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Thematische Bibliographien / Art of the book / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Art of the book“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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1

Hildebrand Schat, Viola. "Spatiotemporal Concepts in Book Art." Acta Academiae Artium Vilnensis, no. 101-102 (April 6, 2021): 253–76. http://dx.doi.org/10.37522/aaav.101.2021.71.

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The perception of a book as an architectonical construction is a well-known fact. We could use the stage as a metaphor for the book, or, in other concepts the book becomes the equivalent of an exhibition space or even replaces it. In all these metaphoric circumlocutions the book not only reproduces content, but itself functions as an exhibition place, a stage, or another conception of space. Curiously enough, the consideration of the material aspects of books are taken into account at a time when digitalisation seems to dissolve the material body of books and, while theory makes it clear that

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Boer, Tanja de. "The Museum of the Book in the Hague." Art Libraries Journal 25, no. 1 (2000): 19–24. http://dx.doi.org/10.1017/s0307472200011408.

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Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany an

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Bidun, Anna. "Art Book in the Theoretical Dimension and Practice System of the Editor." Scientific notes of the Institute of Journalism, no. 1 (74) (2019): 78–94. http://dx.doi.org/10.17721/2522-1272.2019.74.8.

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An art book is a type of editions that condenses mould-breaking, innovational, uncommon approaches of both uthor and publisher on the idea of creation of a specific book content. In practice it’s common (by mistake or on purpose) o use art book definition to classify each traditional book that is unique by all means. As a result, this confuses all participants of the publishing process. The aim of the research is to study whether all editions that are defined as art books correspond to this classification, and to consider all challenges that the editors are facing to. Using the methods of obse

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Nodelman, Perry. "Touching Art: The Art Museum as a Picture Book, and the Picture Book as Art." Journal of Literary Education, no. 1 (December 8, 2018): 6. http://dx.doi.org/10.7203/jle.1.12085.

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Based on a keynote address delivered at the 2017 Child and the Book conference in Valencia on interdisciplinary links between children’s literature and the arts, this essay draws on its author’s experience first as a children’s literature scholar focused on picture books and then as a volunteer guide and docent for school tours in art museums. It explores how visits to art museums might be enriched by thinking about the art in them in the ways in which we think about the art in children’s picture books- as images illuminated by a context of nearby images and the verbal language they appear in

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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.

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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the

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Šuvaković, Miško, and Dubravka Đurić. "Conceptual Photo Books: Photo-Imago as a Trace of the Geist Miško Šuvaković, Dubravka Đurić." AM Journal of Art and Media Studies, no. 28 (September 15, 2022): 37–63. http://dx.doi.org/10.25038/am.v0i28.517.

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In the essay, we will deal with the models of the photo book of artists in conceptual art 1966–80. A short sketch of the international history of photo books in conceptual art will be presented, ranging from the examples of American, British, Croatian, and Serbian authors, etc. We will point out to the two levels of discussion: (1) the essential morphological properties of the book, artistic books and photo book in conceptual art – the transformation of static photographic image into a series of sequences and a series of sequences into mental representation; and (2) typology of characteristic

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Murashova, N. S. "Book as an Artistic Artifact." Bibliosphere, no. 2 (May 29, 2023): 64–72. http://dx.doi.org/10.20913/1815-3186-2023-2-64-72.

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A book is not only a carrier of information, but also the way of its aesthetic visualization. This actualizes the problem of understanding a book as an artistic artifact. The study of the book in this context implies the identification of several aspects: the art of the book; the existence of the book as an exhibit of museum and exhibition art space; the use of the book as a compositional and meaningful element of works of fine art, as a component of library design, living and working spaces; alterbooking and architectural structures in the form of a book. The article is devoted to the art of

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Wishaupt, Maggy. "Art book publishing in the Netherlands." Art Libraries Journal 17, no. 3 (1992): 49–50. http://dx.doi.org/10.1017/s0307472200007999.

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Probably only about 5% of books published in the Netherlands are art books. There is a very limited demand for art books in the Dutch language; in order to sell in greater numbers, books have to be produced in English or in several languages, and/or as co-editions, while the domestic market is flooded by foreign imports including cheap remainders. In these circumstances the publication of art books depends on grants or on the income which some publishers earn from bookselling, printing, or other activities. Nonetheless a few, small, specialist publishers are producing art books of high quality

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Shcherbinina, Yu V. "One step away from hell? Transformation of books into art objects." Voprosy literatury, no. 2 (May 5, 2022): 61–78. http://dx.doi.org/10.31425/0042-8795-2022-2-61-78.

