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A collection of drawings made to share the wonders of indigenous and tribal art and illustrate the power, wisdom and humor that is woven throughout these cultures. All of Jimbers' share of sales will be donated to charities for indigenous and tribal artists.

Sub Pop Cult The New Reiteration is the companion book to the SubPopCult Podcast. This book gives readers and independent artists a deeper understanding of how corporations create all culture, which in turn creates human data that is used by governments to draft policy. This makes the policy irreversible and the political class immune to opposition. Restoration Americana begins with independent artists using their gifts to retell America's story in a true light, far from corporate influence and political divisions.

Lovely and unique ice skater illustrations with a simple story make this a beautiful little book for your coffee table, for gifting and reading. 6x9" 27 pages

In Making Art in Prison: Survival and Resistance, Janie Paul introduces readers to the culture and aesthetics of prison art communities, and shares heart wrenching, poignant, and often surprisingly humorous artists’ narratives. The United States is the most incarcerating nation in the world. More than two million people are locked behind bars, where they endure the degradation and violence of a dehumanizing system. But in prisons around the country, incarcerated people have regained their dignity by creating objects of beauty, meaning, and value. These powerful stories and images upend the manufactured stereotypes of those living in prison, imparting a real human dimension—a critical step in the movement to end mass incarceration.  For 27 years, Paul has traveled throughout Michigan to meet artists and select work for the project she co-founded: The Annual Exhibitions of Artists in Michigan Prisons, an initiative of the Prison Creative Arts Project at the University of Michigan. Pedagogical as well as curatorial, the project has provided crucial validation for the artists. Making Prison Art features over 200 images of their extraordinary work.  Delving deeply into the ways in which incarcerated artists create meaning through their artistic practice, Paul explains how the making, sharing, and formation of artistic friendships within prisons can constitute acts of resistance against the violence and banality of prison life. Most of the artists did not make art before coming to prison. Their accomplishments show that art making need not be a privilege of the few, but is rather a basic human need, and in these circumstances, a necessary means of survival. Making Art in Prison reveals—through the eyes of the artists who have lived through it—what mass incarceration looks and feels like in the United States. It reveals the ways in which they keep their humanity intact; it invites us to reflect on our own humanity and the problem of living in a country that incarcerates more of its population than any other nation in the world. It also invites us to look closely at the images and appreciate the richness of life and luminosity emerging from the darkest corner of our country.

Burning Man: Art on Fire, Revised and Updated Edition is an authorized collection of the best of Burning Man art and photography that captures the amazing sculptures, art, stories, and interviews from the world’s greatest celebration of artistic expression.

Als Gründungsmitglied der CoBrA-Gruppe gehörte Karel Appel einer der wichtigsten europäischen Nachkriegs-Avantgarden an, als Maler der Nouvelle École de Paris feierte er in den 1950er Jahren erste Erfolge. Zwischen New York und Paris pendelnd, suchte er zeitlebens die künstlerische Konfrontation mit dem Unbekannten: ein ungewohnter Stil, ein besonderes Motiv, der Wechsel zwischen Skulptur und Malerei. Das Buch dokumentiert drei sehr verschiedene Ausstellungen mit Werken Appels, die in den Galerien Max Hetzler Berlin und London zwischen 2020 und 2022 zu sehen waren. Die jüngste Schau zeigte den Einfluss von Appels erstem Besuch in New York: Hier fand er einerseits zur Aktionsmalerei, als deren Höhepunkt sein wandfüllendes, über Nacht vor Ort gemaltes Bild für die Documenta 1964 vertreten ist, andererseits nahm er das .u.erst akademische Sujet der Aktmalerei auf ganz und gar unakademische Weise auf. Im Zentrum des Buchs steht dann eine retrospektive Auswahl des dreidimensionalen Werks von Bronze und Terracotta-Arbeiten über Objektmalereien bis zu absurd-poetischen Assemblagen karnevalistischer Fundstücke. Zuletzt kehrte Appel in überdimensionalen Zeichnungen und expressionistischen Gemälden der 1980er und '90er Jahrezum Akt-Thema zurück. So folgt das Buch drei Linien mit vielen Verzweigungen durch ein OEuvre von 60 Jahren, in dem es noch viel zu entdecken gibt.In Zusammenarbeit mit Galerie Max Hetzler Berlin | Paris | London

