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Indicative Reading- Books and Ebooks
Vitamin D: new perspectives in drawing (Print copy) by Drawing has recently experienced a renewal of importance in the art world; in fact, it has rarely been as widely represented in the biennials, art fairs, and exhibitions as it is now. Similar in concept, scope and structure to Phaidon's successful volume Vitamin P, Vitamin Dpresents, in A to Z order, the work of 109 artists who have emerged internationally since 1990 using the medium of drawing. Whether representational or abstract, small or large in scale, using only one line or rich in colors and pattern, drawings have a highly descriptive and meticulously detailed quality that is being explored by an increasing number of contemporary artists. Extending beyond the traditional image associated with this medium, Vitamin Dhopes to illustrate the complexity, variety, and relevance of the practice of drawing today.
Call Number: 741.2 DEX
Publication Date: 2007-10-28
Hyperdrawing: beyond the lines of contemporary art. (Print copy) by In Hyperdrawing: Beyond the Lines of Contemporary Art, authors and artists come together to explore the potential of what drawing in contemporary art theory and practice might become.In this follow-up to 2007's Drawing Now: Between the Lines of Contemporary Art, the editors of TRACEY curate contemporary drawing within fine art practice from 2006 through to 2010. Four essays and images from 33 international artists collectively explore the boundaries of the hyperdrawing space, investigating in essence what lies beyond drawing-images that use traditional materials or subjects whilst also pushing beyond the traditional, employing sound, light, time, space and technology.A gallery in book form, Hyperdrawing takes drawing beyond the interaction of pencil and paper and traces contemporary adventures in multiple dimensions and alternate realities.
Call Number: 741.01 SAW
Publication Date: 2012-09-15
Pulled: a catalogue of screeen printing (Print copy) by Popularized in the 1960s by Pop artists such as Andy Warhol, screen printing remains a favorite of artists due to its remarkable versatility and relatively low cost. InPulled, best-selling author Mike Perry (Hand Job,Over and Over) collects the work of more than forty of today's most talented designers who are, in their own way, pushing the boundaries of this dynamic medium.
Call Number: 764.8 PER
Publication Date: 2011-04-13
Two-Dimensional Man. (Print copy) by In Two-Dimensional Man, Paul Sahre shares deeply revealing stories that serve as the unlikely inspiration behind his extraordinary thirty-year design career. Sahre explores his mostly vain attempts to escape his "suburban Addams Family" upbringing and the death of his elephant-trainer brother. He also wrestles with the cosmic implications involved in operating a scanner, explains the disappearance of ice machines, analyzes a disastrous meeting with Steely Dan, and laments the typos, sunsets, and poor color choices that have shaped his work and point of view. Two-Dimensional Man portrays the designer's life as one of constant questioning, inventing, failing, dreaming, and ultimately making.
Call Number: 920.SHA
Publication Date: 2017-09-19
Drawing Now: between the lines of contemporary art. (Print copy) by An exhibition in book form, this showcase of the best of drawing now features one hundred works by almost fifty artists including Susan Hauptman, Paul Noble, Jeff Gabel, Tracey Emin, Jane Harris, Julia Fish, Cornelia Parker and Jerwood Drawing Prize winner Sarah Woodfine. Carefully ""curated"" with many new drawings specifically commissioned for the volume, the book also includes an introduction, by the editors, which lays out the themes underpinning this diverse and exciting selection of work. With a revival of interest in drawing in recent years, Drawing Now is a timely collection of the work of artists intent on giving a contemporary twist to the most traditional of forms.
Call Number: 741.9243 DOW
Publication Date: 2008-01-15
Junk: art and the politics of trash. (Print copy) by Trash, garbage, rubbish, dross, detritus -- in this enjoyably radical exploration of junk, Gillian Whiteley re-thinks art's historical and present appropriation of junk within our eco-conscious and globalized culture. She does this through an illustrated exploration of particular materials, key moments and locations and the telling of a panoply of trash narratives. Found and ephemeral materials are primarily associated with assemblage -- object-based practices which emerged in the mid-1950s and culminated in the seminal exhibition "The Art of Assemblage" in New York in 1961. With its deployment of the discarded and the filthy, Whiteley argues, assemblage has been viewed as a disruptive, transgressive artform that engaged with narratives of social and political dissent, often in the face of modernist condemnation as worthless kitsch. In the Sixties, parallel techniques flourished in Western Europe, the US and Australia but the idiom of assemblage and the re-use of found materials and objects -- with artist as bricoleur -- is just as prevalent now. This is a timely book that uncovers the etymology of waste and the cultures of disposability within these economies of wealth.
