Meet the Artist: Frank Bowling


Book Description

Step into the colorful world of Guyana-born British-American abstract artist Frank Bowling! This book is bursting with wonderful activities and ideas for budding young artists. Join Tate curator Zoé Whitley and illustrator Hélène Baum on a vibrant journey through the works of Frank Bowling, and make your own artwork along the way!




The Artist in Time


Book Description

The Artist in Time brings together twenty creatives from across the UK, with photographs and interviews that disclose their daily working habits and motivations. All born before 1950, this is a collective portrait of a generation who have shaped our artistic landscape. They provide a range of different answers to the question 'what makes an artist?', and a set of insights into what makes up a creative life. Giving the reader access to the studio and working spaces of a diverse group of painters, poets, choreographers, filmmakers, illustrators, musicians, photographers, sculptors, writers and creators, The Artist in Time is a handbook for creativity and inspiration, made up of artists from all backgrounds who have all in their own way shaped, and continue to shape, the creative landscape of the United Kingdom.




Frank Bowling


Book Description

This is the first comprehensive monograph on the art of Frank Bowling. Mel Gooding explores Bowling's unique and virtuosic abstract style, his gorgeous use of color, and establishes him as one of the finest artists of his generation in a book that spans his entire 40-year career. Born in Guyana in 1936, Bowling arrived in England in his late teens, studied at the Royal College of Art alongside David Hockney, and by the early 1960s had established himself as an original force in the vibrant London art scene. A move to New York exposed Bowling to his American contemporaries and his work was shown in the 1971 Whitney Biennial. Today, Bowling shows regularly at major galleries and museums worldwide, and his work is in the permanent collections of the Metropolitan Museum and Museum of Modern Art in New York, and Tate in London.




Frank Bowling


Book Description

This book is the first comprehensive monograph on the art of Frank Bowling, who studied at the Royal College of Art alongside David Hockney and Derek Boshier. By the 1960s he had established himself as an original force in the London art scene, with a style that brilliantly combined figurative, symbolic and abstract elements.




Frank Bowling RA.


Book Description

Catalog of exhibitions at ROLLO Contemporary Art, London, Mar. 9-Apr. 13, 2006 and ArtSway, Sway, Hampshire, May 13-July 2, 2006.




Bowling Alone: Revised and Updated


Book Description

Updated to include a new chapter about the influence of social media and the Internet—the 20th anniversary edition of Bowling Alone remains a seminal work of social analysis, and its examination of what happened to our sense of community remains more relevant than ever in today’s fractured America. Twenty years, ago, Robert D. Putnam made a seemingly simple observation: once we bowled in leagues, usually after work; but no longer. This seemingly small phenomenon symbolized a significant social change that became the basis of the acclaimed bestseller, Bowling Alone, which The Washington Post called “a very important book” and Putnam, “the de Tocqueville of our generation.” Bowling Alone surveyed in detail Americans’ changing behavior over the decades, showing how we had become increasingly disconnected from family, friends, neighbors, and social structures, whether it’s with the PTA, church, clubs, political parties, or bowling leagues. In the revised edition of his classic work, Putnam shows how our shrinking access to the “social capital” that is the reward of communal activity and community sharing still poses a serious threat to our civic and personal health, and how these consequences have a new resonance for our divided country today. He includes critical new material on the pervasive influence of social media and the internet, which has introduced previously unthinkable opportunities for social connection—as well as unprecedented levels of alienation and isolation. At the time of its publication, Putnam’s then-groundbreaking work showed how social bonds are the most powerful predictor of life satisfaction, and how the loss of social capital is felt in critical ways, acting as a strong predictor of crime rates and other measures of neighborhood quality of life, and affecting our health in other ways. While the ways in which we connect, or become disconnected, have changed over the decades, his central argument remains as powerful and urgent as ever: mending our frayed social capital is key to preserving the very fabric of our society.




Day of the Artist


Book Description

One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!




Frank Bowling


Book Description




Frank Bowling


Book Description




1971


Book Description

In this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. 1971: A Year in the Life of Color looks at many black artists’ desire to gain freedom from overt racial representation, as well as their efforts—and those of their advocates—to further that aim through public exhibition. Amid calls to define a “black aesthetic,” these experiments with modernist art prioritized cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color’s special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists—among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas—rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture’s preoccupation with color.




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