"For more than a decade, Judy Chicago has been formulating a critique of studio art education, in colleges or art schools, based upon observation, study, and, most importantly, her own teaching experiences, which have taken her from prestigious universities to regional colleges, and across the country from Cal Poly Pomona to Duke University and the University of North Carolina, Chapel Hill. ...Creator of the celebrated The Dinner Party, a monumental art installation, Chicago reviews her own art education, in the 1960s, when she overcame sexist obstacles to beginning a career as an artist and became recognized as one of the key figures in the dynamic California art scene of that decade. She reviews the present-day situation of young people aspiring to become artists and uncovers the persistence of a bias against women and other minorities in studio art education. Far from a dry educational treatise, Institutional Time is heartfelt, and highly personal: a book that has the earmarks of a classic in arts education."-- Publisher's website.

This book presents a new and comprehensive biography of one of the most prominent artists of the twentieth century in dialogue with the events and ideologies of his time. It encompasses the 98 years of Chagall's life (1887-1985) in Russia, France, the US, as well as Germany and Israel, his deep roots in folk culture, his personal relationships and loves, his involvement with the art of the Russian Revolution, with Surrealism, Communism, Zionism, Yiddish literature and the state of Israel. The book exposes the complex relationships between Chagall's three cultural identities: Jewish-Russian-French. Indeed, it is a biography of the turbulent times of the twentieth century and the transformations of a Jew in it, his meteoric rise from the "ghetto" of the Russian Pale of Settlement to the centers of modern culture. -- Back cover.

Real seller with inventory on hand. Trade Paperback. FMR, 1999. Near Fine. 54 pages of color prints of the artist's work with statements by the artist, selected bibliography, chronological list of exhibitions.

A celebration of the work of one of America's top aviation artists. Many of the works of American artist and illustrator Gil Cohen can be found at the John F. Kennedy Center for the Performing Arts in Washington, DC, and the Pentagon, as well as in other important public and private collections. After spending decades as a respected illustrator for magazines and book publishers, Cohen chose to turn his attention to aviation and military themes. His more recent paintings vividly depict the human aspects of America's wars, showing soldiers and aviators in battle and at rest. One of Cohen's recurring observations is that, unfortunately, some of humankind's most remarkable feats of engineering are often created for the purpose of war. Cohen's paintings are collected worldwide, and his clients include the U.S. Air Force, the U.S. Coast Guard; Paramount Pictures; Random House; Holt, Rinehart & Winston; Bantam Books; Harlequin Books; and Boeing-Sikorsky.

Don't Tell Sybil is a libidinous memoir by a master raconteur. George Melly (1926-2007) was impossible to ignore in London cultural circles between the 1950s and 90s. He first came to attention as a jazz singer, notable for risqué songs performed with verve rather than with great technical ability. An arresting personality, Melly dressed the part: his outrageous suits became a mark, and his talents as a raconteur soon brought him fame as a TV talkshow guest (usually late-night shows, for reasons of propriety). His cheerful bisexuality, recounted throughout his three volumes of autobiography, scandalized and then delighted a public whose own sexual attitudes changed over the decades they describe. Don't Tell Sybil is a supplementary volume of autobiography which treats in more detail Melly's youthful and long-lasting attraction to Surrealism, and his equally lengthy friendship with the contradictory character who headed up the English Surrealist group, E.L.T. Mesens. Their adventures form the core of this book--adventures of which Mesens did not want his wife, Sybil, to learn, hence the book's title. Mesens was a perfect subject, an artist and prankster who could be as punctilious and stingy as the most respectable bourgeois. Anecdotes of the artists who showed at Mesens' gallery, such as Schwitters and Magritte, pepper the narrative, a hugely affectionate memoir by a character who was truly larger than life. This new edition is augmented with previously unpublished photographs relating to Melly and English Surrealism.

"The featured works focus on the radical use of alter egos and fictional characters in relation to issues of identity amd subjectivity, socio-political realities and the intersections of gender, ethnicity, race and religion." -- back cover.

Text: English, German (translation)

Even before his birth, Johnny Baker's life is in danger. His mother breaks the law when she has her fertilized egg endowed with genes that will give her son the potential to become a visual artist. Born in 2038, John Firth Baker is the first genetically engineered artist. At the age of nineteen, at the threshold of his career, he is murdered. Now, ten years after his death, Baker has become famous. An art curator has organized a show of his work, and his biography-culled from journals, e-mails, and interviews with those who knew him best-is published. The Song of the Earth is this "biography." It presents a powerful and haunting portrait of an artist as a young man in the twenty-first century. Baker is born into a world transformed by technology: genetic profiles, space travel, and controlled housing communities are commonplace. Global warming has altered the environment. A planetary gender war is raging, familial structures are shattered, and new religions contend with the old. Yet human needs remain the same: the search for love, the desire for approval, the longing for fame, and the quest for knowledge. The Song of the Earth is a hypnotic novel about our desire to control our destinies, our yearning for immortality, and the very human impulse to create art. With prose, poetry, and images, Nissenson tells an original tale that brilliantly captures the experience of another time and place.