Книги про сучасне мистецтво

Geek art is the new pop art

Characters from comics, movies, TV shows, and video games are a part of the collective imagination forever, so it’s only natural that artists would begin integrating them into their work, giving birth to a new artistic movement: GEEK-ART. In Total Geek Art, the work of 80 painters, illustrators, and sculptors is collected to offer an international panorama of the geek-art genre of artistic expression. It presents profiles of geek-art’s greatest founders as well as insights on the latest trends, such as the return of enamel pins, the development of toy photography, and the recognition of video game art.

Featuring stunning artwork and exclusive interviews and essays, this deluxe collection is a must-have for every pop-culture enthusiast.

About the Author: 

Thomas Olivri grew up loving geek culture and never outgrew it. He is the creator of Geek-Art.net, a popular online pop culture community that features art inspired by the worlds of sci-fi, fantasy, video games, and comics, and hosts gallery shows of the work in his home country of France.

The book presents the extraordinary three-dimensional “live sculptures” by the Russian architect, designer, writer and artist.

Having some engineering experience, Klyukin was able to experiment and derive a concept of connecting steel sheets on a non-existent, speculative axis without any actual fasteners. The principle of mobility of each individual piece was the basis for this technological innovation. Each sculpture created without physical fasteners is easily assembled and disassembled. This new experience brought new satisfaction. One of the statuettes done using the “live sculpture” technique, the Golden Madonnina, was used as the official award during Milan Design Week in 2017, a kind of Oscar for designers.

Vasily Klyukin was born in Moscow in 1979. From 1995 to 2010, he was active in business; when he left business he moved to Monaco, where he took up writing, architecture, and design. In 2013, he published Designing Legends, an album of architectural concepts that contained fifty of his visions for future buildings such as towers, office buildings, museums, and opera houses. Klyukin is recognized by many for his pronounced individuality and the unique shapes of his buildings. He strives to make each building internationally recognizable and mark it as the symbol of the city, or even the country that hosts it. In 2016, he published a sci-fi novel, Collective Mind. This is a dystopia about the creation of artificial intelligence, a computer that uses human brain as fuel. The book has been translated into English and French and published around the world. The sequel to the novel is expected in 2019. Hollywood producer Peter D. Graves has optioned Collective Mind.

His main achievement is the live sculptures technique that he created in 2017 and that he uses to craft influential and memorable installations. His first solo exhibition of live sculptures is based on Dante Alighieri’s The Divine Comedy and is called

In Dante Veritas. Currently displayed at the State Russian Museum in St. Petersburg, the collection of twenty-seven sculptures will soon be traveling to Moscow, then the Vatican, Venice, Miami, and New York.

“My sculptures are a symbiosis of engineering and meaning.” —Vasily Klyukin

Особиста та експертна розповідь про митців і події, які визначили перші 50 років медіа, написана справжнім експертом у цій галузі

З моменту появи портативної споживчої електроніки майже півстоліття тому художники в усьому світі адаптували свої новітні технології для створення мистецтва. Ця розповідь куратора з перших вуст, який стежив за відеоартом від його початків наприкінці 1960-х років, коли митці вперше адаптували портативні споживчі технології для створення мистецтва, висвітлює незмінну важливість відео у світі мистецтва, простежуючи розвиток жанру разом із досягненнями в технологіях, які продовжували відкривати нові можливості для художників. Лондон тісно та особисто співпрацювала з художниками, про яких вона пише, які охоплюють покоління, зокрема Джоан Джонас, Нам Джун Пейк, Білл Віола, Ширін Нешат, Піпілотті Ріст, Міранда Джулі, Рагнар К’яртанссон та Ян Ченг. Цей текст є як історичним, так і особистим –  поєднує довідкову інформацію та проникливі інтерпретації з унікальними анекдотами та досвідом, щоб простежити історію відеомистецтва, коли воно трансформувалося в ширшу сферу медіа-мистецтва – від аналогового до цифрового, від маленьких телевізійних моніторів до настінних проекцій, від незграбного апаратного забезпечення до зручного програмного забезпечення. Роблячи це, вона розкриває, як відео еволюціонувало з маргінального статусу до одного з найвидатніших видів мистецтва сучасності.

