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Artist + Entrepreneur = Artrepreneur.
Today, more than ever before, creative professionals from all creative domains are beginning to realize that in order to pursue a creative career you need to think like an entrepreneur. Yet as we discover in this book, the motivating factors between what drives an entrepreneur and an Artrepreneur differ greatly.
For one, Artrepreneurs are not always in it for the money. On the contrary, they are often driven by raw passion and the desire to create. This drive usually creates tension between maintaining authenticity and creativity as an artist, and administrating a business, which is you. In essence, this book is about assisting creative professionals to understand that they are the business and not only the artist. It is about the intersection between being an artist and being an entrepreneur, hence the title of the book.
Part self-help, part coaching, part delve-into-your-soul-to-find-the-real-you. Why? Because without the real you, art will always be a copy and never a creation.
As the struggle against apartheid gained momentum in the seventies and eighties, women photographers recorded the drama unfolding across the land. More recently, women have begun exploring a different aesthetic and developing a wide range of photographic practices in the worlds of fashion, journalism, documentary, and advertising. Seventy-five photographers and almost 400 images are included.
"Robin Comley" has worked as a journalist and editor and is photographic editor of "A Century of Sundays," a retrospective on 100 years of the "Sunday Times" newspaper. "George Hallett" is a Cape Town-based photographer who has exhibited internationally. In 1995, he won a Golden Eye in the World Press Photo Award for his essay on President Mandela during the 1994 election campaign. "Neo Ntsoma" has won many prestigious awards including the CNN African Journalist Award (Photography), of which she was the first woman recipient. Her work has been published in international publications and her photo-project, South African Youth ID--Kwaito Culture' appeared in "Moving in Time," an anthology of work from fifty South African photographers in celebration of ten years of democracy.
"Really good. Highly recommended." Andrew Marr, Radio 4: Start the Week From the author of the internationally bestselling The $12 Million Stuffed Shark comes a fresh and provocative look at the high-end art market and whether it is a bubble about to burst. Within forty-eight hours in the autumn of 2014, buyers in the Sotheby's and Christie's New York auction houses spent $1.7 billion on contemporary art. Economist and bestselling author Don Thompson cites this and other fascinating examples to explore the sometimes baffling activities of the high-end contemporary art market, examining what is at play in the exchange of vast amounts of money and what nudges buyers, even on the subconscious level, to imbue a creation with such high commercial value. Thompson analyses the behaviours of buyers and sellers and delves into the competitions that define and alter the value of art in today's international market, from New York to London, Singapore to Beijing. Take heed if your fortunes are tied up in stainless steel balloon dogs - Thompson also warns of a looming bust of the contemporary art price balloon. A fascinating explanation, through the field of behavioural economics, for the phenomena that is behind the incredible value of contemporary art.
Before Damien Hirst stuffed a shark, before Basquiat picked up a spray can, before Andy Warhol started The Factory, a pile of unwanted Jackson Pollocks changed everything. From them emerged the first major modern art dealer. It was 1947, and the art world would never be the same. From the early days on 57th Street, to the rise of SoHo in the 60s, to the emergence of Chelsea as the hotbed of art galleries, we see the meteoric rise and the devastating falls of the most renowned dealers: Larry Gagosian, David Zwirner, Arne Glimcher, and Iwan Wirth. With unparalleled access, the longtime Vanity Fairreporter tells us the story of contemporary art through the people who coddled, supported, and funded the likes of Jeff Koons, and Cy Twombly. It's a story of backstabbing, betrayals, fruitful partnerships, genius, and ever larger sums of money. The world of contemporary art is inextricable from the wild wealth and naked financial opportunism that surrounds it.
Orlando Figes’s enthralling, richly evocative history has been heralded as a literary masterpiece on Russia, the lives of those who have shaped its culture, and the enduring spirit of a people.
