Using a variety of formats, collaborative art projects result in wonderfully complex pieces, and often provide the glue between artists within a community. Heavy on visual inspiration, Collaborative Art Journals and Shared Visions in Mixed Media covers various organizational structures for collaborative art projects, offers instructions and tips for organizing such ventures, and includes interviews with organizers and participants of collaborative projects, as well as a healthy smattering of techniques including how to create books that can be added to as they travel and how to devise various binding structures for different paper projects.

Featuring the artwork of over 25 leading artists with name recognition As art journaling grows in popularity (even attracting a new breed of scrapbookers who call themselves "life artists"), there is a movement afoot toward creating more authentic, personal, what some people call "raw" journals. These journals are filled with not just attractive, well-composed pages, but pages that are filled with personal, meaningful content. True Visions is focused on ways to bring authenticity and meaning into one's art journaling. The book will examine themes and topics common to all while offering activities and exercises to create rich meaningful content. Each chapter will highlight familiar subject areas such as life events, spirituality, childhood, and even an artist's favorite writings. Within each topic, readers are given guided activities and exercises for developing content, provided one or two artistic techniques, and are shown inspiring examples of work by a variety of talented art journal artists.

Collage Lab offers artists and crafters a fun and experimental approach to making art. The book is organized into 52 different labs which may, but don't need to be, explored on a weekly basis. The labs can be worked in any order, so that readers can flip around to learn a new mixed-media technique or be inspired by a particular collage theme or application. The underlying message of this book is that artists can and should learn and gain expertise through experimentation and play. There is no right or wrong result for a given exercise, yet readers will gain skills and confidence in collage techniques, allowing them to take their work to a new level. Collage Lab is illustrated with brilliant full-color images and multiple examples of each exercise, offers a visual, non-linear approach to learning art techniques, and reinforces a fun and fearless approach to making art.

Utilize your creativity to manifest your personal intention. Work in the spirit of the laws of attraction to visualize the life of your dreams. Follow the journey of twelve artists, each who will set a personal dream or intention. Witness the process that each artist takes, as they create a mixed-media piece that sows the seeds of their intention. Step-by-step techniques for a variety of mixed-media processes accompany each piece of finished art. Read about how their lives changed as a result and learn how to set intentions of your own using the bonus tear-out "dream-prompt" cards.

The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.