This publication accompanies parallel exhibitions at The Drawing Center, New York, and Drawing Room, London, that explore the relationship between linguistic communication and drawing in recent art. Throughout the twentieth century, and in particular since the 1960s, artists have mined language for the subject and matter of their art, incorporating the mode, format and meaning of text into their work. Together the two exhibitions present an international selection of artists spanning the 1960s to today, including, at The Drawing Center, Carl Andre, Pavel Büchler, Guy de Cointet, Mirtha Dermisache, Sean Landers, Allen Ruppersberg, Nina Papaconstantinou, Deb Sokolow and Molly Springfield; and at Drawing Room, Pavel Büchler, Johanna Calle, Annabel Daou, Matias Faldbakken, Karl Holmqvist, Bernardo Ortiz and Shahzia Sikander.

Imagine you were born before the invention of drawing, more than thirty thousand years ago. You would live with your whole family in a cave and see woolly mammoths walk by! You might even see images of animals hidden in the shapes of clouds and rocks. You would want to share these pictures with your family, but wouldn't know how. Who would have made the world's first drawing? Would it have been you? In The First Drawing, Caldecott Medal winner Mordicai Gerstein imagines the discovery of drawing...and inspires the young dreamers and artists of today.

Vashti believes that she cannot draw, but her art teacher's encouragement leads her to change her mind and she goes on to encourage another student who feels the same as she had.

Iconic pop artist Keith Haring comes to life for young readers in this picture book biography lovingly written by his sister This one-of-a-kind book explores the life and art of Keith Haring from his childhood through his meteoric rise to fame. It sheds light on this important artist’s great humanity, his concern for children, and his disregard for the establishment art world. Reproductions of Keith's signature artwork appear in scenes boldly rendered by Robert Neubecker. This is a story to inspire, and a book for Keith Haring fans of all ages to treasure.

Shows ways to turn fingerprints into animals, birds, or people.

Read along! Readers will twist and shout for this headbanging companion to the #1 New York Times best-selling We Don't Eat Our Classmates.Penelope is a T. rex, and she's very good at it. She also likes to rock out on guitar! With the school talent show coming up, Penelope can't wait to perform for her classmates. But sharing who you are can be show-stoppingly scary, especially when it's not what people expect. Will Penelope get by with a little help from her friends?

This catalogue brings together for the first time 81 of Robert Morris's Blind Time Drawings, selected from the six series that make up the corpus of this work to which Morris has dedicated more than 30 years. The entire range is present from the early drawings of 1973 up to the Moral Drawings of 2000, with a particular emphasis on the fourth series, a group of works inspired by the writings of the philosopher Donald Davidson. Visually striking, the Blind Time Drawings, as the name implies, were executed by the artist with his eyes covered. Consisting of stark black-and-white contrasts, explosions of graphite, and obsessive markings that move organically throughout the page, the works are anything but haphazard. Morris followed a strict plan when doing the works, and his writing, which describes his process, is instrumental to understanding them. In addition, these works are placed within the context of Morris's Minimalist and Conceptualist masterpieces such as Card File (1962), Mirrored Cubes (1965) and Portland Mirrors (1977).

“A chatty, appealing introduction. . . . Small and accessible, this is jam-packed with accurate information likely to increase any potential birder’s enthusiasm and knowledge.” — Kirkus Reviews(starred review) This conversational, humorous introduction to bird-watching encourages kids to get outdoors with a sketchbook and really look around. Quirky full-color illustrations portray dozens of birds chatting about their distinctive characteristics, including color, shape, plumage, and beak and foot types, while tongue-in-cheek cartoons feature banter between birds, characters, and the reader. Interactive and enjoyable tips bring an age-old hobby to new life for the next generation of bird-watchers, and eighteen new pages of activities, including drawing, mapmaking, and a scavenger hunt, make this paperback edition a must-have.

Caldecott Medalist Allen Say presents a stunning graphic novel chronicling his journey as an artist during WWII, when he apprenticed under Noro Shinpei, Japan's premier cartoonist DRAWING FROM MEMORY is Allen Say's own story of his path to becoming the renowned artist he is today. Shunned by his father, who didn't understand his son's artistic leanings, Allen was embraced by Noro Shinpei, Japan's leading cartoonist and the man he came to love as his "spiritual father." As WWII raged, Allen was further inspired to consider questions of his own heritage and the motivations of those around him. He worked hard in rigorous drawing classes, studied, trained--and ultimately came to understand who he really is. Part memoir, part graphic novel, part narrative history, DRAWING FROM MEMORY presents a complex look at the real-life relationship between a mentor and his student. With watercolor paintings, original cartoons, vintage photographs, and maps, Allen Say has created a book that will inspire the artist in all of us.

Serial Drawing offers a timely and rigorous exploration of a relatively little-researched art form. Serial drawings – artworks that are presented as singular works but are made up of distributed parts – are studied in fresh, contemporary terms with a novel philosophical approach, emphasizing both the way in which this unique form of visual art exists in the world, and how it is encountered by the beholder. Inspired by the quadruple framework of Graham Harman's object-oriented ontology, Joe Graham explores a variety of serial drawings according to the idea that, in being serially arrayed, such artworks constitute a rather particular form of art object: one which is both unified yet pluralised, visible yet withdrawn. Examining works by artists such as Alexei Jawlensky, Ellsworth Kelly, Hanne Darboven, Jill Baroff and Stefana McClure, Graham interrogates the manner in which serial drawings are able to be appreciated by the viewer who beholds them in object-oriented terms. This task is carried out by paying attention to the manner in which three tensions – space, time and seriality –emerge for consideration within the beholders performative encounter with the work: an encounter which is 'seen serially', and which the medium of drawing specifically directs their attention towards.