#art ed

[artofjim]

"I’m really glad I took Jim’s class. It helped me grow my technical skills to a point where I feel comfortable rendering out a lot of subjects I was completely stumped by in the past. Now I can crosshatch and create new forms, and it’s making my drawing practice more dynamic and fun! Jim’s approach to teaching tough concepts is extremely insightful and easy to follow." - Jake, Winter online student Sign up here!

[brella-box]

Texted my English major girlie I haven’t chatted w for a bit cause I was swamped and we both walk away with SO MANY new book/art/art history recs 😭

[theadaptableeducator]

Additional Readings on it all, both popular and academic - An ‘Ism’ Overview - Perspectives Comparing And contrasting art movements

Prehistoric Art:

Palaeolithic Art (40,000 BCE - 10,000 BCE)

Clottes, Jean. Chauvet Cave: The Art of Earliest Times. University of Utah Press, 2003.

Guthrie, Dale. The Nature of Paleolithic Art. University of Chicago Press, 2005.

Vanhaeren, Marian, et al. "Middle Paleolithic shell beads in Israel and Algeria." Science, vol. 312, no. 5781, 2006, pp. 1785-1788.

Marshack, Alexander. "Upper Paleolithic notation and symbol: a provisional framework." Man, vol. 16, no. 1, 1981, pp. 95-122.

Neolithic Art (10,000 BCE - 2,000 BCE)

Renfrew, Colin, and Paul G. Bahn. Archaeology: Theories, Methods and Practice. 7th ed. London: Thames & Hudson, 2016.

Hodder, Ian. The Leopard's Tale: Revealing the Mysteries of Catalhoyuk. New York: Thames & Hudson, 2006.

Whittle, Alasdair, and Vicki Cummings. "Going over: People and things in the early Neolithic." Proceedings of the British Academy 144 (2007): 33-58.

Soffer, Olga. "The Upper Paleolithic and the Neolithic in the Russian Plain: Problems of Continuity and Discontinuity." Journal of World Prehistory 4, no. 4 (1990): 377-426.

Ancient Art:

Egyptian Art (3100 BCE - 30 BCE)

Wilkinson, Richard H. The Complete Gods and Goddesses of Ancient Egypt. Thames & Hudson, 2003.

Robins, Gay. The Art of Ancient Egypt. Harvard University Press, 2008.

Freed, Rita E. “The Representation of Women in Egyptian Art.” The Journal of Egyptian Archaeology, vol. 81, 1995, pp. 67-86.

Redford, Donald B. “The Heretic King and the Concept of the ‘Golden Age’ in Ancient Egypt.” Journal of Near Eastern Studies, vol. 33, no. 4, 1974, pp. 365-371.

Greek Art (800 BCE - 146 BCE)

Boardman, John. The Oxford History of Greek Art. Oxford University Press, 2001.

Pollitt, J. J. Art and Experience in Classical Greece. Cambridge University Press, 1972.

Neer, Richard T. "The Emergence of the Classical Style in Greek Sculpture." American Journal of Archaeology, vol. 105, no. 2, 2001, pp. 255-280.

Osborne, Robin. "Greek Art in the Archaic Period." The Journal of Hellenic Studies, vol. 115, 1995, pp. 118-131.

Roman Art (509 BCE - 476 CE)

Beard, Mary. SPQR: A History of Ancient Rome. New York: Liveright Publishing Corporation, 2015.

Brilliant, Richard. Roman Art. New York: Thames & Hudson, 2012.

Kleiner, Diana E. E. "Roman Sculpture." Oxford Art Journal 26, no. 1 (2003): 49-63.

Stewart, Peter. "The Social History of Roman Art." Cambridge Archaeological Journal 7, no. 1 (1997): 83-96.

Medieval Art:

Early Christian Art (200 CE - 500 CE)

Robin Margaret Jensen, Understanding Early Christian Art (New York: Routledge, 2000).

William Tronzo, The Oxford Handbook of Early Christian Art (New York: Oxford University Press, 2014)

Herbert Kessler, "The Spiritual Matrix of Early Christian Art," Representations, no. 11 (1985): 96-119, doi:10.2307/2928505.