‘Awe-inspiring … Natasha’s Dance has all the qualities of an epic tragedy’
‘A tour de force by the great storyteller of modern Russian historians … Figes mobilizes a cast of serf harems, dynasties, politburos, libertines, filmmakers, novelists, composers, poets, tsars and tyrants … superb, flamboyant and masterful’
‘It is so much fun to read that I hesitate to write too much, for fear of spoiling the pleasures and surprises of the book’
‘Magnificent … Figes is at his exciting best’
‘Breathtaking … The title of this masterly history comes from War and Peace, when the aristocratic heroine, Natasha Rostova, finds herself intuitively picking up the rhythm of a peasant dance … One of those books that, at times, makes you wonder how you have so far managed to do without it’
‘Thrilling, dizzying … I would defy any reader not to be captivated’
‘Pour yourself a shot of vodka, open this brilliant, ambitious book, read and revel in it’
CSI meets Who Do You Think You Are? meets Time Team meets The Antiques Roadshow. Two-dimensional works of art become three-dimensional thrillers. Philip Mould is an international art dealer who has lived the high stakes game of art sleuthing for twenty years. In Sleuth, we encounter the fascinating dealers, experts, auctioneers and restorers who risk fortunes and reputations to turn overlooked artworks into coveted treasures. Sleuth is laced with dramas: * Gainsborough's earliest picture emerges in a Los Angeles saleroom - the author has three days to find the missing facts and decide what to pay. * The most powerful man in the art establishment, with the influence to elevate a copy into a priceless original, is asked to look at a 'fake' Rembrandt self portrait: if he says yes a GBP5,000 picture turns into GBP5 million masterpiece. * A Vermont professor unlocks the door of a defunct Catholic church to reveal a hidden cache of 300 portraits. * An auctioneer notices from the upper story of a bus that Damien Hirst's restaurant is being dismantled. He swoops in and sells the fixtures and fittings for GBP13 million. Sleuth is a series of stories which not only reveals the extraordinary culture of detection but the people behind it. Paintings and their discovery become a way into the minds, preoccupations and professions of a raft of influential figures beyond the commercial and museum facade - men and women who have shaped their lives in pursuit of truth and profit through art.
As artists push further and further beyond their, and our, comfort zones, this book aims to help decipher the bizarre and often intimidating aspects of modern and contemporary art by exploring twenty works of art in terms of seven `keys'. History, biography, aesthetics, experience, theory, criticism and the market represent conventional `modes of existence' for every artwork discussed, but in a fascinating variety of ways. Simon Morley shows how twenty well-known but little-understood works of art can serve as useful springboards not only for understanding each other, but also for appreciating works by the same artists, and from the wider world of art in general. Rather than proceeding on the basis of familiar art `movements' or `-isms', Morley focuses on just twenty individual works of art, from Matisse's The Red Studio to Doris Salcedo's Untitled. Representing a variety of media, styles, subjects and intentions, being the creations of men and women of different periods and places, coming from disparate social and ethnic backgrounds, these works show a rich diversity in modern and contemporary art.
I Know an Artist is a collection of 84 illustrated portraits that reveal the fascinating connections between the world's most famous artists. Whether through teaching, as in the case of Paul Klee and Anni Albers; a mutual muse, as seen in the flowers of Georgia O'Keeffe and Takashi Murakami; or an inspirational romantic coupling like that of Lee Krasner and Jackson Pollock. In telling the stories of these creatives lives and achievements - each extraordinary and oftentimes ground-breaking - Susie Hodge exposes the fascinating web of connections that have fostered some of the world's art masterpieces. Some connections are well-known, whereas others span both time and place, linking pioneers in art in fascinating and unexpected ways. Illustrated in colourful tribute to each artists' unique style, I Know An Artist is an illuminating and celebratory account of some of the art world's most compelling visionaries.
Twenty leading women artists of the 20th century outline the personal and aesthetic issues that shaped their private lives. Includes contributions from Georgia O'Keefe and Barbara Hepworth. First published in 1992.
Exam Board: SQA Level: Higher Subject: Art & Design First Teaching: August 2018 First Exam: May 2019 Get your best grade with comprehensive course notes and advice from Scotland's top experts, fully updated for the latest changes to SQA Higher assessment. How to Pass Higher Art & Design Second Edition contains all the advice and support you need to revise successfully for your Higher exam. It combines an overview of the course syllabus with advice from top experts on how to improve exam performance, so you have the best chance of success. - Revise confidently with up-to-date guidance tailored to the latest SQA assessment changes - Refresh your knowledge with comprehensive, tailored subject notes - Prepare for the exam with top tips and hints on revision techniques - Get your best grade with advice on how to gain those vital extra marks
The democratic election of Nelson Mandela as president of South Africa in 1994 marked the demise of apartheid and the beginning of a new struggle to define the nation's past. History after apartheid analyzes how, in the midst of the momentous shift to an inclusive democracy, South Africa's visual and material culture represented the past while at the same time contributing to the process of social transformation. Considering the attempts to invent and recover historical icons and narratives, art historian Annie E. Coombes examines how strategies for embodying different models of historical knowledge and experience are negotiated in public culture - in monuments, museums, and contemporary fine art. History after apartheid explores the dilemmas posed by a wide range of visual and material culture including key South African heritage sites. How prominent should Nelson Mandela and the African National Congress be in the museum at the infamous political prison on Robben Island? How should the postapartheid government deal with the Voortrekker Monument mythologizing the Boer Trek of 1838? Coombes highlights the contradictory investment in these sites among competing constituencies and the tensions involved in the rush to produce new histories for the 'new' South Africa.
