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Indicative Reading - Books and Ebooks
Writing on Drawing: essays on drawing practice and research. (Print copy) by Increased public and academic interest in drawing and sketching, both traditional and digital, has allowed drawing research to emerge recently as a discipline in its own right. In light of this development, Writing on Drawing presents a collection of essays that reveal a provocative agenda for the field, analyzing the latest work on creativity, education, and thinking from a variety of perspectives. Bringing together contributions by leading artists and researchers, this volume offers consolidation, discussion, and guidance for a previously fragmented discipline. Available for the first time in paperback, it will be an essential resource for artists, scientists, designers, and engineers.
Call Number: 741 GAR
Publication Date: 2008-11-15
The Art of Responsive Drawing. 6th edn. (Print copy) by More a "how-to-see-it" than a "how-to-do-it" book, this edition explores the disguises and characteristics of shapes and forms in nature, and it examines the visual elements and the relational, moving, and emotive forces that constitute the language of drawing. Clear and objective, this book offers an intensive examination of vital drawing processes and concepts, an in-depth analysis of exceptional drawings by old and contemporary artists, and suggested exercises to enhance the readers' grasp of important measurable and dynamic phenomena. For the art student, the art teacher, the interested amateur, and the practicing artist.
Call Number: 741.2 GOL
Publication Date: 2005-07-06
The Story of Art. 16th edn. (Print copy) by The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Arthas always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.
Call Number: 709 GOM
Publication Date: 2007-07-21
Line Let Loose: scribbling, doodling and automatic drawing. (Print copy) by As forms of drawing go, scribbling is the most basic: it is seen as playing a formative role in the drawings of both children and primates. Doodling, while still being a widespread phenomenon, is largely an adult preoccupation--a nomadic form of drawing typically produced during meetings and phone calls. But even though those who engage in it are not necessarily trained artists, automatic drawing is a more dramatic event, and the results of an absentminded or trancelike state are sometimes astonishing. Because of their amateur and spontaneous character, all three forms of drawing have been adopted by modern artists seeking to escape from the constraints of their professional skills. In Line Let Loose, David Maclagan shows that each of these marginal forms of drawing has its own history in spiritualism, surrealism, abstract expressionism, and psychedelic art. Referring to Klee, Pollock, Miro, Twombly, and LeWitt, as well as many lesser-known or anonymous artists, he traces the links between them and a pervasive notion of the spontaneous and 'unconscious' creation of forms in art. He suggests that the original novelty of these unconventional drawing processes has begun to wear off, and he explores their new situation in our modern digital culture.
Call Number: 741 MAC
Publication Date: 2013-12-15
The Visual Culture Reader. 3rd edn. (Print copy) by Ten years after the last edition, this thoroughly revised and updated third edition of TheVisual Culture Readerhighlights the transformed and expanded nature of globalized visual cultures. It assembles key new writings, visual essays and specially commissioned articles, emphasizing the intersections of the Web 2.0, digital cultures, globalization, visual arts and media, and the visualizations of war. The volume attests to the maturity and exciting development of this cutting-edge field. Fully illustrated throughout, The Reader features an introductory section tracing the development of what editor Nicholas Mirzoeff calls "critical visuality studies." It develops into thematic sections, each prefaced by an introduction by the editor, with an emphasis on global coverage. Each thematic section includes suggestions for further reading. Thematic sections include: Expansions War and Violence Attention and Visualizing Economy Bodies and Minds Histories and Memories (Post/De/Neo)Colonial Visualities Media and Mediations Taken as a whole, these 47 essays provide a vital introduction to the diversity of contemporary visual culture studies and a key resource for research and teaching in the field. Contributors:Ackbar Abbas, Morana Alac, Malek Alloula, Ariella Azoulay, Zainab Bahrani, Jonathan L. Beller,Suzanne Preston Blier, Lisa Cartwright, Dipesh Chakrabarty, Wendy Hui Kyong Chun, Beth Coleman, Teddy Cruz, René Descartes, Faisal Devji, Henry Drewal, Okwui Enwezor, Frantz Fanon, Allen Feldman, Mark Fisher, Finbarr Barry Flood, Anne Friedberg, Alex Galloway, Faye Ginsburg, Derek Gregory, J. Jack Halberstam, Donna Haraway, Brian Holmes, Amelia Jones, Georgina Kleege, Sarat Maharaj, Brian Massumi, Carol Mavor, Tara McPherson, Nicholas Mirzoeff, Timothy Mitchell, W. J. T. Mitchell, Naeem Mohaiemen, Fred Moten, Lisa Nakamura, Trevor Paglen, Lisa Parks, Sumathi Ramaswamy, Jacques Rancière, Andrew Ross, Terence E. Smith, Marita Sturken, Paolo Virno, Eyal Weizman
Call Number: 709.05
Publication Date: 2012-07-25
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
Cook, P. (2013) ‘Looking and drawing’, Architectural Design, 83(5), pp. 80-87.
Gheno, D. (2009) ‘The power of positive (and negative) thought when drawing the figure’, American Artist: Drawing, 6(23), pp. 60-75.
Graham, J. (2015) ‘Rhythmanalysis: the line as a record of the moving present’, Journal Of Visual Art Practice, 14(1), pp. 54-71.
Hewish, A. (2015) ‘A line from Klee’, Journal Of Visual Art Practice, 14 (1), pp. 3-15.
Roberts, A, & Riley, H. (2012) ‘The social semiotic potential of gestural drawing’, Journal Of Visual Art Practice, 11(1), pp. 63-73.
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.