Jas' Elsner, "What Do We Want Early Christian Art to Be?" Religion Compass 2, no. 6 (2008): 1118-1138, doi:10.1111/j.1749-8171.2008.00091.x.

Byzantine Art (330 CE - 1453 CE)

Cormack, Robin. Byzantine Art. Oxford: Oxford University Press, 2000.

Mango, Cyril. The Art of the Byzantine Empire, 312-1453: Sources and Documents. Englewood Cliffs, NJ: Prentice-Hall, 1972.

Mango, Cyril. "Byzantine Architecture." The Grove Dictionary of Art Online. Oxford Art Online. Oxford University Press, accessed March 19, 2023. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000002606.

Evans, Helen C. "Byzantium and the West: The Reception of Byzantine Artistic Culture in Medieval Europe." The Metropolitan Museum of Art Bulletin, vol. 58, no. 4 (Spring, 2001): 3-44. JSTOR, https://www.jstor.org/stable/3269056.

Islamic Art (7th century CE - present)

Grabar, Oleg. Islamic Art and Literature. Princeton, NJ: Princeton University Press, 1984.

Bloom, Jonathan M. and Sheila S. Blair. Islamic Arts. London: Phaidon Press, 1997.

Blair, Sheila S. "The Mosque and Its Early Development." Muqarnas 10 (1993): 1-19.

Carboni, Stefano. "The Arts of Islam." The Metropolitan Museum of Art Bulletin, vol. 58, no. 4, 2001, pp. 5-6, 17-65.

Romanesque Art (11th century - 12th century)

Conrad Rudolph, "Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art," (Princeton, NJ: Princeton University Press, 1990).

George Henderson, "Early Medieval Art: Carolingian, Ottonian, Romanesque," (London: Thames & Hudson, 1972).

C. R. Dodwell, "The Dream of Charlemagne," The Burlington Magazine 118, no. 875 (1976): 330-341.

Gerardo Boto Varela, "The Iconography of the Lamb and the Role of the Temple in the Creation of the Romanesque Architectural Sculpture in the Kingdom of León," Gesta 43, no. 2 (2004): 171-186.

Gothic Art (12th century - 15th century)

Camille, Michael. Gothic Art: Glorious Visions. New York: Harry N. Abrams, 1996.

Conrad Rudolph. Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art. Princeton, NJ: Princeton University Press, 1990.

Kemp, Simon. "The Uses of Antiquity in Gothic Revival Architecture." The Art Bulletin 73, no. 3 (1991): 405-421.

Snyder, James. "Gothic Sculpture in America: The Late 19th Century." The Journal of the Society of Architectural Historians 34, no. 4 (1975): 286-304.

Renaissance and Baroque Art:

Renaissance Art (14th century - 17th century)

Gardner, Helen, et al. Gardner's Art Through the Ages: A Global History. 16th ed., Cengage Learning, 2019.

Greenblatt, Stephen. Renaissance Self-Fashioning: From More to Shakespeare. University of Chicago Press, 1980.

Baxandall, Michael. "The Period Eye." Renaissance Studies, vol. 1, no. 1, 1987, pp. 3-20. JSTOR, www.jstor.org/stable/24409669.

Freedberg, David. "Painting and the Counter Reformation." Journal of the Warburg and Courtauld Institutes, vol. 32, 1969, pp. 244-262. JSTOR, www.jstor.org/stable/750844.

Mannerism (1520 - 1580)

Freedberg, S. J. (1993). Painting in Italy, 1500-1600. Yale University Press.

Shearman, J. (1967). Mannerism. Penguin Books.

Cole, B. (1990). Virtue and magnificence: Leonardo's portrait of Beatrice d'Este. Artibus et historiae, 11(21), 39-58.

Baxandall, M. (1965). "Il concetto del ritmo" in Michelangelo's Entombment. Journal of the Warburg and Courtauld Institutes, 28, 9-29.

Baroque Art (1600 - 1750)

Gombrich, E. H. The Story of Art. 16th ed. Phaidon Press, 1995.

