Film & Music 22, 23, 24

Jason Draper

● Part of the “Lives the Musicians” series: highly readable short biographies of the most popular musicians

● Prince was one of the titans of Pop from the 1980s until his death in 2016

● There is no other short, concise biography of

Prince for adults.

His name was Prince, and he was funky. He was also inspiring, visionary, seductive, and contradictory. Especially contradictory. When he changed his name to an unpronounceable glyph, he merged symbols of the male and female to represent himself. When he recorded music—a daily torrent of creativity— he slipped with ease between male and female viewpoints. This book charts the rise of the 5ft 2-inch “Minneapolis genius” from “the next Stevie Wonder” to a unique artist whose towering legacy continues to shape pop culture.

AUTHOR Jason Draper is a music journalist and author of Prince: Life and Times (2017), Led Zeppelin: Revealed (2008), and A Brief History Of Album Covers (2017). INFO 9781913947552

20 illustrations

192 pages 7¼ x 4¾ ins $17.99 • Hardcover

SEPTEMBER 2021

ALSO AVAILABLE:

DAVID BOWIE

9781786278005

David Hockney

James Cahill

● The story of Hockney’s truly individual life in one short volume

● The go-to concise biography of one of the world’s favorite painters

● Part of the “Lives of the Artists” series: highly readable short biographies of the world’s greatest artists

David Hockney is the most famous living British artist. Emerging from the north of England in the 1960s, he made quite a splash in Swinging London as a portraitist, and went on to make an even bigger splash in Los Angeles when he moved there in the 1970s. By the beginning of the millennium, he had returned to his Yorkshire roots, embarking on a new period of painting and capping a truly remarkable career. This book brings his spectacular life together into one short, sweet volume.

AUTHOR James Cahill is a writer and critic based in London who has written for Apollo, The Burlington Magazine, CURA, Elephant, Frieze, The Los Angeles Review of Books, London Review of Books, and Times Literary Supplement. INFO 9781913947422

16 illustrations

144 pages 7¼ x 4¾ ins $17.99 • Hardcover

OCTOBER 2021

From: Frida Kahlo by Hettie Judah

(also part of the “Lives of the Artists” series)

How the Masters See, Think & Create

Holly Black

● Includes iconic works of 50 great artists, from Michelangelo to Tracey Emin

● Each image is accompanied by a quote from the artist to inspire and illuminate

● Added analysis provides invaluable insight into the techniques of the artists

Through a curated selection of quotations, images, and interviews, Artists on Art reveals what matters most to the masters, from Ai Weiwei to Ana Mendieta. Discover how the giants of the different artistic genres developed their distinctive visual styles, the core ideas that underpin their practice, and, most importantly, what art means to you.

AUTHOR Holly Black is an arts journalist and Managing Editor at Elephant magazine. She has written for publications including Aperture, AnOther, The Art Newspaper, House & Garden, and Wallpaper. INFO 9781786278852

50 illustrations

128 pages 7⅞ x 5¾ ins $17.99 • Paperback

AUGUST 2021

ALSO AVAILABLE Photographers on Photography: How the Masters See, Think & Shoot

‘Fine artists deal with finery, but I deal with painful material.’

Zanele Muholi

B: 1972, South Africa

Zanele Muholi is dedicated to amplifying the voices of marginalized queer communities and acknowledging the suffering that has been wrought in the wake of South African apartheid. Identifying as a ‘cultural activist’ rather than an artist, they shun prescribed definitions of beauty and social significance supported by the colonial gaze, and focus on engaging with effective community-led activism. Muholi never refers to ‘subjects’ but rather ‘participants’ who take on a collaborative role in extensive projects such as ‘Faces and Phases’ (2006–), which documents the lives of black lesbian and transgender individuals.

