The Day of the Dead, observed annually on November 1 and 2, offers the living a chance to remember and honor their departed friends and family. Inspired by the Mexican holiday, 31 intricate illustrations depict dancing skeletons, skulls, and other traditional imagery, all festooned with flowers, butterflies, and additional lively decorations. Pages are perforated and printed on one side only for easy removal and display. Specially designed for experienced colorists, Day of the Dead and other Creative Haven(R) adult coloring books offer an escape to a world of inspiration and artistic fulfillment. Each title is also an effective and fun-filled way to relax and reduce stress.
A rich source of inspiration. -- San Francisco Examiner
Couldn't be more practical . . . meets the highest standard. -- Interior Design and Decoration
Here is an unusual collection of pictorial material for artists, commercial designers, handicraft workers, and at-home hobbyists -- 766 vigorous primitive designs that will add color and strong, rhythmic lines to textile work, leather craft, wood and metalwork, advertising art, and other areas where novel decorative ideas are at a premium. More than 90 percent of this material has never before been printed; all of it is royalty free. You may use up to 10 items for any single use without fee or special permission.
The book reproduces plumed serpents, calendrical elements, wind gods, insects, toads, lizards, birds, real and mythological animals, flowers, demons, the human head and figure, and hundreds of abstract ornamental designs derived from carved seals of the Aztec, Maya, Totonac, Zapotec, Olmec, Toltec, and other early Mexican cultures. This book is the finest inexpensive collection of such motifs to be found anywhere.
300 bold, rhythmic circle designs, originally incorporated on small clay spindle weights, depicting man-like deities, animals both real and fantastic, reptiles, birds, flowers, masks, geometrical figures, wheels, foliage, maze-like patterns, frets - all employed with the boldness and fanciful characteristics of pre-Columbian art.
Editor Jill Mullin is the recipient of the inaugural Felix in Art Award, presented by Extreme Kids & CrewDrawing Autism highlights an 'area where individuals with autism can have great abilities.'...Jill Mullin, a clinical therapist, explores the recurring themes in art made by people with autism.
--New York Times Book Review One of Brain Picking's Best Art, Design, and Photography Books of 2014 This book is a testament to the power of art to reveal the inner world of people living with ASD.
--Publishers Weekly A jaw-droppingly beautiful book.
--Library Journal Included in the Milwaukee Journal-Sentinel's 96 Books For Your Summer Reading List under 7 Visually Appealing Books Drawing Autism is not just a book about autism and art--it's a book about being human and expressing selfhood in all its beautiful, messy, complex forms. Add Drawing Autism to your wish list, tell your friends about it, and show it to your kids on the spectrum.
--Autism/Asperger's Digest Mullin, a behavior analyst, brings together fascinating works by 40 artists on the spectrum with their answers to her questions about their process.
--The Boston Globe Editor Jill Mullin has collected artwork from a host of painters and other graphic artists who are all somewhere on the spectrum. The fascinating and often lovely reprints in Drawing Autism help provide another perspective on the capabilities of people with autism.
--Time Out New York Mullin's clinical background in Applied Behavior Analysis, combined with more than a decade helping individuals with ASD, serve her well as the book's curator.
--The Portland Phoenix Editor Jill Mullin] has put together a beautiful and stimulating exhibition-in-a-book.
--Story Circle Book Reviews Drawing Autism is absolutely wonderful in its entirety.
--Brain Pickings Jill Mullin embraces the full range and spectrum of autism and artistic expression...Rich and varied images.
--BookTrib This book is like a key to opening doors across educational and medical landscapes. But perhaps even more importantly, the fact that many of the artists are able to explain what they were feeling at the time of their drawings will surely help this book find solid footing among parents, caregivers, and extended family members who have, up to this point, struggled to understand the inner workings of their precious loved one's autistic mind.
--New York Journal of Books A book of astonishing beauty.
--BOOKS (France) What is the actual experience of living with autism in a deep-felt sense, beyond the social stereotypes and headline-worthy superskills? Drawing Autism, a celebration of the artistry and self-expression found in artwork by people diagnosed with autism, explores just that. The stunning volume features works by more fifty international contributors, from children to established artists, that illustrate the rich multiplicity of the condition.
--The Atlantic Over the last decade autism spectrum disorder (ASD) has become an international topic of conversation, knowing no racial, ethnic, or social barriers. Behavior analyst and educator Jill Mullin has assembled a staggering array of work from established artists like Gregory Blackstock and Jessica Park to the unknown but no less talented. Their creations, coupled with artist interviews, comprise a fascinating and compelling book that serves to educate and inspire anyone who knows someone diagnosed with ASD. Mullin's introduction and the foreword by best-selling author Temple Grandin provide an overview of autism and advocate for nurturing the talents, artistic and otherwise, of autistic individuals.
Deeds's subtle, meticulous, and wildly imaginative pencil and crayon drawings portray an unusual cast of characters: nineteenth-century dandies, Civil War soldiers, antique cars, fantastic boats and trains, country landscapes dotted with roaming animals, and fanciful architecture. None of these existed in the actual mid-twentieth-century landscape of Deeds's own life, but rather were representations of his inner world--an artist's poignant tribute to a faded past.Deeds lovingly bound his artwork in a cardboard and leather portfolio, a present for his mother. After being accidentally discarded in 1970, the album was rescued from the trash by a young boy and, thirty-six years later, came into the hands of artist and collector Harris Diamant, who provides the book's foreword. The Electric Pencil features all 283 of Deeds's arresting drawings--now avidly collected--done on ledger sheets from State Hospital No. 3 in Nevada, Missouri, and reproduced in the sequence of the original album. The Electric Pencil introduces readers to an astonishing record of one man's unwavering artistic vision in the face of the most inhospitable conditions.