Harris, Ann Sutherland. Seventeenth-Century Art and Architecture. 2nd ed. Laurence King Publishing, 2005.

Haskell, Francis. "The Judgment of Solomon: Poussin's 'The Sacrament of Ordination' and the Critics." The Burlington Magazine, vol. 124, no. 948, 1982, pp. 275-284.

Brown, Jonathan. "The Golden Age of Dutch Art: Painting, Sculpture, Decorative Art." The Metropolitan Museum of Art Bulletin, vol. 64, no. 4, 2007, pp. 36-44.

Rococo (1715 - 1774)

Gauvin Alexander Bailey, The Spiritual Rococo: Décor and Divinity from the Salons of Paris to the Missions of Patagonia, (New York: Cambridge University Press, 2014).

Alastair Laing, ed., Rococo: Art and Design in Hogarth's England, exh. cat. (London: Victoria and Albert Museum, 1984).

Alina Payne, "Fragile Alliances: Rococo and the Enlightenment," Art Bulletin 85, no. 3 (2003): 540-564.

Melissa Lee Hyde, "Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century," Journal of Design History 21, no. 3 (2008): 219-23

19th Century Art:

Neoclassicism (1750 - 1850)

Wölfflin, Heinrich. Principles of Art History. Translated by M. D. Hottinger, Dover Publications, 1932.

Rosenblum, Robert. Transformations in Late Eighteenth Century Art. Princeton University Press, 1967.

Praz, Mario. "The Eighteenth-Century Elegiac Mood: Some Clarifications and Distinctions." Eighteenth-Century Studies, vol. 2, no. 3, 1969, pp. 295-318.

Honour, Hugh. "The Ideal of the Classic in the Visual Arts." Journal of the Warburg and Courtauld Institutes, vol. 22, no. 1/2, 1959, pp. 1-25.

Romanticism (1800 - 1850)

Abrams, M. H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. Oxford University Press, 1971.

Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. Oxford University Press, 1973.

Frye, Northrop. "Towards Defining an Age of Sensibility." Studies in Romanticism, vol. 1, no. 1, 1962, pp. 1-14.

Mellor, Anne K. "Possessed by Love: The Female Gothic and the Romance Plot." PMLA, vol. 102, no. 2, 1987, pp. 134-150.

Realism (1830 - 1870)

Mearsheimer, John J. The Tragedy of Great Power Politics. New York: W.W. Norton, 2001.

Walt, Stephen M. The Origins of Alliances. Ithaca: Cornell University Press, 1987.

Waltz, Kenneth N. "The Theory of International Politics." International Security 15, no. 1 (Summer 1990): 5-17.

Morgenthau, Hans J. "Politics Among Nations: The Struggle for Power and Peace." Foreign Affairs 28, no. 4 (July 1950): 566-583.

Impressionism (1860 - 1900)

Herbert, Robert L. Impressionism: Art, Leisure, and Parisian Society. New Haven: Yale University Press, 1988.

Moffett, Charles S. Impressionist and Post-Impressionist Paintings in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1985.

Smith, Paul. "Monet's Impressionism: Aesthetic and Ideological Dilemmas." The Art Bulletin 68, no. 4 (1986): 595-615.

Dumas, Ann, and Anne Distel. "Monet at Vetheuil: The Turning Point." The Burlington Magazine 124, no. 953 (1982): 350-58.

Post-Impressionism (1886 - 1905)

Paul Smith, ed., "Post-Impressionism" (New York: Rizzoli International Publications, 1988).

Richard R. Brettell, "Post-Impressionists" (Chicago: University of Chicago Press, 1987).

John House, "Post-Impressionism: Origins and Practice" in "Oxford Art Journal" vol. 6, no. 2 (1983): 3-16.

Patricia Mainardi, "The End of Post-Impressionism" in "Art Journal" vol. 43, no. 4 (1983): 308-313.

20th Century Art:

Fauvism (1900 - 1910)

Elderfield, John. Fauvism. New York: Museum of Modern Art, 1976.

Shanes, Eric. The Fauves: The Reign of Color. New York: Harry N. Abrams, 1995.

