This book undertakes a deep examination of mentor and disciple relationships in the development of artists. It draws upon a variety of relationships and models, including an in-person mentor, a mentor or apprentice scenario, and non-physical mentors such as historical figures, in order to investigate their history and philosophy. This volume specifically addresses the role of mentoring in the lives of contemporary aspiring artists, asking if and how mentoring can be considered a form of human nurturance. Deep historical inspections and philosophical inquiries are combined with analyses of interviews with contemporary artists ranging from 35 to 101 years old. These holistic insights present the subject of mentoring in the arts from the multiple angles of art history and relevant ideas about the benefits of nurturance and acceptance in human development. Using artists’ biographies and discussions of their work, this book sheds light on the role that mentoring has played in their development and can play in contemporary education. It will appeal to artists, art history teachers, educators, art students, and art scholars.

Women of Color Navigating Mentoring Relationships examines the opportunities and challenges presented in mentoring relationships involving women of color. Contributors to this edited collection highlight the role of race, class, and gender-oriented constructions in the mentoring relationships in which women of color are engaged

The canonical work of cultural criticism by the “profoundly influential critic” (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas Called “one of the country’s most influential feminist thinkers” by Artforum, bell hooks and her work have enjoyed a huge resurgence of popularity since her passing in 2021. Her 2018 book All About Love has sold upwards of 700,000 copies, and posthumous tributes have credited her with being “instrumental in cracking open the white, western canon for Black artists” (Artnet). To celebrate the thirtieth anniversary of her groundbreaking essay collection Art on My Mind, The New Press will publish a handsome, celebratory edition, featuring a new foreword by Tony-nominated producer and all-around creative phenom Mickalene Thomas and a new cover featuring original photos of bell hooks shot by African American photojournalist Eli Reed. This classic work, which, as the New York Times wrote, “examines the way race, sex and class shape who makes art, how it sells and who values it,” includes what Artforum calls “incisive essays” on the work of Jean-Michel Basquiat, Isaac Julien, Carrie Mae Weems, and Romare Bearden, among others. Her essays on Black vernacular architecture, representation of the Black male body, and the creative process of women artists, are complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie, which Kirkus Reviews calls “excellent indeed,” and “a real contribution to our understanding of the situation of black women artists.”

Who has been the most influential person in your life? Was it a school teacher? An uncle? A parent? A grandmother? A minister? An employer? A coach? Whoever it was, your reason for choosing this person probably had more to do with who they 'were' and how they 'lived', than how they looked or what they owned. What you experienced was the result of this significant person's ability to model inspiring qualities and communicate those qualities to you. How did they do it? What were the ingredients that enabled them to teach so effectively? Down through the centuries, students have learned through careful observation from those more experienced. Apprentices have learned from craftsmen who took them by the hand. Amateurs emulated professionals. Disciples studied masters. As one who has been profoundly influenced by skilled leaders and who has, in turn, motivated many others, Ted Engstrom could be aptly described as a mentor's mentor. In this book, Ted Engstrom will introduce to you the idea of mentoring. As a leader, you'll learn that mentoring represents the difference between talking and doing as a student, you'll learn from the master's performance as well as his prose.

In the resistance to the violence of gender-based oppression, vibrant – but often ignored – worlds have emerged, full of nuance, humour, and beauty. Correcting an absence of writing about contemporary feminist work by Canadian artists, Desire Change considers the resurgence of feminist art, thought, and practice in the past decade by examining artworks that respond to themes of diversity and desire. Essays by historians, artists, and curators present an overview of a range of artistic practices including performance, installation, video, textiles, and photography. Contributors address the desire for change through three central frames: how feminist art has significantly contributed to the complex understanding of gender as it intersects with sexuality and race; the necessary critique of patriarchy and institutions as they relate to colonization within the Canadian nation-state; and the ways in which contemporary critiques are formed and expressed. The resulting collection addresses art through an activist lens to examine intersectional feminism, decolonization, and feminist institution building in a Canadian context. Heavily illustrated with representative works, Desire Change raises both the stakes and the concerns of contemporary feminist art, with an understanding that feminism is always and necessarily plural. Contributors include Janice Anderson (Concordia University), Gina Badger (artist, writer, editor, Toronto), Noni Brynjolson (writer, San Diego), Amber Christensen (curator and writer, Toronto), Karin Cope (NSCAD), Lauren Fournier (artist, writer, and curator, York University), Amy Fung (curator and writer, Toronto), Kristina Huneault (Concordia University), Alice Ming Wai Jim (Concordia University), Tanya Lukin Linklater (artist, North Bay), Sheila Petty (University of Regina), Kathleen Ritter (curator and writer, Vancouver), Daniella Sanader (curator and writer, Toronto), Thérèse St. Gelais (UQAM), cheyanne turions (curator and writer, Toronto), Ellyn Walker (Queen’s University), Jayne Wark (NSCAD) and Jenny Western (curator and writer, Winnipeg).

This book is about the contribution of women to the lives of famous artists. Although women have given so much to these artists, this selfless contribution has been largely overlooked by art historians. In trying to redress such a huge imbalance, I have focused mainly on male painters. As a retired psychiatrist, I could not write about these artists, and the women who were their intimate partners, without considering their psychopathology. In writing about this I have struggled to avoid jargon and to ensure readability. The main focus is on the relationship between psychopathology and creativity, with some comments about the effects of psychiatric treatment on the creative process. The overall bias of the book is feminist, but my voice here is not strident. I have tried to comment sensibly on what modern women may learn from the truly heroic women who are the main focus of this work.

Feminist Mentoring in Academia offers a varied collection of autoethnographic and research-based accounts of support, struggle, and resilience from the ivory tower. Contributors write about the moments in-between, where feminist mentoring initiates, renews, thrives, and sometimes struggles. The work presented in this book highlights how feminist mentoring happens between professor and student; junior faculty and tenured; and occurs repeatedly. Featuring contributions from scholars at varying points in their academic careers, the chapters of this book propose best feminist mentorship practices, disclose personal narratives, and critique traditional forms of mentoring with visions for feminist mentorship futures. Scholars of communication, feminist studies, higher education, and sociology will find this book of particular interest.