Call Number: 701.03 WHI
Publication Date: 2011-01-15
3D Shape: its unique place in visual perception. (Print copy) by A new account of how we perceive the 3D shapes of objects and how to design machines that can see shapes the way we do. The uniqueness of shape as a perceptual property lies in the fact that it is both complex and structured. Shapes are perceived veridically--perceived as they really are in the physical world, regardless of the orientation from which they are viewed. The constancy of the shape percept is the sine qua non of shape perception; you are not actually studying shape if constancy cannot be achieved with the stimulus you are using. Shape is the only perceptual attribute of an object that allows unambiguous identification. In this first book devoted exclusively to the perception of shape by humans and machines, Zygmunt Pizlo describes how we perceive shapes and how to design machines that can see shapes as we do. He reviews the long history of the subject, allowing the reader to understand why it has taken so long to understand shape perception, and offers a new theory of shape. Until recently, shape was treated in combination with such other perceptual properties as depth, motion, speed, and color. This resulted in apparently contradictory findings, which made a coherent theoretical treatment of shape impossible. Pizlo argues that once shape is understood to be unique among visual attributes and the perceptual mechanisms underlying shape are seen to be different from other perceptual mechanisms, the research on shape becomes coherent and experimental findings no longer seem to contradict each other. A single theory of shape perception is thus possible, and Pizlo offers a theoretical treatment that explains how a three-dimensional shape percept is produced from a two-dimensional retinal image, assuming only that the image has been organized into two-dimensional shapes. Pizlo focuses on discussion of the main concepts, telling the story of shape without interruption. Appendixes provide the basic mathematical and computational information necessary for a technical understanding of the argument. References point the way to more in-depth reading in geometry and computational vision.
Call Number: 152.1423 ZYG
Publication Date: 2010-08-13
Ways of Seeing. (Print copy) by John Berger's seminal text on how to look at art John Berger's Ways of Seeing is one of the most stimulating and the most influential books on art in any language. First published in 1972, it was based on the BBC television series about which the Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has. "The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace." --Geoff Dyer "Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation." --Peter Fuller, Arts Review
Call Number: 750 BER
Publication Date: 1990-12-01
Reflective Practice by Reflecting thoughtfully on your work is vital for improving your own self-awareness, effectiveness and professional development. This newly updated fifth edition of Gillie Bolton's bestselling book explores reflective writing as a creative and dynamic process for this critical enquiry. New to this edition: An expanded range of exercises and activities A new emphasis on using e-portfolios Further guidance on reflective writing assignments Enhanced discussion of reflection as a key employability skill Additional online resources This popular book has been used worldwide in various disciplines including education, social work, business and management, medicine and healthcare and is essential reading for students and professionals seeking to enhance their reflective writing skills and to examine their own practice in greater critical depth.
Call Number: 378.013
Publication Date: 2018-03-29
This link takes you to the Catalogue for books in the West Suffolk College Library
This link will take you to the subject guide for Art Practice where you will find lots of useful information to help you with finding resources and study skills.
Crilly, N. (2010) ‘The structure of design revolutions: Kuhnian paradigm shifts in creative problem solving’, Design Issues, 26 (1) pp. 54-66.
Low, A. (2006) ‘Creative thinking’, World Futures, 62 (6), pp. 455 - 463.
Marshall, J. (2010) ‘Thinking outside and on the box: creativity and inquiry in art practice’, Art Education, 63 (2), pp. 16-23.
Rumold, R. (2004) ‘Painting as a language. why not?: Carl Einstein in documents'’, October, (107), pp. 75-94.
Riley, H. (2013) ‘Visual art and social structure: the social semiotics of relational art’, Visual Communication, 12( 2), pp. 207 – 216.