Hargrove, June. "Matisse, Fauvism, and the Rediscovery of Pure Color." The Art Bulletin 63, no. 4 (1981): 689-704.

Rewald, John. "The Fauve Landscape." Gazette des Beaux-Arts 79, no. 6 (1972): 287-304.

Cubism (1907 - 1914)

Cooper, Douglas. The Cubist Epoch. Phaidon Press, 1970.

Green, Christopher. Cubism and its Enemies: Modern Movements and Reaction in French Art, 1916-1928. Yale University Press, 1987.

Shiff, Richard. "Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art." The Art Bulletin, vol. 58, no. 4, 1976, pp. 529-555.

Barr, Alfred H. "Cubism and Abstract Art." The Museum of Modern Art Bulletin, vol. 1, no. 3, 1934, pp. 6-7.

Futurism (1909 - 1916)

Marinetti, Filippo Tommaso. Futurist Manifestos. Edited by Umbro Apollonio, translated by Robert Brain and Others, Thames and Hudson, 1973.

Leighten, Patricia. Futurism: An Anthology. Yale University Press, 2019.

Perloff, Marjorie. "Futurism's 'Futuricity'." Modernism/modernity, vol. 19, no. 2, 2012, pp. 247-263.

Santoro, Marco. "The Politics of Speed: Futurism and Fascism." The Journal of Modern History, vol. 87, no. 4, 2015, pp. 821-856.

Dadaism (1916 - 1924)

Hulsenbeck, Richard. Dada Almanach. Berlin: Erich Reiss, 1920.

Gale, Matthew. Dada & Surrealism. London: Phaidon, 1997.

Naumann, Francis M. "Dada and the Concept of Art." The Art Bulletin 69, no. 4 (1987): 634-651. https://www.jstor.org/stable/3051041.

Dadoun, Roger. "The Dada Effect: An Anti-Aesthetic and its Influence." October 66 (1993): 3-16. https://www.jstor.org/stable/778760.

Surrealism (1920 - 1940)

Breton, André. Manifestoes of Surrealism. Translated by Richard Seaver and Helen R. Lane. Ann Arbor: University of Michigan Press, 1972.

Ades, Dawn. Dada and Surrealism Reviewed. London: Arts Council of Great Britain, 1978.

Martin, Alyce Mahon. "Surrealism and the Spanish Civil War." Oxford Art Journal 20, no. 2 (1997): 77-89.

Weisberg, Gabriel P. "Surrealism in America: The Beginning." Art Journal 28, no. 3 (1969): 222-29.

Abstract Expressionism (1940 - 1960)

Greenberg, Clement. Art and Culture: Critical Essays. Boston: Beacon Press, 1961.

Rosenberg, Harold. The Tradition of the New. New York: Horizon Press, 1959.

Alloway, Lawrence. "Networks, Names and Numbers." Artforum 1, no. 2 (1962): 29-33.

Hess, Thomas B. "Abstract Expressionism." Art News 51, no. 9 (1952): 22-23, 45-46, 48-49.

Pop Art (1950s - 1960s)

Foster, Hal. The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton University Press, 2012.

Livingstone, Marco, ed. Pop Art: A Continuing History. Thames & Hudson, 2013.

Alloway, Lawrence. “The Arts and the Mass Media.” Architectural Design and the Arts and Crafts Movement, vol. 31, no. 9, 1961, pp. 346–349. JSTOR, www.jstor.org/stable/4228719.

Lippard, Lucy R. “Pop Art.” Art International, vol. 12, no. 8, 1968, pp. 24–31. JSTOR, www.jstor.org/stable/24889088.

Minimalism (1960s - 1970s)

Judd, Donald. Complete Writings, 1959-1975. New York: The Press of the Nova Scotia College of Art and Design, 1975.

Fried, Michael. Art and Objecthood: Essays and Reviews. Chicago: University of Chicago Press, 1998.

Lippard, Lucy. "Eccentric Abstraction." Art International, vol. 12, no. 2, 1968, pp. 24-27.

Krauss, Rosalind. "Sculpture in the Expanded Field." October, vol. 8, 1979, pp. 30-44.