Indonesian art entered the global contemporary art world of independent curators, art fairs and biennales in the 1990s. By the mid-2000s, Indonesian works were well-established on the Asian secondary art market, achieving record-breaking prices at auction houses in Singapore and Hong Kong. This comprehensive overview introduces Indonesian contemporary art in a fresh and stimulating manner, demonstrating how contemporary art breaks from colonial and post-colonial power structures, and grapples with issues of identity and nation-building in Indonesia. Across different media, in performance and installation, it amalgamates ethnic, cultural and religious references in its visuals, and confidently brings together the traditional (batik, woodcut, dance, Javanese shadow puppet theatre) with the contemporary (comics and manga, graffiti, advertising, pop culture). Spielmann's Contemporary Indonesian Art surveys the key artists, curators, institutions and collectors in the local art scene, and looks at the significance of Indonesian art in the Asian context. Through this book, originally published in German, Spielmann stakes a claim for global relevance of Indonesian art.
In The Critic as Artist--arguably the most complete exploration of his aesthetic thinking, and certainly the most entertaining--Oscar Wilde harnesses his famous wit to demolish the supposed boundary between art and criticism. Subtitled Upon the Importance of Doing Nothing and Discussing Everything, the essay takes the form of a leisurely dialogue between two characters: Ernest, who insists upon Wilde's own belief in art's freedom from societal mandates and values, and a quizzical Gilbert. With his playwright's ear for dialogue, Wilde champions idleness and contemplation as prerequisites to artistic cultivation. Beyond the well-known dictum of art for art's sake, Wilde's originality lays an argument for the equality of criticism and art. For him, criticism is not subject to the work of art, but can in fact precede it: the artist cannot create without engaging his or her critical faculties first. And, as Wilde writes, "To the critic the work of art is simply a suggestion for a new work of his own." The field of art and criticism should be open to the free play of the mind, but Wilde plays seriously, even prophetically. Writing in 1891, he foresaw that criticism would have an increasingly important role as the need to make sense of what we see increases with the complexities of modern life. It is only the fine perception and explication of beauty, Wilde suggests, that will allow us to create meaning, joy, empathy and peace out of the chaos of facts and reality. Oscar Wilde (1854-1900) was an Irish poet and playwright who became one of London's most popular writers in the early 1890s. Though often controversial, his flair for journalism and nose for scandal ensured that he was widely read. His bold essays on aesthetic philosophy, collected in the volume Intentions (1891), remain important and influential meditations of the nature of art criticism itself.
The relationship between philosophy and art has always been a close one, and today's conceptual art draws heavily on ideas and concepts from the philosophical field. This book introduces the reader to a wide range of key ideas and showcases the work of some 20 artists, whilst explaining the relationship between the two.
From the first ever sketch of the Red Cross logo by its founder Clara Barton to a cartoon scrawled on a love letter from Charles Bukowski, the objects in this fascinating collection are a perfect reflection of the eclectic and storied cast of characters from whose archives they ve been collected over the years. Organized alphabetically, with a range of influential names, from William Burroughs to Mark Twain, the book is a voyeur s treasure trove of the ephemeral, in which cultural icons reveal their own preoccupations, passions, plans, and distractions in the marginalia of their daily correspondence. A satirical sketch by Marc Chagall sits beside a quick self-portrait by Charlie Chaplin; a throwaway drawing on a dollar bill by Joan Miro follows the first ever idle iteration of Pippi Long stocking by Astrid Lindgren; and a hasty drawing by Andy Warhol precedes a sketch of Falstaff on a hotel notepad by Orson Welles. A treat for lovers of the analogue in the digital age, and reproduced beautifully on uncoated paper to come as close as possible to the texture of the originals, Scrawl connects high and low, art and science, history and literature, youth and age, with the universal truth of doodling.
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