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The article considers a popular and controversial modern phenomenon — the use of books as a medium for various mixed media art forms. The author gives examples of contemporary book altering techniques, such as book carving, painting and upcycling, etc., following the trend of transforming our interaction with books into a show of craftsmanship and entertainment. The critic points out that, in order to create a visually stunning and artistically expressive altered book, artists often work with beautifully published tomes, complete with quality materials, imaginative design and moderately used l

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Dwyer, Melva J. "Art book publishing in Canada." Art Libraries Journal 17, no. 3 (1992): 34–37. http://dx.doi.org/10.1017/s030747220000794x.

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Canadian publishing was inhibited from the beginning by Canada’s colonial origins and dependence on Great Britain and the USA. Few art books were published until quite recently; the relatively small, scattered population, the flooding of the market with British, American and (in Quebec) French books, and limited (at best) or non-existent sales outside Canada continue to be constraining factors. The necessity to include both English and French texts adds to the cost of book production in Canada. The publication of art books, and of exhibition catalogues, depends on the availability of governmen

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Chencheng, Mao, and Sharul Azim Sharudin. "Application of Mianzhu New Year Painting Art Style in Childrens Picture Books." Advances in Humanities Research 2, no. 1 (2023): 37–46. http://dx.doi.org/10.54254/2753-7080/2/2023011.

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This paper analyzes the attraction of children's language learning and literacy through the collation of Chinese Mianzhu New Year's Paintings art style, analyzes the attraction of children's language learning and literacy through the reading of early children's New Year's Paintings art style picture books, summarizes the use of pre-school children's favorite picture book survey reports and data, and analyzes the case of the excellent picture book design that has won awards for integrating the Chinese traditional art style, and the result shows that Mianzhu New Year's Paintings art style has gr

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Cotter, James Finn. "The Book within the Book in Mediaeval Illumination." Florilegium 12, no. 1 (1993): 107–40. http://dx.doi.org/10.3138/flor.12.008.

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From early Christian times up to the sixteenth century, books occur so often in mediaeval illumination that a study of the book as it appears within the book would involve a survey of the whole course of Western miniature painting. Despite its ubiquity, however, little has been written on the subject of the symbolism of the book in art. In The Idea of the Book in the Middle Ages, Jesse M. Gellrich takes a semiotic approach rather than the viewpoint of art history. Ernst Curtius has a chapter on “The Book as a Symbol” in his classic European Literature and the Latin Middle Ages, but he does not

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Strode, Aina, and Gita Līpenīte-Čudarāne. "ART BOOKS IN CONTEMPORARY CULTURAL SPACE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 22, 2024): 381–89. http://dx.doi.org/10.17770/sie2024vol2.7859.

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A study on art books is necessary to understand their role in contemporary cultural spaces and how to create a great book on art that contributes to enriching cultural landscapes. The article highlights the relevance of printed books in today's context, focusing on art themes, emphasizing the significance of art literature in the digital age, pointing out its ability to offer a deeper engagement with art phenomena. The aim of the article is to explore the types of art books and their significance in contemporary cultural spaces. Research methods include theoretical approaches involving the exp

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Kaneva, Kapka. "THEORY AND METHODOLOGY OF TEACHING IN ART BOOK IN BULGARIA. DEPICTIVE, SPATIAL AND CONSTRUCTIVE APPROACH IN REGINA DALKALACHEVA’S ART AS A CONTRIBUTION TO UNDERSTANDING ART BOOK AS A SUBJECT." Izdatel XXVII, no. 1 (2025): 61–76. https://doi.org/10.70300/3htpoturjub9gyb.

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The publication follows the stages of development of the “Art Book” academic discipline as a key to the teaching methodology in “Book, Illustration, Printed Graphics” Department of the National Academy of Art. A parallel is drawn between the personal artistic achievement of Regina Dalkalacheva and the evolution of understanding art book at an academic level – both as a creative direction in the field of independent book publications, and as philosophy, as a social and cultural phenomenon. Through comparative and morphological analysis of Dalkalacheva’s iconic works the process of constituting

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Herzog, Don. "The Art of the Review." Michigan Law Review, no. 122.6 (2024): 997. http://dx.doi.org/10.36644/mlr.122.6.art.