Conceptual Art (1960s - 1970s)

Kosuth, Joseph. Art after Philosophy and After: Collected Writings, 1966-1990. Cambridge, MA: MIT Press, 1991.

Lippard, Lucy R. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press, 1997.

Buchloh, Benjamin H.D. “Conceptual Art 1962–1969: From the Aesthetic of Administration to the Critique of Institutions.” October 55 (Winter 1990): 105-143.

Graham, Dan. “The End of Liberalism.” In Dan Graham: Rock My Religion. Edited by Brian Wallis, 31-59. Cambridge, MA: MIT Press, 1993.

Performance Art (1970s - present)

Abramovic, Marina. The Artist Is Present: Essays. New York: Museum of Modern Art, 2010.

Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993.

Goldberg, RoseLee. "Performance Art: From Futurism to the Present." October 56 (1991): 78-89.

Jones, Amelia. "Presence in Absentia: Experiencing Performance as Documentation." Art Journal 56, no. 4 (1997): 11-18.

Postmodernism (1970s - present)

Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.

Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984.

Butler, Judith. "Contingent Foundations: Feminism and the Question of ‘Postmodernism’." The Journal of Philosophy, vol. 86, no. 10, 1989, pp. 571- 577.

Harvey, David. "The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change." Blackwell Publishers Ltd, 1990.

Digital Art (1980s - present)

Lev Manovich, The Language of New Media, (Cambridge, MA: MIT Press, 2001).

Christiane Paul, Digital Art, (New York: Thames & Hudson, 2008).

Sarah Cook and Beryl Graham, "From Periphery to Centre: Locating the Technological in Art History," Art History 28, no. 4 (September 2005): 514-536, https://doi.org/10.1111/j.1467-8365.2005.00442.x.

Oliver Grau, "The Complexities of Digital Art," in MediaArtHistories, ed. Oliver Grau (Cambridge, MA: MIT Press, 2007), 45-67.

Street Art (1980s - present)

Chaffee, Lyman, and Chris Stain. Walls of Heritage, Walls of Pride: African American Murals. Jackson: University Press of Mississippi, 2011.

Harrington, Steven. Street Art San Francisco: Mission Muralismo. San Francisco: Chronicle Books, 2009.

Schacter, Rafael. "The World Atlas of Street Art and Graffiti." The Journal of Aesthetics and Art Criticism 73, no. 4 (2015): 385-387.

Riccini, Raffaele. "Street Art as a New Form of Urban Governance: A Comparative Perspective." Urban Affairs Review 52, no. 5 (2016): 723-746.

Contemporary Art:

Neo-Expressionism (1980s - 1990s)

Storr, Robert. 1986. "Dislocations: Themes and Meanings in Post-World War II Art." New York: Museum of Modern Art.

Harrison, Charles, and Paul Wood. 1991. "Art in Theory 1900-1990: An Anthology of Changing Ideas." Oxford: Blackwell Publishers.

Bois, Yve-Alain. 1986. "Painting: The Task of Mourning." October 37 (Summer): 15-63.

Krauss, Rosalind E. 1985. "The Originality of the Avant-Garde and Other Modernist Myths." Cambridge, Mass: MIT Press.

Installation Art (1990s - present)

Bishop, Claire. Installation Art: A Critical History. New York: Routledge, 2005.

O'Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. 2nd ed. Chicago: University of Chicago Press, 1999.

Schneider, Rebecca. "The Explicit Body in Performance." TDR: The Drama Review 46, no. 2 (2002): 74-91. doi:10.1162/105420402320980586.

Bishop, Claire. "Antagonism and Relational Aesthetics." October 110 (2004): 51-79. doi:10.1162/0162287042379787.

Relational Aesthetics (1990s - present)

Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les presses du réel, 1998.

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

O'Doherty, Brian. "Inside the White Cube." Artforum 5, no. 1 (1967): 12-16.

Bishop, Claire. "Antagonism and Relational Aesthetics." October 110 (2004): 51-79.

New Media Art (1990s - present)

Manovich, Lev. The Language of New Media. Cambridge, MA: MIT Press, 2001.

Paul, Christiane. Digital Art. London: Thames & Hudson, 2003.