«Книга Лондона захоплює, тому що вона виводить нових митців у лінію, гідну більшого. Її пристрасть до маловідомих постатей… заразлива». – ARTnews, Найкращі художні книги 2020 року

Про автора:

Барбара Лондон – письменниця, куратор і багаторічний інтерпретатор відео, перформансу, медіа, інсталяції та саунд-арту. Вона заснувала відеовиставки та колекційні програми в Музеї сучасного мистецтва в Нью-Йорку, де працювала між 1973 і 2013 роками. Лондон також був першим, хто інтегрував Інтернет у свою кураторську практику. Вона є ад’юнкт-професором факультету образотворчого мистецтва Єльського університету та консультантом Kadist Foundation. Вона також є ведучою подкасту «Barbara London Calling», у якому вона бере інтерв’ю у піонерів і перспективних художників, приділяючи особливу увагу технологіям і творчості.

As seen in Forbes, Colossal, and The Art Newspaper. Over 100 global artists working with collage, as chosen by a team of art experts – an indispensable who's who of the most exciting and innovative names working in the medium

Collage is an artistic language comprising found images, fragmentary forms, and unexpected juxtapositions. While it first gained status as high art in the early twentieth century, the past decade has seen a fresh explosion of artists using this dynamic and experimental approach to image making.

Organised in an A-Z sequence by artist, the book features both well-known collagists including Njideka Akunyili Crosby; Ellen Gallagher; Peter Kennard; Linder, Christian Marclay; Wangechi Mutu; Deborah Roberts; Martha Rosler; and Mickalene Thomas, and a plethora of lesser-known names deserving of greater attention. Taking a broad definition – from analog cut-and-paste compositions and photomontages to digital composed imagery and animations – Vitamin C+ showcases 108 living artists who employ collage as a central part of their visual-art practice, as selected by 69 leading experts, including museum directors, curators, critics, and collectors. The survey also features an engaging and informative introduction by Yuval Etgar, an internationally renowned expert in the area.

The 69 expert nominators include: Cecilia Alemani; Iwona Blazwick; David Campany; Raphael Chikukwa; Patrick Elliott; Max Hollein; Hettie Judah; Christine Macel; Roxana Marcoci; Duro Olowu; Scott Rothkopf; Russell Tovey; Zoe Whitley; and Heidi Zuckerman.

Artists include: Njideka Akunyili Crosby; Kader Attia; Adam Broomberg; Sara Cwynar; Moyna Flannigan; Ellen Gallagher; Lauren Halsey; Lyle Ashton Harris; Thomas Hirschhorn; Peter Kennard; Justine Kurland; Linder; Christian Marclay; Wangechi Mutu; Frida Orupabo; Heather Philipson; Tabita Rezaire; Deborah Roberts; Martha Rosler; Dee Shapiro; Eva Stenram; John Stezaker; Mickalene Thomas; Kara Walker; and Billie Zangewa.

About the Author:

Yuval Etgar is a curator and art historian who specialises in the history and theory of collage and image appropriation. His curated and published work includes The Ends of Collage, an anthology of writings on the history and theory of this practice, as well as monographic projects dedicated to the work of Louise Nevelson, Jake Chapman, John Stezaker, Fischli & Weiss, and René Magritte, among others.

The first monograph on the work of celebrated and influential Kenyan-American artist Wangechi Mutu

Wangechi Mutu's remarkable body of work touches on such issues as sexuality, ecology, politics, and the rhythms and chaos that govern the world. Her paintings, sculptures, and collages, often enriched with culturally-charged materials including tea, synthetic hair, Kenyan soil, feathers, and sand, interweave fact with fiction, generating a unique form of myth-making that sets her apart from classical history or popular culture. This is the first book to document her evolution and explore her impact.

About the Authors:

Adrienne Edwards is Curator of Performance at the Whitney Museum of American Art in New York.

Courtney J. Martin is Director of the Yale Center for British Art in New Haven.

Kellie Jones is Hans Hofmann Professor of Modern Art in the Departments of Art History & Archaeology, and African American & African Diaspora Studies at Columbia University.

