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Books on the topic 'Visions- artists and the creative process'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Shanks, Duncan. Duncan Shanks: The creative process. Glasgow: Hunterian Art Gallery, 1994.

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2

A, Winer Marc S., ed. Drawing: The creative process. New York: Simon & Schuster, 1992.

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3

Simmons, Seymour. Drawing: The creative process. New York: Prentice-Hall, 1986.

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4

Modeling life: Art models speak about nudity, sexuality, and the creative process. Albany: State University of New York Press, 2006.

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5

Ottmann, Klaus. Fairfield Porter raw: The creative process of an American master. Southampton, N.Y: Parrish Art Museum, 2010.

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6

Fairfield, Porter, and Parrish Art Museum, eds. Fairfield Porter raw: The creative process of an American master. Southampton, N.Y: Parrish Art Museum, 2010.

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7

Trust the process: An artist's guide to letting go. Boston: Shambhala, 1998.

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8

Fletcher, Jared K. Comic book logo and type design: Top artists reveal their creative process and design techniques. Berkeley: Watson-Guptill, 2015.

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9

Archipenko, Alexander. Alexander Archipenko: The creative process : drawings, reliefs and related sculptures : October 2 - November 13, 1995 : Rachel Adler Gallery. New York: Rachel Adler Gallery, 1993.

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10

Nine Aspen Artists. Personal Visions and Creative Environments. Published By The Third Eye Press., 1995.

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11

Simmons, Seymour. Drawing : the creative process. New York, 1986.

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12

Creative Practices for Visual Artists: Time, Space, Process. Routledge, 2018.

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13

C, Cupchik Gerald, and László János, eds. Emerging visions of the aesthetic process: Psychology, semiology, and philosophy. Cambridge: Cambridge University Press, 1992.

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14

Art Work: Seeing Inside the Creative Process. Chronicle Books, 2011.

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15

(Editor), Gerald C. Cupchik, and Janos László (Editor), eds. Emerging Visions of the Aesthetic Process: In Psychology, Semiology, and Philosophy. Cambridge University Press, 1992.

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16

Pagitt, Doug, and Troy Bronsink. Drawn In: A Creative Process for Artists, Activists, and Jesus Followers. Paraclete Press, Incorporated, 2012.

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17

Shcherbakova, Marina I., ed. Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/lit.pr.2020-2.

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Investigations of the creative heritage of Russian writers and poets of the 18 th -19 th centuries, as well as of the most prominent representatives of the Russian clergy and Russian culture, are presented in the scientific work; key issues of the writers’ work method and style, of their works’ genre features, creative self-determination, are raised; new and unique explanations of both widely known and less read classics’ works, which reveal deep meanings and ideas that have not yet been identified in literary criticism, are given. The literary process of the era is illustrated by the special continuity of thoughts and ideas characteristic of Russian literature for which, deep vision and understanding of life, religious consciousness (it is from the said position the study of the works’ artistic worlds is necessary). Materials of archives, rare book publications and periodicals equipped with scientific commentary are introduced into scientific circulation. The originality of the published investigations and materials gives the collective work topicality and special colour on the whole.
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18

M, Berlin Richard, ed. Poets on Prozac: Mental illness, treatment, and the creative process. Baltimore: Johns Hopkins University Press, 2008.

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19

Lambert, Gregg. Meditation on the Animal and the Work of Art. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0013.

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This chapter explores the notion of “becoming-animal” as a process of “creating a relation to territory” in reference to the artist and the writer. For Deleuze, the animal has a privileged and very specific relation to the notions of territory and world, one that is based on a relative number of affects and on a process of selection (i.e., the extraction of singularities from a milieu or an environment [Umwelt]). The animal entertains a relation to its world that is produced in terms of a relation to distinctive territory, whereas the human is found to have a relation to world, but no proper territory of its own). However, for Deleuze, the writer and the artist are often described as beings who enter into a process of becoming where the subject loses its own proper identity as an individual or a human being and enters into a process that closely approximates the animal’s “captivation” by an environment, to employ Heidegger’s term, even though the artist or the writer produces a specific world by extracting lines, fragments, colors, visions or scenes from its external environment in order to compose a territory that is expressed by the work of art.
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20

Lowry, Glenn D., writer of foreword, Gorovoy Jerry interviewee, Harlan Felix interviewee, Shiff Ben interviewee, Kang Sewon organizer, Bourgeois Louise 1911-2010 artist, Bourgeois Louise 1911-2010, and Museum of Modern Art (New York, N.Y.), eds. Louise Bourgeois: An unfolding portrait : prints, books, and the creative process. 2017.

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21

Art Workshop for Children: How to Foster Original Thinking with over 30 Process Art Experiences. Quarto Publishing Group USA, 2016.

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22

Skillman-Hull, Leslie E. SHE WALKS IN BEAUTY: NURSE-ARTISTS' LIVED EXPERIENCE OF THE CREATIVE PROCESS AND AESTHETIC HUMAN CARE. 1994.