The more recent series ‘Somnyama Ngonyama: Hail the Dark Lioness’ (2014–17) focuses on the possibilities of the activist’s own image as a black, non-binary person, informed by the prejudices experienced during extensive international travel. The itinerant image-maker took one photo every day for a year, utilizing such ubiquitous materials as pegs, rubber tubes and sponges to build costumes that speak to various forms of South African heritage and often painful acts of historical record. By constructing such commanding images without any form of elaborate set-up, props or process, Muholi speaks to power, resilience and a unique form of un-gilded magnificence.

From the Sculptor’s Studio

Conversations with 20 Seminal Artists

Ina Cole

● Twenty of the most influential contemporary sculptors talk candidly about their work

● Includes interviews with Antony Gormley, Phyllida Barlow, Anish Kapoor, Rachel Whiteread, Mona Hatoum, Richard Long, Eva Rothschild, Yinka Shonibare, Andy Goldsworthy, and Fiona Banner

● Fully illustrated throughout and with in-depth interviews, this serves as a milestone publication on contemporary sculpture

Anish Kapoor, Antony Gormley, Phyllida Barlow, Yinka Shonibare, Rachel Whiteread—these are the sculptors who define sculpture, and here they are in their own words. From the Sculptor’s Studio is a unique collection of personal conversations with 20 seminal artists, each of whom have created iconic work, exhibited worldwide, and pushed past the boundaries of sculpting in their own way.

AUTHOR Ina Cole is UK editor for Sculpture, a publication affiliated to the International Sculpture Centre in the US. She was appointed for the launch of Tate St Ives in 1993. There followed positions at Compton Verney Art Gallery & Park, University of Warwick, and Bath Spa University. INFO 9781913947590

200 illustrations

256 pages 11½ x 8¾ ins $60.00 • Hardcover

OCTOBER 2021

The Women Who Changed Art Forever

Feminist Art—The Graphic Novel

Valentina Grande and Eva Rossetti

● A cool, visually led and accessible primer on the four pillars of feminist art

● Told from the viewpoint of four feminist pioneers—

Judy Chicago, Faith Ringgold, Ana Mendieta, and the Guerrilla Girls

● The full story of how a powerful wave of women artists changed art forever

Told in colorful graphic novel form, this is the story of four pioneers of feminist art: Judy Chicago, Faith Ringgold, Ana Mendieta, and the Guerrilla Girls. Each made their mark in their own powerful way. Judy Chicago made us reassess the female body, Faith Ringgold taught us that feminism is for everyone, Ana Mendieta was a martyr to violence against women, while the Guerrilla Girls continue to take the fight to the male-dominated museum.

AUTHOR Valentina Grande has previously written graphic novels on the lives of J.D. Salinger and Raymond Carver.

Eva Rossetti is an illustrator and author, her graphic novel on the life of J.D. Salinger was published in 2017. INFO 9781913947002

250 illustrations

136 pages 9½ x 6¾ ins $19.99 • Hardcover

AUGUST 2021

The Pocket Photographer

How to Take Amazing Photos with Your Phone

Mike Kus

● Distilled, practical advice and simple techniques aimed at amateur photographers

● Author has over 800k Instagram followers

● Illustrations as well as photographs to describe the key concepts

Everyone has a camera on their phone. Author Mike Kus, a photographer with a strong Instagram following, demonstrates the simple tricks and techniques that take your photography to another level. His methods can be mastered by anyone, and the content avoids reference to specific phone camera technology, instead relying on the clear principles to make you a better photographer, regardless of the camera you own. The book is written, designed, and illustrated by the author.

AUTHOR Mike Kus is a UK-based author specializing in branding, graphic design, illustration, and photography. He has built up a successful Instagram following for his photography with 800k followers. INFO 9781913947521

200 illustrations

144 pages 7⅞ x 5½ ins $19.99 • Hardcover

OCTOBER 2021

Photographers on Photography (Paperback)

How the Masters See, Think & Shoot

Henry Carroll

● Includes iconic images from 50 masters

● Each image is accompanied by a quote from the master photographer to inspire and illuminate

● Analysis from Henry Carroll provides invaluable insight into their thoughts and techniques

Through a curated selection of quotations, images, and interviews, Photographers on Photography reveals what matters most to the masters. With enlightening text by Henry Carroll, author of the internationally bestselling Read This if You Want to Take Great Photographs series, you’ll discover how the giants of the genres developed their distinctive visual styles, the core ideas that underpin their practice and, most importantly, what photography means to you.