Chika Okeke-Agulu is Director of African Studies at Princeton University, New Jersey.

The most comprehensive book devoted to the incomparable and iconic work of Yayoi Kusama.

Yayoi Kusama, now in her eighties, has become a vital force in contemporary art and an influence on generations of artists. Arriving in New York City in 1958 from her native Japan, she embarked on a series of works that forged a new visual vocabulary - the Net paintings, which were composed of scores of small, thickly painted loops spanning large canvases. Her singular approach to art making continued in other extraordinary bodies of work, including the phallic soft sculptures which she later incorporated into full-scale environments. In 1973 she returned to Japan, where she lives and works today.

Since then, she has created dazzling walk-in mirror rooms and her now-famous pumpkin sculptures, as well as writing poetry and novels. In this book - created in close collaboration with Kusama and her Tokyo studio - the breadth and import of this watershed artist’s career are considered in depth. In addition to studies of the development of her artistic vocabularies across different media, the book includes ephemera, sketches, and photographs from the artist’s extensive archive that have never been seen before.

The publication is timed to coincide with the artist’s major touring retrospective, which makes its American debut at the Whitney Museum in New York in summer 2012, as well as with the much-anticipated collaboration with powerhouse fashion brand Louis Vuitton.

This book comes in three different color patterns (all with the same cover design).

Contributors include: Leslie Camhi, RoseLeeGoldberg, Laura Hoptman, Chris Kraus, Arthur Lubow, Kevin McGarry, Louise Neri, Akira Tatehata, and Olivier Zahm.

About the Authors

Louise Neri is an editor, curator, writer, and consultant based in New York. As an international director at Gagosian Gallery, she works on research and development, exhibition and editorial programming, and communications. Yayoi Kusama is among the artists she represents and works with closely. Leslie Camhi, who first encountered Yayoi Kusama’s work nearly two decades ago, has written about art, books, fashion, and women’s lives for the New York Times, Vogue, and many other publications.  

RoseLee Goldberg, Founding Director and Curator of Performa, is an art historian, critic, and curator whose book Performance Art: From Futurism to the Present, first published in 1979, pioneered the study of performance art. Born and raised in Tokyo, Takaya Goto completed his post-graduate design education in the United States. He is a co-founder of Goto Design, a multidisciplinary design studio based in New York. Laura Hoptman is Senior Curator at the Museum of Modern Art in New York, where she has organized the exhibitions “Drawing Now: Eight Propositions” (2002) and “Love Forever: Yayoi Kusama” (1998), among many others. 

Chris Kraus is the author of four novels, including the forthcoming Summer of Hate (Semiotexte, 2012) and two books of art criticism.  Since 1975, Arthur Lubow has worked primarily as a writer of long-reported articles for national magazines. For the last decade, he has been a contributing writer at the New York Times Magazine, specializing in the arts. Kevin McGarry is a writer, editor, and curator. He writes the contemporary art column “Out There” for T: The New York Times Style Magazine, is the art editor for V Magazine, and reviews exhibitions for Art Agenda and Artforum.com. Akira Tatehata is a curator, critic, and poet. Olivier Zahm is a curator, writer, editor, and co-founder of Purple Prose.

____________

Пролистать книгу Yayoi Kusama

A major career survey of Yayoi Kusama, one of the most widely admired and popular artists of our time, published in collaboration with M+, Hong Kong, to accompany M+’s first Special Exhibition, Yayoi Kusama: 1945 to Now, from 12 November 2022 to 14 May 2023.

Yayoi Kusama is that rare thing: an artist who has achieved truly global acclaim. In a wide-ranging career spanning seven decades and multiple media, she has established profound connections with audiences around the world. Emerging at the forefront of artistic experimentation in Asia in the mid-20th century, Kusama soon became a central figure in the New York art scene of the 1960s. Today, Kusama continues to communicate her highly personal and spiritual world view through her art.

Yayoi Kusama: 1945 to Now is the most comprehensive survey of her work to date. Structured around six thematic sections, ‘Infinity’, ‘Accumulation’, ‘The Biocosmic’, ‘Radical Connectivity’, ‘Death’ and ‘Force of Life’, the volume elucidates the aesthetic and philosophical concerns at the heart of the artist’s oeuvre.

