This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This book is dedicated to helping artists realize their artistic vision. After 31 years and over 10,000 classroom hours teaching art at colleges, private institutions, and his own workshops, David Limrite has learned how important mind management is for an artist.Without purposefully directing their attention and focus, artists often procrastinate, engage in perfectionism, and succumb to crushing self-critical voices.It doesn't matter whether you are an active professional, a self-identified artist, or a creatively-inspired person. This book will encourage, motivate, and challenge you to take creative action. It will help set you on a path to more meaningful and courageous creativity, profound artistic growth, and increased productivity so that you can become the artist you have always wanted to be.

Showcasing concept and character studies from Thomas Haller Buchanan's projects'and sharing art techniques and ideas.

The horde of mad dragons continues to terrorize the realms—bringing all of Faerûn to the edge of cataclysm—in this second adventure starring dragonslayer Dorn Graybrook Rampaging dragons appear in more and more places every day. And if the soulless lich Sammaster gets his way—and there’s every reason to suspect he will—the disaster has only just begun. To defeat him and his curse of madness, the dragons must pay a steep price: their immortal souls in exchange for an eternity of undeath. The knowledge of that unavoidable truth may cause more madness among the dragons of Faerûn than the curse itself. For the dragonslayer Dorn Graybrook, a dragon is a dragon—whether or not it has skin. But what if it wears the skin of a woman he may just be falling in love with?

How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system.

"In this book, Gene A. Plunka argues that the most important single element that solidifies all of Genet's work is the concept of metamorphosis. Genet's plays and prose demonstrate the transition from game playing to the establishment of one's identity through a state of risk taking that develops from solitude. However, risk taking per se is not as important as the rite of passage. Anthropologist Victor Turner's work in ethnography is used as a focal point for the examination of rites of passage in Genet's dramas." "Rejecting society, Genet has allied himself with peripheral groups, marginal men, and outcasts--scapegoats who lack power in society. Much of their effort is spent in revolt or direct opposition in mainstream society that sees them as objects to be abused. As an outcast or marginal man, Genet solved his problem of identity through artistic creation and metamorphosis. Likewise, Genet's protagonists are outcasts searching for positive value in a society over which they have no control; they always appear to be the victims or scapegoats. As outcasts, Genet's protagonists establish their identities by first willing their actions and being proud to do so." "Unfortunately, man's sense of Being is constantly undermined by society and the way individuals react to roles, norms, and values. Roles are the products of carefully defined and codified years of positively sanctioned institutional behavior. According to Genet, role playing limits individual freedom, stifles creativity, and impedes differentiation. Genet equates role playing with stagnant bourgeois society that imitates rather than invents; the latter is a word Genet often uses to urge his protagonists into a state of productive metamorphosis. Imitation versus invention is the underlying dialectic between bourgeois society and outcasts that is omnipresent in virtually all of Genet's works." "Faced with rejection, poverty, oppression, and degradation, Genet's outcasts often escape their horrible predicaments by living in a world of illusion that consists of ceremony, game playing, narcissism, sexual and secret rites, or political charades. Like children, Genet's ostracized individuals play games to imitate a world that they can not enter. Essentially, the play acting becomes catharsis for an oppressed group that is otherwise confined to the lower stratum of society." "Role players and outcasts who try to find an identity through cathartic game playing never realize their potential in Genet's world. Instead, Genet is interested in outcasts who immerse themselves in solitude and create their own sense of dignity free from external control. Most important, these isolated individuals may initially play games, yet they ultimately experience metamorphosis from a world of rites, charades, and rituals to a type of "sainthood" where dignity and nobility reign. The apotheosis is achieved through a distinct act of conscious revolt designed to condemn the risk taker to a degraded life of solitude totally distinct from society's norms and values." --Book Jacket.

Much ritual studies scholarship still focuses on central religious rites. For this reason, Grimes argues, dominant theories, like the data they consider, remain stubbornly conservative. This book issues a challenge to these theories and to popular conceptions of ritual. Rite Out of Place collects 10 revised essays originally published in widely varied sources across the past five years. Grimes has selected for inclusion those essays that track ritual as it haunts the edges of cultural boundaries-ritual converging with theater, ritual on television, ritual at the edge of natural environments and so on. The writing is non-technical, and the implied audience is sufficiently broad than any educated person interested in religion and public life should find it intelligible and engaging.

As the Church considers prayer book revisions, discover new ways of bringing prayer to life. In many liturgical churches, it seems that the prayer book confines—more than frees—the transformational potential of worship. Drawing on his experience at St. Gregory of Nyssa, Paul Fromberg encourages us to question the assumption that there is a “right way” and a “wrong way” of using prayer books. Instead, he encourages readers to pay attention to doing worship well and engaging worshippers’ desire to be transformed. This book is for those who plan and lead worship, as well as those who are curious about the ways that worship is transformative in people’s experience. Additionally, fans of St. Gregory of Nyssa Episcopal Church will discover more about the ways in which this ground-breaking congregation has engaged the work of liturgical disruption and trusted in the transformative potential of the liturgy for more than forty years.

It is a complex world in 2012 we are raising our sons in. It is clear with just a cursory look around that we have lost our way in raising up real men. It is evident in every segment of our society. Our sons are raw material in our hands, and raising a real man is an intentional, thoughtful process that we cannot ignore any longer. As extreme as it sounds, our entire future hinges on the ability to raise a practical version of a biblical man. Boys To Men - The Lost Art of the Rite of Passage is the tool a father needs to achieve that goal. Integrating personal experience with biblical truth has produced a truly helpful work.