Gere, Charlie. "Digital Culture." In The Oxford Handbook of New Audiovisual Aesthetics, edited by John Richardson, Claudia Gorbman, and Carol Vernallis, 491-506. New York: Oxford University Press, 2013.

Drucker, Johanna. "The Century of Artists' Books." Art Journal 56, no. 3 (1997): 20-34.

Superflat (1990s - present)

Murakami, Takashi. Superflat. New York: MADRA Publishing, 2000.

Schimmel, Paul. Color and Form: The Geometric Sculptures of Donald Judd. Los Angeles: Museum of Contemporary Art, 1991.

Krajewski, Sara. "Superflat and the Politics of Postmodernism." Postmodern Culture 14, no. 3 (2004): 1-18. doi:10.1353/pmc.2004.0046.

Nakamura, Lisa. "Cuteness as Japan's Millennial Aesthetic." Journal of Aesthetics and Art Criticism 65, no. 2 (2007): 137-147. doi:10.1111/j.1540-6245.2007.00207.x.

Post-Internet Art (2000s - present)

Hito Steyerl, The Wretched of the Screen (Berlin: Sternberg Press, 2012).

Karen Archey and Robin Peckham (eds.), Art Post-Internet: INFORMATION/DATA (Berlin: Sternberg Press, 2014).

Gene McHugh, "Post-Internet: Art After the Internet," Artforum International 52, no. 1 (2013): 366-71.

Nora N. Khan and Steven Warwick, "Fear Indexing the X-Files," e-flux Journal 56 (2014): 1-9.

Afrofuturism (2000s - present)

Sheree R. Thomas, ed., "Dark Matter: A Century of Speculative Fiction from the African Diaspora" (New York: Aspect/Warner Books, 2000).

Ytasha L. Womack, "Afrofuturism: The World of Black Sci-Fi and Fantasy Culture" (Chicago: Lawrence Hill Books, 2013).

Nettrice R. Gaskins, "Afrofuturism and Post-Soul Possibility in Black Aesthetics," "Journal of Black Studies" 40, no. 4 (2010): 699-710.

Reynaldo Anderson and Charles E. Jones, "Introduction: The Rise of the Afrofuturist," "Black Magnolias Journal" 5, no. 2 (2018): 1-11.

Socially Engaged Art (2000s - present)

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

Kester, Grant. Conversation Pieces: Community and Communication in Modern Art. Berkeley: University of California Press, 2004.

Kester, Grant. "Dialogical Aesthetics: A Critical Framework for Littoral Art." in Theory in Contemporary Art since 1985. Ed. by Simon Leung. Oxford: Blackwell, 2005.

Thompson, Nato. "Living as Form: Socially Engaged Art from 1991-2011." Art Journal, Vol. 71, No. 1, 2012, pp. 101-102.

Environmental Art (2000s - present)

Schama, Simon. Landscape and Memory. New York: Alfred A. Knopf, 1995.

Kastner, Jeffrey, and Brian Wallis, eds. Land and Environmental Art. London: Phaidon, 1998.

Kagan, Sacha. "The Nature of Environmental Art." The Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 455-67.

White, Edward. "Earthworks and Beyond." Art Journal 39, no. 4 (1980): 326-32.

NFT Art (2010s - present)

Belamy, Christies. (2018). Portrait of Edmond de Belamy. Paris: Obvious Art.

Harrison, P., & Weng, S. (2021). The NFT Bible: Everything you need to know about non-fungible tokens. United States: Independently published.

Liu, Z., Wang, J., & Lin, L. (2021). From NFT to NFA: The Implications of Blockchain for Contemporary Art. Journal of Cultural Economics, 45(2), 245-264. doi: 10.1007/s10824-021-09421-6

Schellekens, M., & Zuidervaart, H. (2022). On the Importance of Being Unique: An Analysis of Non-Fungible Tokens as a Medium for Digital Art. Leonardo, 55(1), 56-63. doi: 10.1162/leon_a_02179

[roszabell]

i think i may be in the correct field here bc why is lesson planning actually SO fun

[inlovewithsaturn]

God I love sitting in the back row for my education class cause like we are all future educators that will be in charge of shaping the youth in like three years but there is currently one guy watching basketball on his laptop, one is playing tetris, my partner is doing an essay for another class, I’m on tumblr posting this, all while our professor lectures about having high expectations for our future students

[brooklynmuseum]

Imagine holding this quilt in your hands. What might it feel like? How would you describe the materials used? What words come to mind as you look at the patterns?