In addition to a selection of Kusama’s writings, some of which have never been published before, the book features correspondence with Georgia O’Keeffe, an interview with critic and curator Yoshie Yoshida, and a roundtable discussion among leading authorities in the field. Also included are curatorial essays exploring different aspects of Kusama’s practice, and a detailed visual chronology of her life. Appealing not only to those already familiar with Kusama and her work, but also to anyone discovering it for the first time, this monograph reveals an artist who, while shaped by international artistic currents, remains deeply connected to the traditions and culture of her native Japan.

This book accompanies Yayoi Kusama’s first major European retrospective exhibition, offering a comprehensive overview of the Japanese artist’s influential oeuvre, which spans more than eighty years.

The companion to the groundbreaking new retrospective at the Gropius Bau, this publication examines Kusama’s life and work through wholly original insights by leading experts. The book traces the development of Kusama’s creative output from her early paintings and accumulative sculptures to her immersive environments, as well exploring her lesser-known artistic activity in Europe and Germany in particular. It illuminates Kusama’s commitment to political and social issues in Europe, the US and Japan. A diverse selection of images and archival documents feature alongside texts by authors from different theoretical backgrounds. Essays discuss Kusama’s accomplishments in the worlds of fashion, film, art marketing and publishing. They focus on her engagement with different artistic spheres and offer genre-specific observations about her performances, installations and painting series. As panoramic and fascinating as its subject, this monumental retrospective guides viewers interested in Kusama towards a deeper understanding of her creative trajectory and of the breadth of her extraordinary career.

About the Author:

Stephanie Rosenthal is director of the Gropius Bau in Berlin. Previously she was chief curator at the Hayward Gallery, London, as well as artistic director of the 20th Biennale of Sydney, which took place in 2016.

A retrospective of Yayoi Kusama, Japan's most prominent artist and 'Queen of the Polka Dots'

Avant-garde artist Yayoi Kusama’s matchless creativity and originality have been captivating the world since she moved from Matsumoto, her hometown in Nagano, Japan, to the USA in 1958. In the last ten years alone, her retrospective exhibitions in four major European and American museums, including Tate Modern, London, and the Whitney Museum of American Art, New York, have seen record attendance.

Kusama has continuously innovated and re-invented her style. Well-known for her repeating dot patterns, her art encompasses an astonishing variety of media, including painting, drawing, sculpture, film, performance and immersive installation. It ranges from works on paper featuring intense semi-abstract imagery, to soft sculpture known as ‘Accumulations’, to her ‘Infinity Net’ paintings, made up of carefully repeated arcs of paint built up into large patterns. This comprehensive publication, originally published to accompany a sell-out exhibition at Matsumoto City Museum of Art, offers a comprehensive overview of Kusama’s entire career, including works from her youth, when she indulged in drawing in order to escape from her hallucinations; paintings made when she was based in New York, including ‘Infinity Nets’ and ‘Polka Dots’; works from the 1980s and 1990s, when she participated in the Venice Biennale; and last but not least, the ongoing large-scale series ‘My Eternal Soul’. The plates are in chronological order and followed by detailed captions.

About the Authors:

Yayoi Kusama (born 22 March 1929) is a Japanese contemporary artist who works primarily in sculpture and installation but is also active in painting, performance, film, fashion, poetry, fiction, and other arts. Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content.
Akira Shibutami is a curator at the Matsumoto City Museum of Art.

In celebration of one of Kusama’s most iconic infinity rooms

A tribute to Yayoi Kusama, the world’s most popular artist, according to The Art Newspaper and The Guardian.

Yayoi Kusama is one of Japan’s most important and famous artists, beloved across multiple generations and different audiences, capable of wonder and amazement. Infinito presente is a tribute to her original and unique art, focusing on Fireflies on the Water one of her most iconic Infinity Mirror Rooms from the collection of the Whitney Museum of American Art in New York. Fireflies on the Water is a room-sized installation where, as the title suggests, the lights seem almost natural, like fireflies on a quiet summer’s night. The pool of water creates an incredible sense of stillness and the mirrors reflect never-ending images of themselves, creating a sidereal ambience. Space appears infinite, without top or bottom, beginning or end. As in Yayoi Kusama’s early installations, including her Infinity Mirror Room (1965), Fireflies on the Water embodies an almost hallucinatory approach to reality. Although linked to the artist’s personal mythology and the process of therapeutic work, this work also references sources as diverse as the myth of Narcissus and Kusama’s native Japanese landscape.