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23

Art Workshop for Children: How to Foster Original Thinking with More Than 25 Process Art Experiences. Quarto Publishing Group USA, 2016.

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24

Andrew, Nell. Moving Modernism. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190057275.001.0001.

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This book reenacts the simultaneous eruption of three spectacular revolutions—the development of pictorial abstraction, the first modern dance, and the birth of cinema—which together changed the artistic landscape of early twentieth-century Europe and the future of modern art. Rather than seeking dancing pictures or pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering the performances, methods, and circles of aesthetic influence of avant-garde dance pioneers and experimental filmmakers from the turn of the century to the interwar period, this book challenges modernism’s medium-specific frameworks by demonstrating the significant role played by the arts of motion in the historical avant-garde’s development of abstraction: from the turn-of-the-century dancer Loïe Fuller, who awakened in symbolist artists the possibility of prolonged vision; to cubo-futurist and neosymbolist artists who reached pure abstraction in tandem with the radical dance theory of Valentine de Saint-Point; to Sophie Taeuber’s hybrid Dadaism between art and dance; to Akarova, a prolific choreographer whose dancing Belgian constructivist pioneers called “music architecture”; and finally to the dancing images of early cinematic abstraction from the Lumière brothers to Germaine Dulac. Each chapter reveals the emergence of abstractionas an apparatus of creation, perception, and reception deployed across artistic media toward shared modernist goals. The author argues that abstraction can be worked like a muscle, a medium through which habits of reception and perception are broken and art’s viewers are engaged by the kinesthetic sensation to move and be moved.
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25

Vandrei, Martha. Queen Boudica and Historical Culture in Britain. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816720.001.0001.

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This innovative and distinctive book takes a long chronological view and a wide-ranging, interdisciplinary approach. It is the definitive work on the posthumous reputation of the ever-popular warrior queen of the Iceni, Queen Boadicea/Boudica. It explores her presence in British historical discourse, from the early modern rediscovery of the works of Tacitus to the first historical films of the early twentieth century. In doing so, the book seeks to demonstrate the continuity and persistence of historical ideas across time and throughout a variety of media. This focus on continuity leads into an examination of the nature of history as a cultural phenomenon and the implications this has for our own conceptions of history and its role in culture more generally. While providing contemporary contextual readings of Boudica’s representations, this book also explores the unique nature of historical ideas as durable cultural phenomena, articulated by very different individuals over time, all of whom were nevertheless engaged in the creative process of making history. Thus this book presents a challenge to the axioms of cultural history, new historicism, and other mainstays of twentieth- and twenty-first-century historical scholarship. It shows how, long before professional historians sought to monopolize historical practice, audiences encountered visions of past ages created by antiquaries, playwrights, poets, novelists, and artists, all of whom engaged with, articulated, and even defined the meaning of ‘historical truth’. This book argues that these individual depictions, variable audience reactions, and the abiding notion of history as truth constitute the substance of historical culture.
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26

Kaufman, Robert L. Synthetic ego functions in creative persons: An application of the Rorschach to the understanding of the artistic process. 1987.

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27

Colmeiro, José. Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.001.0001.

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Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.
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28

Mishory, Alec. Artists’ Colonies in Israel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912628.003.0009.

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This chapter discusses the history of artists’ colonies in Israel. An artists’ colony is a physical site where artists are expected to work collectively, inspiring and influencing each other’s creative process. Artists’ colonies were in existence in Europe from the beginning of the nineteenth century. In Israel, such colonies were established during the first decade following independence. The first was a colony located in Safed, followed by Ein Hod and a colony in the old section of Jaffa. The establishment of artists’ colonies in Israel can be attributed to three figures: Marcel Jancu, Moshe Castel, and Itche Mambush. The chapter provides an overview of the artists’ colonies of Safed, Ein Hod, and Old Jaffa and examines why the various attempts to establish artists’ colonies in Israel did not fulfill their visionary manifestos.
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29

Matin, Samiha. Private Femininity, Public Femininity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0007.

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This chapter examines the contemporary costume film's unique interrelationship of femininity and privacy by focusing on how the historical constraints of privacy force the post-feminist heroine to make herself anew as a feminine subject. It uses the two poles of privacy and publicness to organize relationships between gender, feeling, time, aesthetics, and identity, worked through and re-envisioned by costume films for present-day viewers. By these means, the values of privacy and publicness are recalibrated to accommodate a mutable femininity that uses aesthetics and feeling as creative methods of adaptation. The heroine's process of identity construction consists of tests, experiments, and play with self-presentation to find and utilize the sanctioned meanings and covert privileges afforded by femininity. In reassembling elements of gender and galvanizing their force to new ends, spaces for covert resistance and pressure-release emerge. This course is one of “tactical aesthetics,” or the deployment of style to access power which makes use of gendered acts, expressions, dress, and etiquette to design new advantages. To explore this concept, the chapter analyzes two films, Elizabeth (1997) and Marie Antoinette (2006), as divergent visions of femininity.
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30

Gottlieb, Michah. The Jewish Reformation. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199336388.001.0001.

