Unlearning to Draw looks to the art of children and outsider artists for inspiration, advocating a return to carefree, untrained drawing and a renewed focus on the joys of making rather than on the end result. Author Peter Jenny encourages readers to use family photographs as the starting point to develop their own types of outsider art.

This series of small primers on drawing encourages readers not only to pick up a pen and start drawing, but to see the world that surrounds them with fresh eyes. Visual thinking and using one's imagination are skills that are often neglected in today's world. With author Peter Jenny's help, readers will learn to perceive their environment in a new way and will soon follow his lead, discovering the joy of drawing. The three books in the series each present a short introduction by Jenny and twenty-two easy exercises, with each book focusing on a different aspect: Notes on Drawing Technique takes actions such as gesticulating, touching, feeling, doodling, and moving as the starting points for putting pen to paper. Notes on Figure Drawing focuses on the archetypal presentation of the human figure, and Learning to See teaches the reader to discover art in everyday objects.

The Kitchen Art Studio turns the old adage "Don't play with your food" on its head by encouraging readers to discover the creative energy hidden in their pantry. In Peter Jenny's playful exercises, broccoli becomes material for sculpture, a cookie depicts the waning moon, cherry stems form captivating patterns, and spoons inspire performance art.

Learning is often progress-oriented, institutionally driven, and focused on the accumulation of knowledge, skills and behaviour. In contrast, unlearning is directed towards embodied forms of knowledge and the (un)-conscious operation of ways of thinking and doing. Unlearning denotes an active critical investigation of normative structures and practices in order to become aware and get rid of taken-for-granted "truths" of theory and practice. This book shares the process of unlearning, taking art and art institutions as sites for unlearning and Casco Art Institute: Working for the Commons as an experimental case.0Unlearning at an art organization has led to collective unlearning exercises that express the conditions, modalities, and implications of a particular group of art workers. The business of running an art institution is irrevocably tied up with the anxiety and stress of constantly "being busy" making things visible in competitive and hierarchical conditions. This busyness causes the habitual undervaluing of what often remains invisible?so-called reproductive works such as cleaning, fixing, and caring. Unlearning processes make way for social transformations that lead towards the culture of equality and difference which we call the culture of the commons.

Anyone who can hold a pencil can learn to draw. In this book, Bert Dodson shares his complete drawing system—fifty-five "keys" that you can use to render any subject with confidence, even if you're a beginner. These keys, along with dozens of practice exercises, will help you draw like an artist in no time. You'll learn how to: • Restore, focus, map, and intensify • Free your hand action, then learn to control it • Convey the illusions of light, depth, and texture • Stimulate your imagination through "creative play"

This series of small primers on drawing encourages readers not only to pick up a pen and start drawing, but to see the world that surrounds them with fresh eyes. Visual thinking and using one's imagination are skills that are often neglected in today's world. With author Peter Jenny's help, readers will learn to perceive their environment in a new way and will soon follow his lead, discovering the joy of drawing. The three books in the series each present a short introduction by Jenny and twenty-two easy exercises, with each book focusing on a different aspect: Notes on Drawing Technique takes actions such as gesticulating, touching, feeling, doodling, and moving as the starting points for putting pen to paper. Notes on Figure Drawing focuses on the archetypal presentation of the human figure, and Learning to See teaches the reader to discover art in everyday objects.

A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share, from one of our most compelling political theorists In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions—an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums—to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as “past” and making the repair of torn worlds the substance of politics.