About the Author:

Stefano Raimondi, contemporary art curator, is director of network The Blank Contemporary Art, Italy’s leading network dedicated to the promotion and enhancement of contemporary art and the territory in which it is embedded.

World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama’s iconic Infinity Mirror Rooms, which originated with Phalli’s Field in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama's “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present.

By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series’ impact over the course of the artist’s career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Exhibition at Hirshhorn Museum and Sculpture Garden, Washington, DC, February 16 - May 14, 2017

About the Author:

Mika Yoshitake is Associate Curator at the Hirshhorn Museum and Sculpture Garden. Melissa Chiu is Director of the Hirshhorn Museum and Sculpture Garden. Alexander Dumbadze is Chair and Associate Professor of Art History at The George Washington University, Washington, Dc. GloriaA Sutton is Assistant Professor of Contemporary Art History at Northeastern University, Boston. Miwako Tezuka is Consulting Curator at Arakawa + Gins Reversible Destiny Foundation, New York.

Погляд на видатного китайського виконавця, скульптора та художника.

Чжан Хуань став одним із найважливіших митців свого часу, безстрашним дослідником меж людського тіла та ключовою фігурою на процвітаючій сцені китайського мистецтва. Його перші виступи, зокрема «12 м2, 65 кг» і «Підвищити рівень води в рибному ставку», піддавали його тіло виснажливим випробуванням на витривалість, розглядаючи зв’язок між фізичною витривалістю та духовним спокоєм.

Переїзд Чжана до Нью-Йорка в 1998 році сприяв його становленню як однієї з найбільш визнаних фігур у міжнародному сучасному мистецтві та призвів до виступів у містах по всьому світу, включаючи Сідней, Рим, Шанхай і Гамбург. У 2006 році він заснував студію в Шанхаї, де почав шукати більшого зв’язку з китайською спадщиною та історією. Це ознаменувало новий напрямок у його творчості, оскільки він повернувся від перформансу до скульптури, живопису та інсталяції. Створюючи великомасштабні скульптури, часто використовуючи знайдені предмети, такі як двері з сільських китайських будинків, він продовжує досліджувати нові способи відобразити свій інтерес до людського тіла та його унікальної мови.

Буддійські теми, які опосередковано фігурували в його ранніх роботах, набули більш помітної ролі після візиту до Тибету в 2005 році. Там він почав збирати фрагменти буддійських скульптур, які потім використовував як моделі для масивних мідних фігур. Після повернення до Шанхаю він почав використовувати попіл ладану з місцевих буддійських храмів у своїх скульптурах і картинах. Попіл, продукт релігійних підношень, зміцнює зв’язок між його мистецтвом і буддистською духовною практикою.

В інтерв’ю РоузЛі Голдберг обговорює з Чжаном своє життя та мотиви, своє дитинство в сільській провінції Тан’їнь і усвідомлення того, що його тіло може бути найкращим засобом самовираження. Огляд Yilmaz Dziewior аналізує еволюцію творчості Чжана від його ранніх суперечливих виступів у Пекіні до його інтересу до буддизму та його недавніх розробок монументальних скульптур і живопису, деякі з яких потребують понад сотні помічників. Роберт Сторр зосереджується на «Будівництві каналу» (2007), епічній картині з попелу, яка є свідченням величезної сили колективної праці. Для вибору художника Чжан вибрав уривок із вчень стародавнього ченця тігуан, зібраний його учнем Мяодзі. Записи художника включають власні яскраві думки Чжана про його мистецтво та його життя, включаючи раніше неопубліковані заяви художника.

Про авторів:

Інтерв’ю: РоузЛі Голдберг – історик мистецтва, критик і куратор, яка започаткувала дослідження перформансу. Автор кількох основоположних книг, у тому числі Performance Art: From Futurism to the Present (1979) та Performance: Live Art from the 1960s (1998), вона є директором-засновником «Performa», некомерційної організації з розробки, замовлення та презентації мистецтва перформансу.

