Thirty five American painters, sculptors & architects discuss their work and one another with Selden Rodman.

Fourteen distinguished picture book artists talk about their early art experiences and offer encouragement to those who would like to become artists.

Artists and programmers often work together on complex projects in stressful environments and things don’t always go smoothly. Miscommunication and misunderstandings are common as these two disciplines often use the same words to mean different things when they talk to each other. Unintentional slights can turn into long-held grudges and productivity grinds to a crawl. This is a "flip book" that contains two narratives in one. Turn the book one way and read one perspective; turn the book over and upside down and read the other perspective. The narratives can be read separately, one after the other, or in alternating chapters. Talking to Artists / Talking to Programmers can help anyone who wants to improve communication with artists and programmers. It’s set up like a foreign language dictionary, so it addresses the cultural norms, attitudes and customs surrounding the words each group uses, so you’ll know not just what the words in the glossary mean, you’ll know why they’re used that way and how to get communication flowing again. It addresses common reasons for communication problems between these two groups and provides specific suggestions for solutions. The unusual format allows for each side to be given equal weight - learn how to talk to artists starting on one side of the book, turn it over and learn how to talk to programmers. The whole book stresses the things artists and programmers have in common. Focused primarily on videogame developers, it also applies to other fields where tech and art have to work together, including web developers and teams building mobile apps. Anyone who wants to communicate better with programmers or artists - this book can help Features Lists of common problems and strategies for solving them Specific ideas for building bridges between departments Case studies from real teams Glossary of terms causing the most confusion Explanations for common friction points Approaches for fostering goodwill Solutions for team dynamics problems Specific suggestions for providing feedback Ideas for holding successful meetings

How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others. Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

Essays on computer art and its relation to more traditional art, by a pioneering practitioner and a philosopher of artificial intelligence. In From Fingers to Digits, a practicing artist and a philosopher examine computer art and how it has been both accepted and rejected by the mainstream art world. In a series of essays, Margaret Boden, a philosopher and expert in artificial intelligence, and Ernest Edmonds, a pioneering and internationally recognized computer artist, grapple with key questions about the aesthetics of computer art. Other modern technologies—photography and film—have been accepted by critics as ways of doing art. Does the use of computers compromise computer art's aesthetic credentials in ways that the use of cameras does not? Is writing a computer program equivalent to painting with a brush? Essays by Boden identify types of computer art, describe the study of creativity in AI, and explore links between computer art and traditional views in philosophical aesthetics. Essays by Edmonds offer a practitioner's perspective, considering, among other things, how the experience of creating computer art compares to that of traditional art making. Finally, the book presents interviews in which contemporary computer artists offer a wide range of comments on the issues raised in Boden's and Edmonds's essays.

Iconoclast and artist Pope.L uses the body, sex, and race as his materials the way other artists might use paint, clay, or bronze. His work problematizes social categories by exploring how difference is marked economically, socially, and politically. Working in a range of media from ketchup to baloney to correction fluid, with a special emphasis on performativity and writing, Pope.L pokes fun at and interrogates American society’s pretenses, the bankruptcy of contemporary mores, and the resulting repercussions for a civil society. Other favorite Pope.L targets are squeamishness about the human body and the very possibility of making meaning through art and its display. Published to accompany his wonderfully inscrutable exhibition Forlesen at the Renaissance Society at the University of Chicago, Pope.L: Showing Up to Withhold is simultaneously an artist’s book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.

Ai Weiwei is one of the world’s most acclaimed artists and dissidents. This book presents him in conversation with theorists, critics, journalists, and curators about key moments in his life and career. These wide-ranging conversations flow between topics such as his relationship with China, the meaning of citizenship, moving his studio to Lesbos to be on the front lines of the migrant crisis, how to make art, and technology as a tool for freedom or oppression. Ai opens up about his relationship to his father as a poet and as a dissident forced into hard labor in a small village after the Cultural Revolution. He shares his thoughts on formal education and the importance of finding your own way as an artist. New York—both the city and its people—were formative for Ai Weiwei, and he speaks eloquently about how these experiences continue to influence him. Ai conjures up scenes from his long relationship with the city: dropping out of Parsons School of Design because he couldn’t afford tuition, making portraits in Washington Square Park as an undocumented immigrant in the 1980s, taking photos for the New York Times at demonstrations in Tompkins Square Park, and returning to set up the Good Fences Make Good Neighbors project across the city. These candid, spontaneous conversations reveal why Ai Weiwei has become such a major force in contemporary art and political life.