AUTHOR Henry Carroll studied photography at the Royal College of Art in London and his work has been exhibited worldwide. Henry’s clear, jargon-free style of teaching has demystified digital photography and inspired thousands to get creative with their cameras. INFO 9781786279156

50 illustrations

PHOTOGRAPHERS ON PHOTOGRAPHY

HOW THE MASTERS SEE, THINK & SHOOT HENRY CARROLL

128 pages 7⅞ x 5¾ ins $17.99 • Paperback

AUGUST 2021

AVAILABLE IN PAPERBACK

Fundamentals of Art History (New Edition)

Michael Cothren and Anne D’Alleva

● Bestselling handbook for art history students, now in its 4th edition. Previously published as Look! The

Fundamentals of Art History

● Provides step-by-step guidance on how to write papers and prepare for exams

● Updated discussions of types and media of art, controversies around study of art, art and museums, art and the marketplace

This invaluable guide enables students to get the most from their art history course. Written in an accessible style, the book introduces two basic art historical methods—formal analysis and contextual analysis. In this new edition, revising author Michael Cothren has extended the discussion on iconography and iconology. Greater emphasis is placed on the global and multicultural aspects of art creation and analysis. There is more step-by-step guidance on how to use these methods to prepare for exams and write papers.

AUTHOR Anne D’Alleva is Dean of the School of Fine Arts, University of Connecticut. She is the author of Arts in the Pacific Islands and Methods and Theories of Art History. Michael Cothren is Scheuer Family Professor Emeritus of Humanities, Swarthmore. He is co-author of Art History and Art: A Brief History and Methods and Theories of Art History, Third Edition INFO 9781913947019

49 illustrations

168 pages 8⅜ x 5½ ins $19.99 • Paperback

AUGUST 2021

Wölfflin and formal analysis

In Principles of Art History (1915), the Swiss art historian Heinrich Wölfflin (1864–1945) sought to systematize formal analysis through his definition of paired, contrasting terms to distinguish fundamental stylistic differences. He defined five basic pairs of characteristics, which he saw as characterizing the Renaissance in contrast to the Baroque: linear vs. painterly, planar vs. recessional, closed forms vs. open forms, multiplicity vs. unity, absolute clarity vs. relative clarity. Here we will use Raphael’s School of Athens (1510–11) (Figure 2.7) to represent the characteristics of Renaissance painting and Rubens’s Garden of Love (c.1630–5) (Figure 2.8) to represent the Baroque. Comparing them clarifies the polarities Wölfflin saw in the styles of these two periods.

LINEAR VS. PAINTERLY

Wölfflin used the term linear to indicate works that emphasize outlines and have a special kind of clarity in the spatial separation and relationship of objects to each other. Painterly form is more elusive—attention is withdrawn from the edges, outlines are deemphasized, and form is developed primarily through the use of light and shade.

PLANAR VS. RECESSIONAL

In a planar composition, objects are represented parallel to the picture plane. The spatial recession is clear, achieved by a series of planes that are all parallel to the picture plane, as in much fifteenth-century Italian art. In contrast, a work characterized by recession is one in which the planes are not clearly articulated as separate parallel units. Spatial depth is created through diagonal placement, and the frontal plane is not emphasized.

CLOSED FORMS VS. OPEN FORMS

In a closed form, the depicted contents of

2.7 Raphael, The School of Athens, 1510–11. Fresco. 19 x 27ft (5.79 x 8.24m).

Stanza della Segnatura, Vatican, Rome.