Опитування: Їлмаз Дзевір – критик і куратор із Гамбурга, де він є професором теорії мистецтва у Вищій школі мистецтва. Раніше він був куратором Музею Людвіга в Кельні та директором Kunstverein у Гамбурзі, де він організував виставку робіт Чжан Хуана в 2002 році, зараз він є співкуратором 7-ї бієнале візуальних мистецтв у Лімерику (2009). Його твори публікувалися в Artforum, Camera Austria та Texte zur Kunst, а також у численних каталогах виставок.

Фокус: Роберт Сторр – декан Школи мистецтв Єльського університету. Колишній старший куратор Музею сучасного мистецтва в Нью-Йорку, він керував бієнале SITE у Санта-Фе в 2004 році та Венеціанською бієнале в 2007 році. Він був співавтором Фейдонових Алекса Каца (2005), Луїзи Буржуа (2003) і Реймонда Петібона (2001), а також регулярно пише для численних журналів і журналів, зокрема Art. в Америці — Фріз і Паркетт.

At the Tipping Point

Taking a deliberately kaleidoscopic approach, the exhibition 1.5 Degrees and the accompanying catalogue encourage us to address the climate crisis in a curious, innovative, participatory, and active way. More than 30 international artists, including melanie bonajo, Julian Charrière, Ernesto Neto, Otobong Nkanga, Laure Prouvost, Marianna Simnett and the collective SUPERFLEX, explore the complex interdependencies between humans, nature and technology, and search for solutions, from plants as data repositories, algae as energy sources and microorganisms as empathic dialogue partners. Including all parts of the museum collections as well as new outdoor installations at the National Garden Show BUGA, the book presents various models of how to use the means of art to reshape the coexistence of species and emphasizes the hope-giving potential of creativity and innovation.

This book traces the rise of the 3D spectacle, from 19th-century stereoscopy to contemporary 3D filmmaking and artworks.

This book follows the cyclical development of 3D media from the 1830s to the present, tracing an alternate history of modernism in which virtual depth takes precedence over material flatness. Pursuing a career-long obsession, author Britt Salvesen explores the origins of the stereoscope and its impact on later artists, featuring historic images by Jules Duboscq, Marcel Duchamp, Oskar Fischinger, Salvador Dali, and others. She traces the origins of anaglyph and polarized film, as well as other 3D formats, such as View-Master, Stereo Realist, lenticular printing, computer animation, and holography. Readers learn how 3D techniques were adopted by such artists as Simone Forti, Dan Graham, Mariko Mori, William Kentridge, Trisha Baga, and Lucy Raven. Encompassing nearly 200 years of innovation and covering a wide range of genres, artists, and media — from sophisticated perceptual experimentation to popular cinema — this volume explores how and why 3D images remain wondrous to 21st-century artists and audiences. Each book includes 3D viewing apparatuses to allow readers to fully engage in this multi-dimensional history of artistic expression.

About the author:

Britt Salvesen is Curator and Head of the Wallis Annenberg Photography Department and the Prints and Drawings Department at the Los Angeles County Museum of Art.

Now available in a new edition, this survey of great contemporary artists is the perfect introduction to the exciting world of art today.

From painters and photographers to sculptors and performance artists, fifty of the most influential contemporary artists are profiled in this colourful and engaging book that traces the various artistic movements and radical changes of the second half of the twentieth century. Presented chronologically, each artist is featured in one or two double-page spreads that include brilliant reproductions of their most important works, a succinct text about their work and life, an insightful biography with key dates in their career, and informative background on major developments in the art world. As diverse and inspiring as the artists themselves, this book is a voyage of discovery into art’s cutting edge.

About the Authors:

Brad Finger is an art historian based near Chicago, Illinois. He is the author of 13 Modern Artists Children Should Know and 13 American Artists Children Should Know.

Christiane Weidemann is an art historian and author of art books for children and adults. Her books include Salvador Dali, Leonardo da Vinci, and 50 Women Artists You Should Know.

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