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What’s a book review for? You might think it’s to supply a summary of the book. Time is short. We’re drowning in stuff to read; it’s hard to keep up even if you dutifully apply the seat of your pants to the seat of your chair and read very fast. Courts are constantly publishing new opinions. And—even though you’re used to this familiar feature of American law, you should still notice how startling it is—they’re also publishing unpublished opinions, with indefensible rules about whether or how they count as precedents lawyers can cite. Legislatures are publishing floor debates, not to mention c

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Kubeczková, Olga. "Současná uměleckonaučná tvorba pro děti a mládež o umění." Bohemica litteraria, no. 1 (2024): 92–115. http://dx.doi.org/10.5817/bl2024-1-6.

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The current book production aimed at children and youth provides an expansive territory for non-fiction titles. Besides the extent of art methods, there is an extraordinarily immense topic spectrum approached from an original perspective presented by the titles. The study pays attention to the art topic, which is mediated by non-fiction books in a different intensity. The study focuses on various perspectives which make the art accessible for the youth, and on the creative approach based on the cooperation of words, images, graphics, and book type. Non-fiction books of art can be a good exampl

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Vagapova, Firdaus G., and Lyudmila S. Timofeeva. "The role of A. Makhmudov and Sh. Tagirov in the revival of book art traditions in the culture of the Middle Volga Region Tatars." Historical Ethnology 5, no. 3 (2020): 388–98. http://dx.doi.org/10.22378/he.2020-5-3.388-398.

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The article explores the period of reviving the art of calligraphy and handwritten book art in the Tatar culture, which falls on the end of the XIX century and is associated with the names of A. Makhmudov and Sh. Tagirov. The authors of the article presented the genesis and revealed the stages of calligraphy and hand-written book art formation in the culture of the Tatars. The article provides an art criticism analysis of the manuscript book art works included in the creative heritage of A. Makhmudov and Sh. Tagirov. A contrastive-comparative analysis led to a conclusion that the traditions of

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Kazeykina, Ekaterina V. "INTERACTION WITH THE SPECTATOR/READER: THE INTERACTIVE PAPER BOOK IN THE CONTEMPORARY INTERMEDIAL ENVIRONMENT." Articult, no. 4 (December 2024): 51–62. https://doi.org/10.28995/2227-6165-2024-4-51-62.

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The interactive paper, or pop-up, book engages the reader in physical interaction, allowing them to construct their reading experience. Over the past thirty years, it has gained popularity not only among children, their parents, and teachers, but also among museum curators and collectors. This reflects a broader trend of returning to tangible, physical experiences both in everyday life and in art. In the contemporary intermedial environment, artists turn to mass-produced interactive books in search of new formats for engaging with a wide audience. However, art theory does not consider this for

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Piazza, Francesca Di. "[no title]." Art Libraries Journal 17, no. 1 (1992): 6–7. http://dx.doi.org/10.1017/s0307472200007495.

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Working in an art library is a natural extension of my interests since I am an artist creating primarily in book form. I’m attracted to the intimacy of books as art: holding, opening, handling a book is very appealing. My box-books use a lot of found paper, including scraps of discarded books. War and Peace Fragments was made in reaction to the Gulf War and reading Tolstoy. My books are often a mix of personal and political concerns.

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Ganz, David. "Touching Books, Touching Art." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 8, no. 1-2 (2017): 81–113. http://dx.doi.org/10.1558/post.32702.

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This essay deals with the role of book decoration in a tactile approach to sacred texts in the Western Middle Ages. For a long time, books and artworks have been discussed as visual objects. Taking into account their intrinsic haptic qualities opens new ways to understand the contribution of the arts to the use of sacred texts in medieval Christianity.

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Pozdnyakova, Olga V. "Trends in Transition from a Work of Art to an Art Object in Children’s Book Publishing." Observatory of Culture 22, no. 2 (2025): 150–57. https://doi.org/10.25281/2072-3156-2025-22-2-150-157.