60 / chapter 2 style and subject 2.8 Peter Paul Rubens, The Garden of Love, c.1630–5. Oil on canvas. 6ft 6in x 9ft 4½in (1.99 x 2.86m). Museo del Prado, Madrid.

represented forms seem to stand in clear relation to their edges, allowing the viewer to establish a clear sense of the forms’ position in relation to other objects in the image. In an open form, spatial relationships are less clear, either among objects within the work or between those objects and the viewer. The elements within the image are not oriented in relation to clear edges. Sometimes, objects merge with other objects into a single mass, without a clear barrier separating them individually.

MULTIPLICITY VS. UNITY

This dichotomy contrasts works in which the individual parts appear as independent units (even when they are subordinate to a whole), with works that are perceived as unified wholes, in which individual elements are less clearly distinguished from each other.

ABSOLUTE CLARITY VS. RELATIVE CLARITY

Wölfflin’s final pair is closely related to the preceding pair. Absolute clarity refers to works with explicit and clearly articulated forms, and relative clarity refers to works with less explicit and less clearly articulated forms.

Although art historians today may not continue to use these same paired terms, Wölfflin’s comparative method still dominates art-historical research and presentation. Many classroom lectures still rely on a series of paired images to make their points, especially when characterizing stylistic change.

Heinrich Wölfflin. Principles of Art History: The Problem of the Development of Style in Later Art. Translated by M. D. Hottinger. New York: Dover, 1940 (originally published in 1915).

chapter 2 style and subject / 61 are discussed at length. You could staple this sheet to the front of the photocopy if you have one, or gather together all your summaries in your notebook. It will not take long to do this after you finish each reading, and it will save you a lot of time when studying for exams. If it would help you, create a template in a word-processing program at the beginning of the term and print out the number you will need, or use a copy of the template as a file for taking notes and storing them on your computer.

Preparing for slide identifications and short-answer questions

Memorizing important information about important works of art has traditionally been an important part of training in art history. This process teaches the basic material of art history and fixes a set of visual works in your memory that can be drawn on as your study of the discipline continues. Students of art history need to be able to recall images visually, from memory, to understand other works of art as they are exposed to them. For example, if your instructor discusses how Paul Gauguin (1848–1903) modeled some of his compositions on Egyptian sculpture, you will need to remember what Egyptian sculpture looks like in order to understand this observation. As with the analytical and interpretive abilities you acquire through the study of art, a well-trained visual memory will enrich your life and enhance your appreciation of art in a variety of settings. Even if you do not become an art historian, you will probably visit art museums or important cultural sites during your travels.

Until relatively recently, a standard part of examinations for introductory art-history students in a survey course, was a series of slide identifications, usually at the very beginning of the exam. Of course, your professors will no doubt be projecting works of art from digital images rather than 35mm photographic slides, but in many places the word “slide” is still in use even if the artifacts themselves are no longer there. In some colleges, students often nicknamed survey courses in art history “Slides,” whether affectionately or mockingly. Today, not all introductory course in art history are survey courses, and, even when they are, increasingly professors are not using these identification sections within their exams. But, since in some places they are still standard, we wanted to discuss them briefly here in case your professor continues this traditional practice.

Students often find slide identifications (“Slide IDs” for short) to be the most frustrating and difficult part of art-history exams. A slide

94 / chapter 4 surviving and succeeding: art history examinations 4.1 Frida Kahlo, The Two Fridas, 1939. Oil on canvas. 5ft 7in x 5ft 7in (1.70 x 1.70m).

Museo de Arte Moderno, Mexico City.

identification usually consists of a single image, shown for a minute or two. During this time, students are asked to “identify” the work in the slide by listing the artist (if known), the subject or title, the date, the location (where it was made and/or where it is if the location is original). Some professors also want to know its medium, and its period or culture. A complete slide identification for Figure 4.1 could be

Frida Kahlo, The Two Fridas. 1939. Oil on canvas. Mexico.

In addition to the basic identification, some professors may ask about a specific issue or interpretation in relation to the piece, or ask you to comment generally on its significance, giving you additional time to do this. The slide of Figure 4.1 could be accompanied by this question:

Why are there two women depicted here?

chapter 4 surviving and succeeding: art history examinations / 95