In 1942 Missouri Pettway, newly suffering the loss of her husband, pieced together a quilt out of his old, worn work clothes. Nearly six decades later her daughter Arlonzia Pettway, approaching eighty at the time and a seasoned quiltmaker herself, readily recalled the cover made by her grieving mother within the small African American farming community of Gee's Bend, Alabama. At once a story of grief, a quilt, and a community, 'Stitching Love and Loss' connects Missouri Pettway's cotton covering to the history of a place, its residents, and the work of mourning. Interpreting varied sources of history and memory, Lisa Gail Collins engages crucial and enduring questions, simultaneously singular and shared: What are the languages, practices, and processes of mourning? How is loss expressed and remembered? What are the roles for creativity in grief? And how might a closely crafted material object, in its conception, construction, use, and memory, serve the work of grieving a loved one? Placing this singular quilt within its historical and cultural context, Collins illuminates the perseverance and creativity of the African American women quilters in this rural Black Belt community.

Discover the beauty of traditional Japanese craftsmanship with Japanese Folk Art Coloring book.

A reassessment of self-taught artist William Edmondson, exploring the enduring relevance of his work

When a war ends provisionally, the agreement is called a ceasefire. But when peace ends, there is only war. War and peace are co-dependent. Perhaps it is now time for a "Peacefire."  In Maintenant 17: A Journal of Contemporary Dada Writing and Art, nearly 250 artists from more than 40 countries explore the concept of the end of both war and peace, exploring provocative outsider ideas as dada has done since its inception. With searing cover art by Uta Kaxniashvili, this issue of the renowned journal elaborates on dada's original premise as an antiwar movement. The Maintenant series, established in 2008, explores themes of politics, humanity, philosophy, and current concerns from an antiwar, anarchic (and often eye-opening) perspective. Past issues include work by artists Mark Kostabi, Raymond Pettibon, Joel Hubaut, Heide Hatry, Avelino de Araujo, Pawel Kuczynski, Inas Al-Soqi, Giovanni Fontana, Nicole Eisenmann, Syporca Whandal, and Kazunori Murakami; past writers have included Gerard Malanga, Charles Plymell, Andrei Codrescu, Harry E. Northup, Malik Crumpler, Maw Shein Win, and more, with a strong contingent of artist-writers from the world of punk rock, including Thurston Moore, Mike Watt, Bibbe Hanson and more. Critics have praised the series since its inception. Seattle Book Review calls Maintenant, "A smorgasbord for those who are sick and tired of it." Tribe LA dubs the journal, "A compilation of leading Dada-influenced artists from around the world that is timely and relevant." Serbia's Madjan Magazine proclaims that the Maintenant series proves "Dada is not dead." The Maintenant series is archived in leading institutions worldwide, including Museum of Modern Art New York. Contributors to Maintenant 17 include: Derek Adams ¿ Mariam Ahmed ¿ Jamika Ajalon ¿ Youssef Alaoui ¿ Linda J. Albertano ¿ Austin Alexis ¿ Joel Allegretti ¿ Daina Almario-Kopp ¿ Hala Alyan ¿ Jim Andrews ¿ Wayne Atherton ¿ Liz Axelrod ¿ Mahnaz Badihian ¿ David Barnes ¿ Amy Barone ¿ Vittore Baroni ¿ Tchello d' Barros ¿ Gaby Bedetti ¿ Regina Lafay Bellamy ¿ C. Mehrl Bennett ¿ Volodymyr Bilyk ¿ Mark Blickley ¿ Clemente Botelho ¿ Gedley Belchior Braga ¿ Michael Georg Bregel ¿ Kathy A. Bruce ¿ Imanol Buisan ¿ Fork Burke ¿ Billy Cancel ¿ Peter Carlaftes ¿ Wendy Cascade ¿ Nick Cash ¿ Mutes César ¿ Sarah M. Chen ¿ Nguy?n Bá Chung ¿ Hal Citron ¿ Lynette Clennell ¿ Andrei Codrescu ¿ William Cody ¿ Chuck Connelley ¿ Roger Conover ¿ Anothony Cox ¿ Malik Ameer Crumpler ¿ Raf Cruz ¿ Tchello d'Barros ¿ Wer Da ¿ Steve Dalachinsky ¿ Allison A. Davis ¿ Holly Day ¿ Avelino De Araujo ¿ Francesca Dharmakan-Bremner ¿ Natalie DiFusco ¿ Dario Roberto Dioli ¿ Rachel Dixon ¿ Sam Dodson ¿ Carol Dorf ¿ Eric Drooker ¿ Robert Duncan ¿ Salvatore Esposito ¿ Fong Fai ¿ Agenta Falk ¿ Massimo Fantuzzi ¿ Jeff Farr ¿ Becky Fawcett ¿ Rich Ferguson ¿ Maria Filek ¿ Cheryl J. Fish ¿ Kathleen Florence ¿ Robert C. Ford ¿ Dorothy Friedman ¿ Thomas Fucaloro ¿ Ignacio Galilea ¿ Sandra Gea ¿ Kat Georges ¿ Christian Georgescu ¿ Robert Gibbons ¿ Gordon Gilbert ¿ James J. Gleeson ¿ Mark Glista ¿ Ed Go ¿ Gemma Goette ¿ John Goodby ¿ Odeon Grace ¿ S.A. Griffin ¿ Fausto Grossi ¿ Meghan Grupposo ¿ Egon Guenther ¿ Genco Gülan ¿ Ana Maria Guta ¿ Bibbe Hansen ¿ Jesper Hasseltoft ¿ Heide Hatry ¿ Jeffrey Hecker ¿ László 2 Hegedus ¿ Aimee Herman ¿ Robert Hieger ¿ Karen Hildebrand ¿ Mark Hoefer ¿ Juleigh Howard-Hobson ¿ Matthew Hupert ¿ Frie J. Jacobs ¿ Annaliese Jakimides ¿ Marta Janik ¿ Mathias Jansson ¿ Lisa Marie Jarlborn ¿ Debra Jenks ¿ Dale Jensen ¿ Jerry Johnson ¿ Boni Joi ¿ Milana Juventa ¿ Jerry Kamstra ¿ Suzi Kaplan Olmsted ¿ Christine Karapetian ¿ Adeena Karasick ¿ Uta Kaxniashvili ¿ Marina Kazakova ¿ Oladipo Kehinde ¿ Tr?n Ðang Khoa ¿ Doug Knott ¿ Kollasch ¿ Daniel Kolm ¿ Gregory Kolm ¿ Ron Kolm ¿ Daina Kopp ¿ Mark Kostabi ¿ Paul Kostabi ¿ Inna Krasnoper ¿ Pawel Kuczynski ¿ Béné Kusendila ¿ Wang Lan ¿ Gary Lawless ¿ Mercedes Lawry ¿ David Lawton ¿ Jane LeCroy ¿ Sarah Legow ¿ Patricia Leonard ¿ Linda Lerner ¿ Martin H. Levinson ¿ Alexander Limarev ¿ Frédéric Lipczynski ¿ Richard Loranger ¿ Mina Loy ¿ Ruggero Maggi ¿ Sara Maino ¿ Gerald Malanga ¿ Jaan Malin ¿ Jessica Manack ¿ Fred Marchant ¿ Marronage ¿ Bronwyn Mauldin ¿ Jesse McCloskey ¿ Pierre Merejkowsky ¿ Ashley Miller ¿ Lois Kagan Mingus ¿ Charles Mingus III ¿ Richard Modiano ¿ Mike M. Mollett ¿ Thurston Moore ¿ Luiz Morgadinho ¿ Karen Neuberg ¿ James B. Nicola ¿ Gerald Nicosia ¿ Lance Nizami ¿ Harry E. Northup ¿ Anna O'Meara ¿ Ruth Oisteanu ¿ Valery Oisteanu ¿ Marc Olmsted ¿ John Olson ¿ Jane Ormerod ¿ Yuko Otomo ¿ Bibiana Padilla Maltos ¿ Csaba Pál ¿ Erzsébet Palásti ¿ Lisa Panepinto ¿ Gay Pasley ¿ John S. Paul ¿ Giorgia Pavlidou ¿ James Penha ¿ Puma Perl ¿ Robert Petrick ¿ Raymond Pettibon ¿ Charles Plymell ¿ Kai Pohl ¿ Leslie Prosterman ¿ Renaat Ramon ¿ Nicca Ray ¿ Mado Reznik ¿ D.M. Rice ¿ Travis Richardson ¿ Wes Rickert ¿ Benjamin Robinson ¿ Bruce Robinson ¿ Edel Rodriguez ¿ Mykyta Ryzhykh ¿ Martina Salisbury ¿ Paulo Sanches ¿ Kellie Scott-Reed ¿ Beatriz Seelaender ¿ Jack Seiei ¿ Silvio Severino ¿ Sheree Shatsky ¿ Susan Shup ¿ Jeff Shutt ¿ Bertholdus Sibum ¿ Denise Silk-Martelli ¿ Zoltán Simon ¿ Angela Sloan ¿ Katherine R. Sloan ¿ Phil Demise Smith ¿ Valerie Sofranko ¿ Paul Sohar ¿ J. R. Solonche ¿ Pere Sousa ¿ Orchid Spangiafora ¿ Dd. Spungin ¿ Marilyn Stablein ¿ Alex Starr ¿ Laurie Steelink ¿ Eva Helene Stern*** ¿ Christine Stoddard ¿ Thomas Stolmar ¿ Rich Stone ¿ W.K. Stratton ¿ Belinda Subraman ¿ Neal Skooter Taylor ¿ Robin Tomens ¿ Zev Torres ¿ John J. Trause ¿ Ann Firestone Ungar ¿ Yrik Max Valentonis ¿ Anoek Van Praag ¿ Nico Vassilakis ¿ Maggs Vibo ¿ Lynnea Villanova ¿ Voxx Voltair ¿ Barbara Vos ¿ Silvia Wagensberg ¿ George Wallace ¿ Scott Wannberg ¿ Mike Watt ¿ Poul R. Weile ¿ Ingrid Wendt ¿ Benjamin B. White ¿ Brenda Whiteway ¿ A. D. Winans ¿ Francine Witte ¿ Yaryan ¿ Gerald Yelle ¿ Andrena Zawinski ¿ Larry Zdeb ¿ Nina Zivancevic ¿ Lorene Zarou-Zouzounis ¿ Joanie HF Zosike

