Art In A Box

Wunderschönes Hardcover-Artbook von "Monster Allergy"- und "Creepy Past"-Zeichner Giovanni Rigano! "Art Box" präsentiert auf 48 großformatigen Seiten Artworks von Giovanni Rigano, dem Zeichner von u. a. "Daffodil - Die Vampiragentin", "Creepy Past", "Artemis Fowl" und "Monster Allergy". Auf Grundlage von spontanen Sketch-Ideen, die er in sein Notizbuch zeichnete, entstanden wunderschöne digitale Illustrationen, die hier sowohl in der fertigen Fassung als auch in der ursprünglichen Notizbuchversion gezeigt werden. In hochwertiger Ausstattung als Hardcover mit Softtouch-Kaschierung und Spotlackveredelung ist "Art Box" ein Muss für alle Rigano-Fans und Freunde der neunten Kunst.

The Airfix company was formed in 1939 and, since it produced its first plastic kit in 1949, grew to be the United Kingdom's leading model kit manufacturer. Several generations of young and young-at-heart modellers have made Airfix kits and, despite turbulent times in the 1970s and 1980s when the company changed ownership several times, in the twenty-first century it goes from strength to strength under the wing of Hornby Hobbies. The 1960s and early 1970s might be called the vintage years of Airfix, when some of their best and most popular kits were produced. For ten years up to 1974, renowned artist Roy Cross produced some of the stunning paintings that appear on the boxes of Airfix kits of the era. Roy set the standard for such artwork, to the extent that many are still used today, four decades later. Roy Cross's earlier book, The Vintage Years of Airfix Box Art, contained a host of the paintings he prepared for Airfix, but the unearthing of many more images in old Airfix files has enabled this entirely fresh look at Roy's work to be presented, coinciding with the seventy-fifth anniversary of the first Airfix kit. Thus the remainder of Roy's ten years' work for Airfix is reproduced here. This new compilation features many rare illustrations as well as studies and sketches that were not accepted at the time, and is beautifully illustrated with 180 colour artworks.

Describes the many different kinds of tools and supplies which artists use to produce their work.

Written instructions, photographs, designs, patterns, and projects.

Acquiring contemporary art is about passion and lust, but it is also about branding, about the back story that comes with the art, about the relationship of money and status, and, sometimes, about celebrity. The Supermodel and the Brillo Box follows Don Thompson's 2008 bestseller The $12 Million Stuffed Shark and offers a further journey of discovery into what the Crash of 2008 did to the art market and the changing methods that the major auction houses and dealerships have implemented since then. It describes what happened to that market after the economic implosion following the collapse of Lehman Brothers and offers insights and art-world tales from dealers, auction houses, and former executives of each, from New York and London to Abu Dhabi and Beijing. It begins with the story of a wax, trophy-style, nude upper-body sculpture of supermodel Stephanie Seymour by Italian artist Maurizio Cattelan, which sold for $2.4 million to New York über-collector and private dealer Jose Mugrabi, and recounts the story of a wooden Brillo box that sold for $722,500. The Supermodel and the Brillo Box looks at the increasing dominance of Christie's, Sotheby's, and a few über dealers; the hundreds of millions of new museums coming up in cities like Dubai, Abu Dhabi, and Beijing; the growing importance of the digital art world; and the shrinking role of the mainstream gallery.

When New Mexico became an alternative cultural frontier for avant-garde Anglo-American writers and artists in the early twentieth century, the region was still largely populated by Spanish-speaking Hispanos. Anglos who came in search of new personal and aesthetic freedoms found inspiration for their modernist ventures in Hispano art forms. Yet, when these arrivistes elevated a particular model of Spanish colonial art through their preservationist endeavors and the marketplace, practicing Hispano artists found themselves working under a new set of patronage relationships and under new aesthetic expectations that tied their art to a static vision of the Spanish colonial past. In A Contested Art, historian Stephanie Lewthwaite examines the complex Hispano response to these aesthetic dictates and suggests that cultural encounters and appropriation produced not only conflict and loss but also new transformations in Hispano art as the artists experimented with colonial art forms and modernist trends in painting, photography, and sculpture. Drawing on native and non-native sources of inspiration, they generated alternative lines of modernist innovation and mestizo creativity. These lines expressed Hispanos’ cultural and ethnic affiliations with local Native peoples and with Mexico, and presented a vision of New Mexico as a place shaped by the fissures of modernity and the dynamics of cultural conflict and exchange. A richly illustrated work of cultural history, this first book-length treatment explores the important yet neglected role Hispano artists played in shaping the world of modernism in twentieth-century New Mexico. A Contested Art places Hispano artists at the center of narratives about modernism while bringing Hispano art into dialogue with the cultural experiences of Mexicans, Chicanas/os, and Native Americans. In doing so, it rewrites a chapter in the history of both modernism and Hispano art. Published in cooperation with The William P. Clements Center for Southwest Studies, Southern Methodist University