embrace democracy itself as a creative act, and in this he advocated for the social participation of artists. Throughout the book, Mary Jane Jacob draws on the experiences of contemporary artists who have modeled Dewey’s principles within their practices. We see how their work springs from deeply held values. We see, too, how carefully considered curatorial practice can address the manifold ways in which aesthetic experience happens and, thus, enable viewers to find greater meaning and purpose. And it is this potential of art for self and social realization, Jacob helps us understand, that further ensures Dewey’s legacy—and the culture we live in.