Self Taught is a collection of toy camera photos of Visionary Environments that Tim and his wife have been to in the last 10 years. There are also portraits that Tim has painted of their creators. The work is an expression of the spirit of DIY and creating for creation's sake. Kerr has always rejected the impulse to define art or music by categorizing it into a specific genre and throughout his music and visual art career, has preferred to color outside the lines rather than adhere to any one definition of art or, for that matter, punk. Tim Kerr is a musician and artist known for his lifelong contributions to the DIY and punk scenes, as a member of the Texas Music Hall of Fame, hailing from Austin, and for having played in The Big Boys, Poison 13, Monkeywrench, Bad Mutha Goose, Lord High Fixers, etc... Kerr is a visual artist and photographer, and currently releases music with his, and his friend Jerry Haggins, project Up Around The Sun.

PAPERBACK A5-Sized Journal: Standard A5 size (5.75 x 8.25 inches) allows for easily transporting in a handbag, backpack or tote. 144 BLANK PAGES: Perfect for drawing, taking notes or writing daily journal entries. INNER BACK POCKET: This paperback journal has a back pocket to offer a safe place to keep receipts, treasured notes or mementos. ACID-FREE PAPER: More difficult to decompose than regular paper and has a longer shelf-life. It is commonly used when someone wants to archive notes, daily journal entries or sketches for several years without the pages deteriorating or yellowing. FEATURED ART: In many traditional Minhwa (folk art paintings based on a popular folktale) the tiger symbolizes aristocratic authority and is given a somewhat silly appearance, while the dignified magpie in the pine tree symbolizes the common man. These paintings are therefore intended to be satirical in nature. They also symbolize the expulsion of bad spirits and are often hung up in the home during the Korean New Year festivities.

In an abandoned storage unit in Philadelphia, a collector discovered more than 150 works on paper by a presumably self-taught artist. The works fall into distinct groups—pencil drawings that are often sexual jokes, explicit watercolor scenes, and drawings on mimeograph paper.Clues to the identity of the artist and the timeframe in which the works were made are embedded in the materials. The ledger paper and safety protocol forms that presumably he used as a support bear the letterhead of the well-known Philadelphia chemical manufacturing company Rohm & Haas, established in 1909. A partially affixed mailing label on the back of one of the drawings gives a Philadelphia address and indicates “foreman” as the addressee. The date 1955 is written on the back of another drawing. The clothing and hairstyles depicted seem to date from the 1940s and 1950s. A search in the company’s archives turns up a staff photograph from 1931 listing numerous foremen who might be the author of this erotic cache.Almost certainly made for his own personal amusement and titillation, the Philadelphia Foreman’s erotic drawings are a rare and fascinating time capsule of American folk porn.-Excerpt from Mousse Magazine Folk Porn, Sexual Anxiety and American Masculinity: The Philadelphia Foreman by Alison M. Gingeras

