"For in utter darkness, it is impossible to know in what degree of safety we stand; we are ignorant of the objects that surround us..." Edmund Burke Figure Studies is exactly that, studies in the human form. The practice of figure studies has a long history in the visual arts, particularly drawing, but for Michener it is about blurred, close-up, black-and-white photos with a sensual, dark, sometimes menacing edge. Intertwined human forms, body parts bordering on abstraction, and frozen movement are the stuff of Michener's raw vision. Born in Boston in 1940, Diana Michener holds a Bachelor of Arts from Barnard College in New York and later studied with Lisette Model at New York's New School. Michener has exhibited internationally, including a retrospective at the Maison Europ�ene de la Photographie in Paris in 2001. Her books with Steidl include the award-winning Dogs, Fires, Me (2005), 3 Poems (2006) and Sweethearts (2010).

Poet Claudia Emerson begins Figure Studies with a twenty-five-poem lyric sequence called "All Girls School," offering intricate views of a richly imagined boarding school for girls. Whether focused on a lesson, a teacher, or the girls themselves as they collectively "school" -- or refuse to -- the poems explore ways girls are "trained" in the broadest sense of the word."Gossips," the second section, is a shorter sequence narrated by women as they talk about other women in a variety of isolations; these poems, told from the outside looking in, highlight a speculative voicing of all the gossips cannot know. In "Early Lessons," the third section, children narrate as they also observe similarly solitary women, the children's innocence allowing them to see in farther than the gossips can. The fourth section offers studies of women and men in situations in which gender, with all of its complexities, figures powerfully.The follow-up to the Pulitzer Prize-winning collection Late Wife, Figure Studies upholds Emerson's place among contemporary poetry's elite. The Mannequin above Main Street Motors When the only ladies' dress shop closed, she was left on the street for trash, unsalvageable, one arm missing, lost at the shoulder, one leg at the hip. But she was wearing a blue-sequined negligee and blonde wig, so they helped themselves to her on a lark -- drunken impulse -- and for years kept her leaning in a corner, beside an attic window, rendered invisible. The dusk was also perpetual in the garage below,punctuated only by bare bulbs hung close over the engines. An oily grime coated the walls, and a decade of calendars promoted stock-car drivers, women in dated swimsuits, even their bodies out of fashion. Radio distorted there; cigarette smoke moaned, the pedal steel conceding to that place a greater, echoing sorrow. So, lame, forgotten prank, she remained,back turned forever to the dark storage behind her, gaze leveled just above anyone's who could have looked up to mistake in the cast of her face fresh longing -- her expression still reluctant figure for it.

A how-to handbook that makes drawing easy. Offers simplified techniques and scores of brand-new hints and helps. Step by step procedures. Hundreds of illustrations.

Throughout the history of art, figure drawing has been regarded as the very foundation of an artist’s education and the center of the art-making process. Bill Buchman’s Expressive Figure Drawing presents the classic fundamentals of this genre, but with a distinctly contemporary twist—celebrating freedom, expressiveness, and creativity. This unique method incorporates more than 30 essential exercises, empowering you to draw the figure dramatically and with confidence, no matter your current level of skill. Filled with step-by-step demonstrations, inspiring images, and insightful text revealing a wide range of techniques and concepts, this book presents new ways to think about the figure and use your materials to free the artist within.