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Beginning in the late eighteenth century, Jews entered the German middle class with remarkable speed. This process has often been identified with Jews’ increasing alienation from religion and Jewish nationhood. In fact, this period was one of intense engagement with Jewish texts and traditions. An expression of this was the remarkable turn to Bible translation. In the century and a half between Moses Mendelssohn’s pioneering translation and the final one by Martin Buber and Franz Rosenzweig, German Jews produced fifteen different translations of at least the Pentateuch. Buber and Rosenzweig famously critiqued bourgeois German Judaism as a craven attempt to establish social respectability to facilitate Jews’ entry into the middle class through a vapid, domesticated account of Judaism. Exploring Bible translations by Moses Mendelssohn, Leopold Zunz, and Samson Raphael Hirsch, the author argues that each sought to ground a “reformation” of Judaism along bourgeois lines, which involved aligning Judaism with a Protestant concept of religion. They did so because they saw in bourgeois values the best means to serve God and the authentic actualization of Jewish tradition. Through their learned, creative Bible translations, Mendelssohn, Zunz, and Hirsch presented distinct visions of middle-class Judaism that affirmed Jewish nationhood while lighting the path to a purposeful, emotionally rich, spiritual life grounded in ethical responsibility.
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31

McLeish, Tom. The Poetry and Music of Science. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198797999.001.0001.

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‘I could not see any place in science for my creativity or imagination’, was the explanation, of a bright school leaver to the author, of why she had abandoned all study of science. Yet as any scientist knows, the imagination is essential to the immense task of re-creating a shared model of nature from the scale of the cosmos, through biological complexity, to the smallest subatomic structures. Encounters like that one inspired this book, which takes a journey through the creative process in the arts as well as sciences. Visiting great creative people of the past, it also draws on personal accounts of scientists, artists, mathematicians, writers, and musicians today to explore the commonalities and differences in creation. Tom McLeish finds that the ‘Two Cultures’ division between the arts and the sciences is not after all, the best classification of creative processes, for all creation calls on the power of the imagination within the constraints of form. Instead, the three modes of visual, textual, and abstract imagination have woven the stories of the arts and sciences together, but using different tools. As well as panoramic assessments of creativity, calling on ideas from the ancient world, medieval thought, and twentieth-century philosophy and theology, The Poetry and Music of Science illustrates its emerging story by specific close-up explorations of musical (Schumann), literary (James, Woolf, Goethe) mathematical (Wiles), and scientific (Humboldt, Einstein) creation. The book concludes by asking how creativity contributes to what it means to be human.
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32

Goldschmitt, K. E. Bossa Mundo. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.001.0001.

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Bossa Mundo chronicles how Brazilian music has been central to Brazil’s national brand in the United States and the United Kingdom since the late 1950s. Scholarly texts on Brazilian popular music generally focus on questions of music and national identity, and when they discuss the music’s international popularity, they keep the artists, recordings, and live performances as the focus, ignoring the process of transnational mediation. This book fills a major gap in Brazilian music studies by analyzing the consequences of moments when Brazilian music was popular in Anglophone markets, with a focus on the media industries. With subject matter as varied as jazz, film music, dance fads, DJ/remix culture, and new models of musical distribution, the book demonstrates how the mediation of Brazilian music in an increasingly crowded transnational marketplace has had lasting consequences for the creative output celebrated by Brazil as part of its national brand. Through a discussion of the political meaning of mass-mediated music in chronologically organized chapters, the book shifts the scholarly focus on the music’s transnational popularity from the scholarly framework of representing Otherness to broader considerations of a media environment where listeners and intermediaries often have differing priorities. The book provides a new model for studying music from culturally rich countries in the Global South where local governments often leverage stereotypes in their national branding project.
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33

Voyatzaki, Maria, ed. Architectural Materialisms. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420570.001.0001.

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This book gathers 14 voices from a diverse group of architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. By transversally crossing disciplinary boundaries, new and profound insights into contemporary thinking and creating architecture emerge. The book is at the forefront of the current contemplation on matter and its significance for and within architecture. The premise is that matter in posthuman times has to be rethought in the rich and multifaceted context of contemporary computational architecture, and in the systemic and ecological context of pervasive computer simulations. Combining the dynamism of materiality and the capacities of nonhuman machines towards prototyping spatiotemporal designs and constructs, leads to alternative conceptions of the human, of ethics, aesthetics and politics in this world yet-to-come. The reader, through the various approaches presented by the authors’ perspectives, will appreciate that creativity can come from allowing matter to take the lead in the feedback loop of the creative process towards a relevant outcome evaluated as such by a matter of concern actualised within the ecological milieu of design. The focus is on the authors’ speculative dimension in their multifaceted role of discussing materiality by recognising that a transdisciplinary mode is first and foremost a speculative praxis in our effort to trace materiality and its affects in creativity. The book is not interested in discussing technicalities and unidirectional approaches to materiality, and retreats from a historical linear timeline of enquiry whilst establishing a sectional mapping of materiality’s importance in the emergent future of architecture.
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