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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.
As negentienjarige ryloper in Spanje beland Frank Westerman toevallig in die dorpie Banyoles, waar ’n opgestopte “Kalahari-Boesman”, slegs bekend as El Negro, uitgestal word. Sy indrukke bly hom by – en wanneer hy dekades later weer van El Negro lees, die keer in ’n Franse koerant, is dit die begin van ’n ondersoeksreis wat belangrike vrae oor rasopvattings en die Westerse beskawing na vore bring. Wie was hierdie naamlose man? Wat se sy opgestopte “museumteenwoordigheid” oor Europese denke oor slawerny, rassisme en kolonialisme – en bied hy slegs ’n spieel op ’n vergange tyd, of ook op die hede?
"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.
`Give me three years and we'll be millionaires,' Nick challenged his long-suffering family in 1980, when cash was king. `I've got an idea that's going to take us to the top.' Tinkering with alchemy in an old stable he shared with a Shire horse, Nick discovered how to create the most convincing antique replicas ever made. He started by selling a few of his netsukes on a market stall at the Birmingham Rag Market and met extraordinary and eccentric people, the risk-taking gamblers with fast tongues. Each had their own money-spinning ideas; you name it, he replicated it for the wheeler-dealers chasing the dream. When Nick and his crew reached the rarefied circles of the London art world he realised he could be dangerously out of his depth. This is the unlikely and often hilarious story of where nothing but enthusiasm and self-belief can take you.
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’
'To create today is to create dangerously' Camus argues passionately that the artist has a responsibility to challenge, provoke and speak up for those who cannot in this powerful speech, accompanied here by two others. Penguin Modern: fifty new books celebrating the pioneering spirit of the iconic Penguin Modern Classics series, with each one offering a concentrated hit of its contemporary, international flavour. Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.
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.
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.
In June of 2010, William Kentridge asked Denis Hirson to join him in a public conversation at the opening of Cinq Thèmes, the artist’s retrospective exhibition at the Jeu du Paume in Paris. So fruitful was this event that the two decided to have further conversations, public and private, whenever the time and the occasion seemed right. Nine engagements followed, allowing them to explore at great length the many issues and themes arising from Kentridge’s work. These conversations, in which a writer and an artist grapple with the enormous complexities of making art, grow out of a friendship that stretches back to the 1980s and that is deeply entwined in the fortunes of the city where they both grew up and the country that is the wellspring of their work.
Born in Cambridge in 1951, Denis Hirson lived in South Africa until the age of twenty-two, studying social anthropology at the University of the Witwatersrand in Johannesburg. In 1975 he settled in France, where he has worked as an actor and lecturer at the École Polytechnique. He has written seven books, almost all of them at the frontier between prose and poetry and concerned with memories of South Africa in the time of apartheid. The most recent of these is the novel The Dancing and the Death on Lemon Street. He has also assembled and edited three anthologies of South African writing, including In the Heat of Shadows: South African poetry 1996–2013. Ma langue au chat, a book in French about the delight and torture experienced by an Anglophone when speaking and writing in French, is forthcoming from Les Éditions du Seuil in October 2017.
William Kentridge was born in Johannesburg, South Africa in 1955. He is a graphic artist, filmmaker and theatre artist renowned for his humanist and poetic perspective on apartheid, colonialism and totalitarianism, and on their lingering effects. Best known for his allegorical animations of charcoal drawings that he erases and appends frame by frame, Kentridge has explored disciplines ranging from sculpture to books, stereoscope to opera. His works are included in numerous international collections, including the Museum of Modern Art, New York; Tate Modern, London; the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; the Stedelijk Museum, Amsterdam and the Albertina Museum, Vienna. His acclaimed production of Wozzeck travels to the Metropolitan Opera, New York, for the 2019–20 season.
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.
Part of the acclaimed series of anthologies which document major themes and ideas in contemporary art. A timely collection of texts, interviews and documentation reflecting the complex interrelationship between the urban, the rural and contemporary cultural production. What, and where, is `the Rural'? From the rocks that break a farmer's plough on a field in Japan, to digital infrastructures which organise geographically dispersed interests and ambitions, vast parts of our lives are still connected and dependent on resources, production and infrastructures located within rural geographies, and the rural remains a shared and common cultural space. This anthology offers an urgent and diverse cross-section of rural art, thinking and practice, and considers how artists respond to the socio-economic divides between the rural and the urban, from re-imagined farming practices and food systems to architecture, community projects and transnational local networks. Edited by three artists who have been working within rural situations and communities for the last twenty years, this anthology is formed as a document, tool and navigation device for future artistic practice, where `the Rural' is filtered through a lens sharpened by an audiencebased model of art which practices from within the culture it addresses. Artists, practitioners and organisations surveyed include Lina Bo Bardi, Futurefarmers, Fernando Garcia-Dory, Grizedale Arts, Hagiwara Farm, Sigrid Holmwood, Freeyad Ibrahim, Brian Jungen, Renzo Martens, M12 Group, Helio Oiticica, Robert Smithson, Bedwyr Williams. Writers include Kenneth Anders, Homi K. Bhabha, Ivan Illich, Julia Kristeva, Henri Lefebvre, Maria Lind, Marco Marcon, Georgy Nikich, Vandana Shiva, Paul O'Neill, Doina Petrescu, Natalie Robertson, David Teh, Reinhardt Vanhoe, Colin Ward.
A fascinating account of Frank O'Hara in the prime of his creative life in New York, told through notes, images, and poems by his friend Bill Berkson. Poet and art critic Bill Berkson (1939-2016) had planned for many years to write a lengthy study on his friend and mentor Frank O'Hara (1926-1966) but died with the project still incomplete. This volume reproduces the sketchbook in which Berkson gathered notes, images, and poems about O'Hara, focusing on his memories of their collaborations in New York, from their initial meeting in 1960 to O'Hara's untimely death in 1966. A Frank O'Hara Notebook offers a fascinating first-person account of the heyday of O'Hara's creative life, and memorably sketches the heady social milieus of the poetry and art worlds of New York that O'Hara inhabited in the early 1960s. In addition to an exact-scale photographic reproduction of Berkson's handwritten notebook, this volume includes a typesetting of Berkson's notes and two texts on O'Hara derived from these notes published under Berkson's direction, titled "A Frank O'Hara File" and "What Frank O'Hara Was Like." The book shows the evolution of Berkson's ideas from notes to fragmentary phrases and sentences into finished pieces of writing. Ultimately, this collection reveals as much about Berkson's writing practice as it does about his famous subject and friend. The book's translation of Berkson's handwritten notes and collaged material into type honors the idiosyncratic format of Berkson's handwritten text, precisely following the line breaks, capitalizations, and drawn graphic elements in the holograph. The book also includes an introduction by fellow New York School poet Ron Padgett and an afterword by Berkson's wife, curator Constance Lewallen.
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.
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.
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
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