The Reverend Howard Finster (1916-2001) was called the "backwoods William Blake" and the "Andy Warhol of the South," and he is considered the godfather of contemporary American folk and visionary art. This book is the first interpretive analysis of the intertwined artistic and religious significance of Finster's work within the context of the American "outsider art" tradition. Finster began preaching as a teenager in the South in the 1930s. But it was not until he received a revelation from God at the age of sixty that he began to make sacred art.A modern-day Noah who saw his art as a religious crusade to save the world before it was too late, Finster worked around the clock, often subsisting on a diet of peanut butter and instant coffee. He spent the last years of his life feverishly creating his environmental artwork called Paradise Garden and what would ultimately number almost fifty thousand works of "bad and nasty art." This was visionary work that obsessively combined images and text and featured apocalyptic biblical imagery, flying saucers from outer space, and popular cultural icons such as Elvis Presley, Marilyn Monroe, Henry Ford, Mona Lisa, and George Washington. In the 1980s and 90s, he developed cult celebrity status, and he appeared in the Venice Biennale and on the Tonight Show. His work graced the album covers of bands such as R.E.M. and Talking Heads. This book explores the life and religious-artistic significance of Finster and his work from the personal perspective of religion scholar Norman Girardot, friend to Finster and his family during the later years of the artist's life.
Essay'd: 30 Detroit Artists highlights the individual contributors to Detroit's thriving and diverse art scene. Stemming from the popular website of the same name, Essay'd seeks to introduce readers to some of the contemporary art practitioners who live and work in Detroit or have participated in the Detroit art scene in an important way. Even those familiar with Detroit and its art ecosystem are sure to find new insight and perspective on artists that have made their careers in Detroit.
Four arts writers within the Detroit art scene--a professor, a gallerist, and two critics--create an ongoing series of short essays that focus briefly and intensely on standout artists. This blending of critical sensibilities and interests provides a unique perspective on a diverse place, offering many points of interest and access to one of the most vital and intriguing art environments in the country. While many artists have helped to grow and shape the local art tableau, the authors selected thirty for this volume, including Signal Return's artistic director Lynne Avadenka; "The Detroit Portrait Series" artist Nicole Macdonald; 2012 DLECTRICITY performers Tzarinas of the Plane; and 2013 Kresge fellow Carl Wilson to name a few. This book is not a systematic attempt to identify the "best" or "most important" Detroit artists, or even to define what those terms mean. The position the essays take to their subjects is not critical but neither is it reverential. The objective is to create a platform for Detroit artists, not a pedestal.
Essay'd is an excellent introduction to the Detroit art landscape, as well as an opportunity to deepen one's knowledge of the Detroit art scene and its players. Art lovers and regional history buffs will not want to miss this collection.
Essay'd 2: 30 Detroit Artists follows the welcome reception of last year's Essay'd: 30 Detroit Artists in presenting short, illustrated essays about artists who live and work in Detroit, or who have participated in the Detroit art scene in an important way. Stemming from the popular website of the same name, the first volume of Essay'd sought to introduce readers, even those who are well-versed in the Detroit art ecosystem, to new insight and a fresh perspective on the city's contemporary art practitioners. The four arts writers behind Essay'd-a professor, a gallerist, and two critics-are joined in Essay'd 2 by a handful of guest writers, whose unique views offer different points of access to Detroit's diverse and populous artist community.
Essay'd 2 offers thirty new profiles of artists both well-known and under-the-radar, seasoned and emerging. Advancing the argument that there are as many kinds of Detroit art as there are individual artists, the authors write about work created in a wide range of media, from painting, photography, ceramics, and textiles to performance, installation, and architectural intervention, produced in a kaleidoscopic array of individual styles. Some of the artists this volume highlights include S. Kay Young, an attendee of the College for Creative Studies with a thirty-year photography career; multimedia artist Adam Lee Miller, who is one half of the band ADULT; fiber artist and 2015 Kresge fellow Carole Harris; and master staff carver / mosaicist David Philpot.
While Detroit has long been home to a storied and industrious community of artists, there has been relatively little writing that explores, analyzes, and contextualizes their work. Now, with renewed regional, national, and international attention being paid to Detroit and its creative culture, it is more important than ever that the evolving and vital work of the city's artists be documented and made known to the wider public. The new essays collected here, written in a format that is at once in-depth and accessible, continue the authors' ongoing mission to introduce the Detroit art community to the world, one artist at a time. Art lovers and regional history buffs will appreciate this continued conversation.
From the 1930s until his death in 1983, Eugene Von Bruenchenhein was a prolific artist, producing paintings, sculptures, photographs, drawings and poetry in his small Milwaukee home.
His large and unusual body of work was unknown to anyone except his closest family and friends until after his death; he is now deservedly considered, according to Roberta Smith, "among the great American outsider artists."
Von Bruenchenhein's first creative venture was to photograph his wife, Marie. In the 1950s, he began painting surreal subjects, ranging from atomic mushrooms to mythical creatures and futuristic metropolises. Further evidence of his personal mythologies is found in his sculptures: elaborate chairs constructed out of chicken bones, ceramic and metal crowns, sensor pots made out of leaves and plant forms.
After Von Bruenchenhein's death, the John Michael Kohler Arts Center began cataloguing and photographing his work. Mythologies emerges out of this research, exploring Von Bruenchenhein's art, the people and contexts that spurred his imagination, and his creative legacy.