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The article is devoted to the current issue of children’s book evolution: the transition from the traditional printed form to a digital analogue, as well as from a work of art to the form of an “art object”. The author borrows this term from postmodernist cultural practices, in the framework of which the principles of creating art objects were rethought, which naturally led to the destruction of style and genre canons. Thus, an art object, being a product of modern creative experiments, is radically different from a classical work of art. Its creator consciously goes beyond the boundaries of t

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Hales, Shelley. "Art and archaeology." Greece and Rome 72, no. 1 (2025): 150–59. https://doi.org/10.1017/s0017383524000251.

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The first two books of this review are part of the Bloomsbury ‘Cultural History’ series, which has now been around for several years. In this series, a cultural theme is explored over the course of a six-volume set that moves progressively through time from antiquity to the modern age. Each volume works as a stand-alone book exploring that particular era but, to facilitate cross-referencing, each volume is organized in the same way, with a standard sequence of chapters. It is a clever idea, but the two books here, on the theme of furniture and colour, show some of the problems of having to squ

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Farmer, Jennie. "Artists’ books in the National Art Library, Victoria and Albert Museum." Art Libraries Journal 32, no. 2 (2007): 27–31. http://dx.doi.org/10.1017/s0307472200019167.

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The National Art Library’s collection of artists’ books is described here by one of the librarians, who is herself trained as a book artist, having completed an MA in Book Arts at Camberwell College of Art. She has built upon this knowledge through working with the large numbers of artists’ books at the NAL and begins this article by discussing the terminology relating to the book arts, going on to talk about the history of the NAL’s collection and touching on its future. She finishes by highlighting a few very distinctive items available for consultation.

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Maasri, Zeina. "The Visual Economy of “Precious Books”." Comparative Studies of South Asia, Africa and the Middle East 40, no. 1 (2020): 95–114. http://dx.doi.org/10.1215/1089201x-8186104.

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Abstract Shedding light on the postcolonial Arabic book, this article expands the literary and art historical fields of inquiry by bringing into play the translocal design and visual economy of modern art books. It is focused on the short-lived Silsilat al-Nafa'is (Precious Books series, 1967–70), published in Beirut by Dar an-Nahar and edited by modernist poet Yusuf al-Khal (1917–87). The series engaged prominent Arab artists and foregrounded the aesthetic dimension of the printed Arabic book as a “precious” art object. Situated historically at the threshold of contemporary globalization, thi

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Mansfield, Elizabeth. "THE VICTORIAN GRAND SIÈCLE: IDEOLOGY AS ART HISTORY." Victorian Literature and Culture 28, no. 1 (2000): 133–47. http://dx.doi.org/10.1017/s1060150300281084.

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The true greatness of this great century consists . . . not in its vain wars, and formal stage, and stilted eloquence, and pompous palaces, and grandiose art, but in the formation and working out of the political and social system of which these things were the first fruits. It is idle to indulge in academical discussions as to the merits of this system. We have inherited it, it has penetrated our lives in every direction, we act, we think under its invisible pressure, and its study is pregnant with teaching.— Emilia Dilke, Art in the Modern StateFUSING AESTHETIC INQUIRY WITH POLITICAL THEORY,

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Rembert, Virginia Pitts, and David Freund. "Scrap Book Art." Woman's Art Journal 18, no. 1 (1997): 64. http://dx.doi.org/10.2307/1358691.

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Constantine, Jillian. "My Art Book." Primary Teacher Update 2012, no. 9 (2012): 57. http://dx.doi.org/10.12968/prtu.2012.1.9.57b.

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Garnhum, Ken. "New Art Book." Canadian Theatre Review 91 (June 1997): 61–62. http://dx.doi.org/10.3138/ctr.91.011.

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Listen to this. It begins with a clean pig, pale green ribbon ’round it’s neck, bow at the top, flanked by two child angels in soft yellow robes, and followed by a child dressed for winter. A rough hand holding a rifle pointed north northeast, a crushed tube of titanium white and a toothbrush, bristles up. resting on a plain glass more than half filled with water. Follow the pig. A smudged, blackish crest hovers above the glass.

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Takahashi, Mami. "Book Art: “Family”." Portable Gray 8, no. 1 (2025): 8–27. https://doi.org/10.1086/736972.

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Barrett, T. H. "Zen and the Art of Librarianship." Journal of Chan Buddhism 1, no. 1-2 (2020): 3–16. http://dx.doi.org/10.1163/25897179-12340002.