The first comprehensive monograph on the paintings of Carrie Ann Baade. Showcasing approximately 100 paintings from 2002 to the present, this is a vivid exploration of Baade's investigation into surreal self-portraits. Introduction by curator Anna Wall. Art historian Susan Aberth provides insight into Baade's working method with collage. Fiction author Selena Chambers offers a guided tour of an imagined metaverse exhibition of Baade's works. Baade herself provides an enlightening view into her own creative process. Carrie Ann Baade's oil paintings dialogue with the past through complex iconography and imagery quoted from Renaissance and Baroque canvases. She constructs layered narratives that resemble fantastical parables as her compositions interlace the strange beauty in the unexpected, the uncanny, the disregarded, and the unconventional. Her compositions, feminist and autobiographical, weave personal and classical symbology into narratives on mortality, sexuality, personal transformation, and the darker side of human nature.

"This book presents decoys, old and contemporary, made by Louisiana carvers, as museum quality art rather than hunting tools. It discusses and abundantly illustrates the three basic types of decoys in full size as well as miniature versions. It has an informative chapter on hunting decoys carved by Louisiana's Old Masters that are 100 years old or more and showcases replicas in their style made by a number of Louisiana's best contemporary carvers. Additionally, it contains a chapter for novice collectors on what decoy to buy and how much to pay for it as well as an essay by Louisiana's preeminent decoy authority that offers invaluable advice to collectors of Louisiana decoys of all experience levels. This book offers convincing evidence of the artistic versatility of Louisiana's old and contemporary decoy carvers and emphasizes the existential threats to decoy carving in Louisiana, offering concrete suggestions for saving this unique and culturally important art form from extinction"--

Over two decades ago the author interviewed eight North Carolina folk artists and transcribed their words to paper. She and her husband, a amateur photographer, visited self-taught artists across the state collecting their work. The artists' stories tell about their lives and their passions to produce creative and innovative art reflecting the places they live.

Dotting the landscape of Prince Edward Island, New Brunswick, and Nova Scotia is wonderful folk-art statues. These statues are often symbolic of what the areas are famous for. Katherine E. Tapley-Milton stunning photos bring the areas to life as she details information regarding the areas and their "big stuff." Travel to the the Dungarvon Whooper in Blackville, New Brunswick twith the ghostly story behind it. Visit the Grohmann Knives in Pictou, Nova Scotia that looks like a giant threw a knife into the side of the building. View the Car Parts Transformer at the Ripley's Believe It or Not building, in Prince Edward Island all while never having to leave your house. Join Katherine as she discovers new locations and new statues in her second book in this series.

Dotting the landscape of Prince Edward Island, New Brunswick, and Nova Scotia is wonderful folk-art statues. These statues are often symbolic of what the areas are famous for. Katherine E. Tapley-Milton stunning photos bring the areas to life as she details information regarding the areas and their "big stuff." Travel to the large lobster in Shediac, New Brunswick that trumpets the fact that this town is the lobster capital of the world. Visit the huge blueberry in Oxford, Nova Scotia that shows everyone this town is famous for its blueberry industry. View the large statue of a cow to advertise Cows Ice cream, in Prince Edward Island all while never having to leave your house.

In 2012, weavers Marty Benson and Laura Redford undertook a project to fully document each coverlet and associated weavings in the Shiloh Museum of Ozark History collection. Benson and Redford spent more than two years on the study, deciphering the physical, technical, and historic aspects of the coverlets (including homemade and professionally woven) as well as quilts and blankets with handwoven elements in the museum collection. Their work resulted in a meticulously researched body of information for the museum, but why stop there? Benson and Redford believed the stories of the Shiloh Museum coverlets needed to be told, and the museum agreed. Ozark Coverlets explores the techniques and skills of each weaver. It documents weaving patterns and structures and supplies modern weavers with drafts from which to create their own versions of these historic patterns. Finally, it is a record of the lives of the people who made and used these textiles in their homes. Read altogether, the details of each weaver's life--marriage, childbirth, farm and home management--begin to paint a picture of the lives of these "everyday" Ozark women and their families. One can begin to understand their roles in the settlement of northwest Arkansas in the 1800s, their trials during the Civil War, and the ultimate survival of these pioneering families. ­--From the foreword by Carolyn Reno, collections manager of the Shiloh Museum of Ozark History

Saisissez l'âme subtile, vive, ironique, parfois contestataire, de l'art populaire contemporain, en compagnie de l'anthropologue Jean-François Blanchette, qui jette un regard historique et photographique sur les collections d'art populaire québécois du Musée canadien de l'histoire.