An essential handbook for students and professionals on writing eloquently, accurately, and originally about contemporary art How to Write About Contemporary Art is the definitive guide to writing engagingly about the art of our time. Invaluable for students, arts professionals and other aspiring writers, the book first navigates readers through the key elements of style and content, from the aims and structure of a piece to its tone and language. Brimming with practical tips that range across the complete spectrum of art-writing, the second part of the book is organized around its specific forms, including academic essays; press releases and news articles; texts for auction and exhibition catalogues, gallery guides and wall labels; op-ed journalism and exhibition reviews; and writing for websites and blogs. In counseling the reader against common pitfalls—such as jargon and poor structure—Gilda Williams points instead to the power of close looking and research, showing how to deploy language effectively; how to develop new ideas; and how to construct compelling texts. More than 30 illustrations throughout support closely analysed case studies of the best writing, in Source Texts by 64 authors, including Claire Bishop, Thomas Crow, T.J. Demos, Okwui Enwezor, Dave Hickey, John Kelsey, Chris Kraus, Rosalind Krauss, Stuart Morgan, Hito Steyerl, and Adam Szymczyk. Supplemented by a general bibliography, advice on the use and misuse of grammar, and tips on how to construct your own contemporary art library, How to Write About Contemporary Art is the essential handbook for all those interested in communicating about the art of today.

This volume - investigating the work of a particular photographer, in thisase, Boris Mikhailov - comprises a 4000-word essay by an expert in the field,5 photographs presented chronologically, each with a commentary, and aiography of the featured photographer.

The inaugural contemporary exhibition at The Lowry brings together paintings, drawings, photographs, sculpture and installation by four European artists: Alice Maher, Thomas Ruff, James Rielly, and Lindsay Seers.

'A perfect introduction to art for parents and children to enjoy together.' - The Guardian A brand-new combined, revised, and expanded edition of the ground-breaking, iconic art book series for children - perfect for readers aged 7-12 Two decades ago, Phaidon published the first volume in The Art Book for Children series (adapted especially for children from Phaidon's iconic The Art Book), which quickly became beloved by children and parents the world over. To share its legacy with a new generation of readers, this combined, updated, and expanded edition pairs a selection of 'best of' artists from the original series with 30 brand-new contemporary entries. This single volume features 60 artists through a wide range of large-scale, full-page reproductions of their artworks, including paintings, photographs, sculptures, video, prints, and installations from across time and space. Each page showcases defining artworks by the artists, combined with an interactive and informative conversation, giving relatable and memorable contexts for children, and inspiring a curiosity and appreciation for the Visual Arts that will continue into adulthood. With a fresh new design, this book both features the 'best of' from the original two volumes, plus new entries, specially selected in collaboration with art historian and writer, Ferren Gipson. Ages 7-12

世界上的所有產業裡面，大概只有「藝術」這個產業，文字的說明常常不是在「輔助」使用者理解，而是「擴大」使用者與產品〈藝術品〉之間的鴻溝。 然而，「有效溝通」一直是，也永遠會是人類交流所有事物的趨勢， 藝術，當然不可能自外於這個邏輯。 十九世紀英國的藝術評論家羅斯金〈John Ruskin〉這麼說： 「人活在世上最偉大的事情就是觀看，然後以簡單的語言表達出所見。」 依此道理，一件好的藝術創作，理當值得一篇好的文字去介紹和推廣，才能提升觀賞者對於作品的體驗。但是，甚麼是好的文字？不論是使用的場合，還是書寫的目的，不同類型的文字都應該有判斷的標準，或是範例，這就是本書要做的事情！ 本書內容包含三個階段：從「為何」寫、「如何」寫，到寫成「什麼」！  第一部分：正本清源講明白，書寫藝術的目的一開始就要分清楚，到底是分析還是解說？ 藝術書寫形式全收錄：學術文章、短篇解說、新聞稿、拍賣圖錄、畫冊專文、報紙、網路或雜誌評論、藝評寫作，以及藝術家創作自述。  第二部分：從心理、常識與觀點的再教育，破除許多作者以往認知的錯誤觀念，期盼書寫者能夠踏踏實實地寫出真正對藝術品有幫助，對讀者負責任的文字。  第三部分：從各種需求和格式來說明，搭配名家、優秀評論人的出色文章作為範例，讓寫作者知道「什麼是好的！」，如：克勞絲（Rosalind Krauss）、史戴爾(Hito Steyerl)、畢莎普（Claire Bishop）、克洛（Thomas Crow）、迪蒙斯（T. J. Demos）、恩威佐（Okwui Enwezor）…。 如果說，這一本書寫教學指南有什麼獨一無二、非它不可之處，那就是作者舉出非常多「壞的、不好的、糟糕的書寫範例」，讀者從這些相反的例子，才能學習如何避免重蹈覆轍，進而寫出優美、流暢、易讀的好文章。因此，《如何書寫當代藝術》確實是一本藝術從業人員、所有書寫藝術的作者都應該擁有的工具書，更是一本引導我們如何去認真的理解、誠實的訴說當代藝術的終極指南。

Un déguisement peut-il être une œuvre d'art ? Comment peindre les sentiments ? Pourquoi Giuseppe Arcimboldo s'est-il inspiré d'un marchand de fruits et légumes ? Comment Alberto Giacometti fabriquait-il ses silhouettes ? Peut-on peindre un bruit ? Pourquoi Jeff Koons a-t-il fait une sculpture géante à l'aide de soixante-dix mille plantes ? Ce livre présente les manières de voir et de faire de trente artistes très différents. Il éveille la créativité et l'imagination des enfants en les invitant à se demander pourquoi les artistes font ceci ou cela. Il examine les diverses idées, significations et fonctions de l'art à travers la peinture, la sculpture, la photographie et la gravure, et aide les enfants à mieux comprendre le rôle des couleurs, des formes, des textures et des motifs. Simple, clair et amusant, c'est un outil idéal pour les enseignants et les parents, et une parfaite introduction au monde de l'art pour tous ceux qui l'abordent pour la première fois. Ce livre s'inscrit dans la lignée du Musée de l'art, ouvrage original qui est devenu l'un des plus grands succès de l'édition d'art.

Alison Nolen's intricate welded architectural installations reconstitute monumental, 20th-century sites of leisure, fantasy and cultural artifice, such as the Crystal Palace, Luna Park, Brighton Pier, and Las Vegas. Sensational and fantastic spaces have always inspired Norlen, from her early theme park sculptures and pinball landscapes, to her series of drawn Floats, with their tangled collisions of rural fairgrounds, roadside attractions, and construction sites. Norlen's more recent engagements on paper feature monolithic structures like the Spanish fortress, Alhambra, or obsolete industrial sites. Futuristic yet nostalgic, Nolan's work contains elements of the industrial and monumental yet manages to be neither robust nor invincible, remaining instead ephemeral and vulnerable. No matter the material or format, the artist explores the effects of time and the persistence of memory within an intricate and layered narrative landscape. Alison Norlen has exhibited in solo and group shows throughout the country at, notably, School of Architecture University of Manitoba, Simon Fraser University, Harbourfront Centre, and the National Gallery of Canada. 0Exhibition: Mendel Art Gallery, Saskatoon, Canada (25.01-10.03.2014).

Etudie l'oeuvre de l'artiste à travers 55 de ses photographies, accompagnées de brefs commentaires.