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Abstract This paper explores widely held misconceptions about the publishing of East Asian religious books, bibliographies and canons connected to a tradition that appears to foreswear books altogether – Zen Buddhism in China and Japan. Zen and East Asian Buddhist librarianship are also considered here in terms of a rich history of book collecting, printing, and distributing in China and in Europe.

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Safronova, Anna, Olena Safronova, and Valeriy Safronov. "ASPECTS OF THE DEVELOPMENT OF ART FEMINISM IN CONTEMPORARY BOOK AND MAGAZINE PRINTING." Sworld-Us Conference proceedings, usc16-01 (January 30, 2019): 199–204. http://dx.doi.org/10.30888/2709-2267.2023-16-01-033.

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The paper presents a comprehensive analysis of the features of art feminism in contemporary book and magazine printing, which are reflected in art books, zines and photo books. The distinctive features of the visual language of these publications, their s

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Moore, Kelli. "Techniques of Abstraction in Black Arts." Meridians 21, no. 2 (2022): 413–35. http://dx.doi.org/10.1215/15366936-9882119.

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Abstract This review essay discusses recent exhibitions and accompanying art books published at the threshold of Black philosophy and aesthetics in relation to feminist mourning practices: Nicole Fleetwood’s book and exhibition Marking Time: Art in the Age of Mass Incarceration (2020); Grief and Grievance, an exhibition (2021); a book (2020) conceived by the late Nigerian curator Okwui Enwezor; and Saturation: Race, Art, and the Circulation of Value (2020), edited by C. Riley Snorton and Hentyle Yapp. These books and several others elucidate how relationships between transnational feminism, mo

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Wu, Zijing. "Modern Trends in the Development of the Art of Children's Book Illustration." Journal of Aesthetic Education 58, no. 3 (2024): 107–23. http://dx.doi.org/10.5406/15437809.58.3.07.

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Abstract The relevance of the presented research is due to the importance of familiarizing modern children with the culture of reading, in the context of which illustrations for children's books play an especially important role. Book illustrations attract the attention of a child and create the necessary focus in the perception of the information presented in books. The purpose of this article is to analyze the creativity of illustrators of children's literature and to study the modern trends in the art of children's book illustration. During the study, the methods of theoretical and comparat

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Dr. Abdullah saleh Sulaiman alhejji, Dr Abdullah saleh Sulaiman alhejji. "the hadiths that Abu Dawood mentioned in his Sunan followed them that the." journal of King Abdulaziz University Arts And Humanities 30, no. 4 (2022): 275–94. http://dx.doi.org/10.4197/art.30-4.12.

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he Book of Sunan by Abu Dawood Al-Sijistani is one of the six books of interpretation Hadith. it comes in the third place for many narrators after the two Sahihs Al-Bukhari and Muslim and it is a book full of jurisprudential Feqh and hadith benefits.

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Vacchelli, Carlotta. "The Intelligible Book: Timothy Ely's and Luigi Serafini's Book Arts." Italica 96, no. 2 (2019): 281–302. http://dx.doi.org/10.5406/23256672.96.2.05.

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Abstract Italian artist Luigi Serafini and American bookbinder Timothy Ely share the same aesthetics of communication in book art. Both authors conceive their works as a book format, producing a clash between the unreadable content of the books – otherworldly images combined with invented indecipherable codes – and their intelligible material and visual characteristics, that imitate existing artefacts. This study draws a comparison between these two artists’ book production. It is my conviction that the books by Ely and Serafini convey the idea of a universal readability and can be interpreted

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Kelly, Déirdre. "It’s All in the Reading." Arts 9, no. 1 (2020): 19. http://dx.doi.org/10.3390/arts9010019.

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It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this p

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Грищенко, О. "КУРСОВИЙ ПРОЕКТ «КНИГА ХУДОЖНИКА» В НАЦІОНАЛЬНІЙ АКАДЕМІЇ ОБРАЗОТВОРЧОГО МИСТЕЦТВА І АРХІТЕКТУРИ, ЙОГО ІНТЕГРАЦІЯ В СУЧАСНИЙ МИСТЕЦЬКИЙ ПРОСТІР". Вісник ХДАДМ, № 4 (2 листопада 2018): 22–29. https://doi.org/10.5281/zenodo.1476827.

