A structured, creative course for the comic artist and the wider Fan Art community.

• features both digital and analogue art techniques
• coaches the artist to develop fun, engaging artworks of friends, family and the famous
• guidance on going professional and for commercial gain at corporate events or shows
• includes profiles and insight from leading caricature artists from all around the world

Packed with expert tips and step by steps, you too can learn to draw quickly and develop your Fan Art skills.

The complete guide to learning how to draw at your own pace, from just an hour a day or over the course of a weekend.

• Packed with techniques, exercises and practice project
• Boost your creativity and artistic skills at your own pace
• Written by Richard Taylor, a prolific author and art tutor, well-known for his tutorial style and artistic ability

Give your creativity a boost with a complete drawing course that can be achieved in just an hour a day!

Die Autorinnen von A Collector’s Odyssey rekonstruieren die bisher unbekannte Geschichte der als Jüdin verfolgten Marie-Anne von/de Goldschmidt-Rothschild und erkunden Inhalt und Wege ihrer Kunstsammlung. Von den Anfängen der Sammlung in Berlin, über zwei Weltkriege hinweg, spürt die Publikation den Kunstwerken nach, welche die Sammlerin im Geheimen nach Paris brachte, dann in die USA transportierte und dort ausstellte, bis sie schließlich zurück nach Europa kamen. Fälle von Verfolgung, Zwangsverkauf und Exil, von denen ihre angeheiratete Familie in Frankfurt am Main betroffen war, beleuchten zudem, womit jüdische Sammler*innen in Nazi-Deutschland konfrontiert waren. Dieses Buch erinnert an ihre Geschichten und widersetzt sich damit der vom Dritten Reich beabsichtigten Auslöschung.

• Rekonstruiert die unbekannte Geschichte der Sammlerin Marie-Anne von/de Goldschmidt-Rothschild
• Nachverfolgung des Schicksals einer Kunstsammlung während und nach der Nazi-Zeit
• Enthüllt die Nazi-Ära-Provenienz der (post)impressionistischen Kunstwerke der Berliner Sammlung von Goldschmidt-Rothschild

The Vietnam idea examines how Vietnam became a potent symbol for global movements fighting colonialism, racism, and imperialism during the American War and its aftermath. Rather than focusing on Vietnam as a place, Brynn Hatton explores how artists and activists around the world used the idea of ‘Vietnam’ to express political identification and solidarity through posters, films, protest actions, exhibitions, and conceptual art. Drawing on international archives, the book reveals how diverse visual works helped shape the political imagination of the global left, and continue to influence how we see identity, conflict, and solidarity today.

Borderline bodies offers original interpretations of visual representations of human bodies as bounded and unbounded, fortified and permeable, mobile and static—subject to borders and able to traverse and challenge them. It also takes as its focus images and objects that might be considered ‘borderline’ because they sit at the intersection of disciplines or sit outside accepted notions of what constitutes serious ‘art.’

By mapping the ways human bodies traverse borders and straddle—even dismantle—categories, this volume’s essays approach afresh the relationship of bodies to traditional modes of representation, especially in art and medicine, and encourage us to think anew about how we understand the relationship between human corporeality, identity and place. Critical transdisciplinary and transnational analyses of objects and images from a range of geographies shed new light on the themes of: bodies and identity; typologies of the body; racialised bodies; ‘normal’ and ‘abnormal’ bodies; encounters between bodies; bodies in transition; bodies and mobility; and the bounded and unbounded human body. The outcome is a fresh approach to depictions of the human body produced for the purposes of artistic and medical education, aesthetic edification, and scientific and professional advancement, which disrupts assumptions about the normative human body perpetuated through Western image-making traditions.

Photographic afterlives explores the cultural, social and political contexts in which photographs from the Algerian War of Independence (1954–1962) emerge in contemporary art and photobooks. It situates these practices against the backdrop of the wider archival turn in the humanities and the ongoing debates about archives in Algeria. Tracing the movement of historical photographs across multiple spaces, the book unravels the subsequent layers of meaning accrued by these images. It argues that as much as archival contemporary art performs an inquiry into the past, it equally speaks volumes about the distinct and ever-shifting needs of the present. Focused on the work of artists and photographers who excavate side-lined histories of the war, remediate well-known narratives and imagine histories that cannot be recovered from archives, Photographic afterlives shows the great potential of archives of decolonisation.