Viewers of this quilt and others like it have often remarked that, while at first it seemed chaotic or haphazard, there is an internal order or rhythm that emerges the longer one looks. Stitched from multiple pieces of cloth—whether from scraps, from cloth objects no longer usable or needed, or from reams of cloth purchased for this purpose—quilts like this one are remarkable works that demonstrate skill in design and in geometry. Whether cut from cloth purchased specifically for quilting or whether the pieces had another “life” before being incorporated into this quilt, all were carefully selected and meticulously placed by the artist Anna Williams, an African American woman whose quilting work gained recognition by collectors in the 1990s and continues to serve as inspiration for textile artists today. 

Anna Williams was born to the southeast of Baton Rouge, Louisiana in 1927 where she was raised by her mother and grandmother, both workers on a local plantation. After helping them in the fields during the day, Williams would spend her evenings learning to sew and quilt from her mother and grandmother. “I would pick up the strings of materials that fell to the floor, and I started making dresses for my dolls using the strings,” Williams recalled. 

While Williams learned traditional patterns used in quilting from her family, she, like many quilters, improvises when she makes her own quilts rather than adhering to a specific pattern. This quilt is made up of triangles pieced together to form blocks. This “pinwheel block” pattern forms the underlying structure of the quilt, but Williams allows herself the freedom to deviate from it with additional strips of cloth as needed. 

Quilts are the product of great labor. There is the creative labor of selecting the cloth with patterns and colors that will fulfill the creator’s vision, and there is the physical labor - the many hours spent carefully cutting and stitching the pieces together. Often historically associated with women (though men have also been identified as quilters), this labor and the creativity involved in the creation of quilts went largely unrecognized until the mid-twentieth century, when museums began to hang quilts as forms of abstract art. Today, quilts continue to be shown in Museums, but are recognized in a multitude of ways - from being hung like abstract art to being appreciated as their own, unique aesthetic and art practice. 

Beyond their functionality and decorative beauty, however, quilts are also acts of care. Quilting is often a group activity, bringing together a community. In such gatherings or quilting bees, the stories shared between the artists are valued and the quilting community provides each other with both social and emotional support. When they are finished, quilts are used to care for the community and become layered with new memories. Another quilter, Lucy T. Pettway of Gee’s Bend, Alabama, described using the quilts she made for her children to lay on: “used to spread down quilts all the time at night. I spread a quilt down and let the children sleep until they get cool, you know. Then we'd get in the house.” The process of quilting can also be an act of self-care and means of expression.. As Williams herself noted, her nightly routine of working on her quilts was a way to “keep my mind off my troubles.”

What other ways can art be a part of care networks? What is the relationship between labor and acts of care? Share your thoughts with us, and explore some more of the quilts in our open collection. 

Posted by Christina Marinelli  Anna Williams (American, 1927-2010). Quilt, 1995. Cotton, synthetics. Brooklyn Museum, Gift in memory of Horace H. Solomon, 2011.18

[hillibillibob]

In need of a last minute holiday gift? I have plenty of illustrations up on my redbubble! More than just these four, I’ve got cartoons, music related stuff, and even a few original designs as well! My most popular is the Yung Gravy/ bbno$ sticker where I superimposed a bunch of pictures of gravy and baby onto a jar of Gerber baby food. But if that’s not your style you could always go for hatsune miku <3

[artteacheranonymous]

I really should post more. The amount of cool stuff my kids have done this year is insane. I love teaching digital art. Digital paintings, 2 point perspectives, creating buildings, a huge art show that 200 people came out to- we had the newspaper write about us and people write letters to the editor about it..... pretty cool. I don’t feel super appreciated by my admin this year, but I do feel appreciated by my kids & their families. Seeing their work... man they make me proud.