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The article is devoted to the optimum possibilities of integrating the defined term projects in the modern art space. It reviews and analyzes the artist’s book as a symbiosis of the educational and methodological resource and the final creative product actively declared in the exhibition formations. It considers and justifies the value-oriented criteria of the relevant term tasks in higher art institutions, relying on the personal lector’s and curator’s experience. It describes the contribution of students’ projects related to the artist’s book in the general arti

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Cardoso Tederixe, Lisania, Ruth Mariani, and Neuza Rejane Wille Lima. "Handmade Tactile Book about Abstract Art for Blind Children." International Journal of Science and Research (IJSR) 10, no. 1 (2021): 1051–63. https://doi.org/10.21275/sr21118022448.

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Winegar, Jessica. "LILIANE KARNOUK, Contemporary Egyptian Art (Cairo: American University in Cairo Press, 1995). Pp. 137." International Journal of Middle East Studies 32, no. 2 (2000): 304–6. http://dx.doi.org/10.1017/s0020743800002440.

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Studies of contemporary visual art in the Middle East are scarce compared with the vast literature on historical Islamic arts. In the past ten years, however, several notable books and articles have featured this important but under-recognized realm of visual culture in the region. These recent works often examine the ways in which art reflects social trends such as nationalism and struggles for religious identity. Karnouk's book is a worthy introduction to the world of contemporary art in Egypt, and is the first major English-language book of its kind on the subject (see also Wijdan Ali, Mode

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Manning, Susan M. "A Review of The Art of Poetic Inquiry." in education 20, no. 2 (2014): 182–84. http://dx.doi.org/10.37119/ojs2014.v20i2.206.

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Khair Allah, Raad. "Review." Exchanges: The Interdisciplinary Research Journal 11, no. 1 (2023): 85–91. http://dx.doi.org/10.31273/eirj.v11i1.1349.

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Art can be particularly an effective means of building transnational understanding across cultural divides. Specifically, the act of making art to express conflict, sexuality and identity is significant as Arab women have frequently been marginalised and excluded from such a site of visibility and meaning. Contemporary Arab women artists not only contribute to global feminist theory but also deal with their aesthetic, visual and personal concerns. The Body in Twilight: Representation of the Human Body, Sexuality and Struggle in Contemporary Arab Art is a book by the Syrian professor of visual

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Golubeva, Olga S. "TRADITIONS OF BOOK GRAPHICS OF THE “WORLD OF ART” ASSOCIATION IN SAINT PETERSBURG CHILDREN’S BOOK OF THE LATE XXTH — EARLY XXIST CENTURIES." Arts education and science 3, no. 36 (2023): 149–59. http://dx.doi.org/10.36871/hon.202303149.

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The article reviews the publications designed and illustrated by Saint Petersburg book graphic artists in the late XXth – early XXIst centuries: G. A. V. Traugot, M. S. Mayofis, A. N. Azemsha, S. A. Ostrov, V. I. Tsikota, K. O. Pochtennaya. The books are analyzed in terms of preserving the traditions that emerged in the early XXth century in the book graphics of the “World of Art” association, concerning both the visual manner and the peculiarities of design and approach to work on the publication as a whole. Modern Saint Petersburg masters to varying degrees continue the traditions of the “Wo

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Quintanar Iniesta, José Andrés. "Twentysix Gasoline Stations. Ed Rusha, artista editor." ACCADERE. Revista de Historia del Arte, no. 8 (2024): 11–40. https://doi.org/10.25145/j.histarte.2024.08.01.

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In the 1960s the book appeared as a new and revolutionary art format. Conceptual artists, concrete poets, or the FLUXUS movement found in publishing, photocopies and books a workspace free of any power structure and that allowed, by eliminating the single commercial object, to democratize art. But occupying or parasitizing an industry such as publishing and printing was not only about using its means and tools, but also about developing new strate- gies and ways of doing things where editorial design, graphic design and printing techniques replaced traditional techniques. traditional arts such

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O'Hear, Anthony. "Prospects for Beauty." Royal Institute of Philosophy Supplement 48 (September 2001): 175–91. http://dx.doi.org/10.1017/s1358246100010778.

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Ruskin said ‘Great nations write their autobiographies in three manuscripts, the book of their deeds, the book of their words and the book of their art. Nor one of these books can be understood unless we read the two others, but of the three the only trustworthy one is the last.’

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Golick, Greta. "Making Booxs: iSchool Students De/Construct the Book." Art Libraries Journal 41, no. 4 (2016): 187–97. http://dx.doi.org/10.1017/alj.2016.24.

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What can current students preparing for careers as librarians, archivists and museum curators learn from the book as object and the book as art? How can artists’ books and artisans engaged in bookmaking, conservation and curating books inform our ideas of the book as more than its text? How does bookmaking deepen the connection for students between content and form? This article describes a 6-week workshop conducted at the Faculty of Information at the University of Toronto that explores the book from its earliest forms to artists’ books and includes many descriptions of books constructed by i

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Drury, Nevill. "Australian art books and the international marketplace." Art Libraries Journal 13, no. 4 (1988): 26–28. http://dx.doi.org/10.1017/s0307472200005964.

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Art book publishers in countries remote from the main world markets have to overcome formidable problems if they are to succeed in publishing books on the art and artists of their own countries. Quality cannot be sacrificed, but the books must be economically viable. Co-publishing offers the best strategy for increasing sales of appropriate publications overseas; co-editions, featuring well known artists, may do well enough to subsidise other books which have an important contribution to make to the documentation of the nation’s art but which are less likely to sell abroad.

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Asamoah, Samuel Prophask, Babaaradio Kombui, and Dickson Adom. "Monni Adam’s ‘African visual art from an art historical perspective’: A book review." Journal of African History, Culture and Arts 4, no. 1 (2024): 14–26. http://dx.doi.org/10.57040/jahca.v4i1.598.

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The purpose of this study was to conduct a comprehensive and critical review of the book ‘African Visual Art from an Art Historical Perspective’ authored by Monni Adams published in 1989. The book is focused on the study of artworks from Sub-Saharan indigenous societies based on the perspectives of Art Historians in the United States. The book has been an indispensable teaching and research resource for practitioners, teachers, researchers, and students of art history as well as all those who are interested in acquiring in-depth knowledge in the history of the visual arts of the African contin

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Kurhanova, Olena. "Visualization of the Book: Graphic Metaphors in Art Decoration of Ukrainian Church Editions of the Baroque Epoque." Knygotyra 81 (December 22, 2023): 38–64. http://dx.doi.org/10.15388/knygotyra.2023.81.2.

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The article considers the role of metaphor in the art decoration of 17th–18th centuries Ukrainian editions of church books. It claims that the book art of this period is marked by generous use of symbolic and allegoric visual images which play metaphorical role in general structure of the book. Structural-semiotical exploration of title pages, frontispieces, and illustration cycles in more than one hundred reeditions of Ukrainian church books of 17th–18th centuries enabled us to single out the main types of structure forming visual metaphors. All metaphorical visual images, used in decoration

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Paulouskaya, Hanna. "To India and Lithuania through Soviet Picture Books." Dzieciństwo. Literatura i Kultura 1, no. 2 (2019): 242–50. http://dx.doi.org/10.32798/dlk.170.

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The review article discusses a book by Giedrė Jankevičiūtė and V. Geetha, Another History of the Children’s Picture Book: From Soviet Lithuania to India (2017). It describes the content of the monograph in the context of studies on picture books, especially those of Russia, Lithuania, and the Soviet Union, on the history of childhood and Russian literature. The main merit of the volume, in the opinion of the reviewer, is the choice of Indian and Lithuanian book art for comparison, which is made from the perspectives of the history of literature, art, societies, and understanding of childhood.

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Abubakar, Umar Abubakar. "Achievements of Amir El- Mumineen Muhammad Bello in the field of Islamic Medicine; An analytical Presentation from his book Ujalatu Al-Rakib fi Al-Thibbi Al-Sa'ib." Global Journal of Research in Education & Literature 2, no. 3 (2022): 95–100. https://doi.org/10.5281/zenodo.6672279.

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This research is about achievements accomplished by Muhammad Bello in the field of medicine, with its analysis and simplification through his book "Ujalatu Al-Rakib fi Al-Thibbi Al-Sa’ib". Therefore, the researcher has explored the author’s biography and clarified the contents of his aforementioned book of the importance of the science of medicine and its benefits in terms of religion and the body. In it, the author's approach explained in developing this book, and mentioned some examples of medical sciences from the book, and his extensive effort in the interest in t

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