Chacón's work can be read as a pictorially narrated story of the problems of modern and contemporary painting. Throughout his career, genres and aesthetics are transgressed in his artistic production, "pure" painting is invaded by conceptual art or becomes an installation, and the most radical geometry shares the stage with abstract expressionism. This book is the most complete editorial work dedicated to the artist, one of the main protagonists of contemporary Venezuelan and Latin American art. It contains critical texts by authors of international and national prestige, such as Jesús Fuenmayor, Dan Cameron, Nadja Rottner and Félix Suazo; it also includes a complete interview with the artist by graphic designer and curator �lvaro Sotillo and a detailed chronology by Israel Ortega and Leonor Solá.  Illustrated with numerous reproductions of his works and a selection of previously unpublished historical photographs, it is destined to become an essential bibliographical reference.

The analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art?
Conceptual art, broadly understood by the contributors as beginning with Marcel Duchamp's ready-mades and as continuing beyond the 1970s to include some of today's contemporary art, is grounded in the notion that the artist's "idea" is central to art, and, contrary to tradition, that the material work is by no means essential to the art as such. To use the words of the conceptual artist Sol LeWitt, "In conceptual art the idea of the concept is the most important aspect of the work . . . and the execution is a perfunctory affair." Given this so-called "dematerialization" of the art object, the emphasis on cognitive value, and the frequent appeal to philosophy by many conceptual artists, there are many questions that are raised by conceptual art that should be of interest to analytic philosophers. Why, then, has so little work been done in this area? This volume is most probably the first collection of papers by analytic philosophers tackling these concerns head-on.

In Art & Language International Robert Bailey reconstructs the history of the conceptual art collective Art & Language, situating it in a geographical context to rethink its implications for the broader histories of contemporary art. Focusing on its international collaborations with dozens of artists and critics in and outside the collective between 1969 and 1977, Bailey positions Art & Language at the center of a historical shift from Euro-American modernism to a global contemporary art. He documents the collective's growth and reach, from transatlantic discussions on the nature of conceptual art and the establishment of distinct working groups in New York and England to the collective's later work in Australia, New Zealand, and Yugoslavia. Bailey also details its publications, associations with political organizations, and the internal power struggles that precipitated its breakdown. Analyzing a wide range of artworks, texts, music, and films, he reveals how Art & Language navigated between art worlds to shape the international profile of conceptual art. Above all, Bailey underscores how the group's rigorous and interdisciplinary work provides a gateway to understanding how conceptual art operates as a mode of thinking that exceeds the visual to shape the philosophical, historical, and political.

The highly anticipated follow up to Structura and Structura 2, Structura 3 is the newest collection of images from HALO art director, Sparth, which takes viewers on an amazing journey to imaginary lands. As with his prior best selling books, Structura 3 will not only share his fascinating artwork but will also have tips of the trade for creating believable digital environments and lands. Step-by-step tutorials will provide anyone with the educational tools necessary to design their own fantastical worlds. This next addition to the Structura library is not to be missed!

Lawrence Weiner, born 1942 in the Bronx, New York City, is a key protagonist of early conceptual art. His work is characterised by his use of language as an artistic medium. It is descriptive rather than prescriptive and does not instruct the viewer to perform a particular action or interpret a piece in any unequivocal sense. Rather, it presents the viewer with an infinite number of meanings and equally infinite possibilities for realisation. ATTACHED BY EBB & FLOW is an installation Weiner created for Museo Nivola in Orani, Sardina. The title refers to the tides and relates to Sardinia-born artist Costantino Nivola's experience of exile and relocation, as well the current migrant crisis in the Mediterranean Sea. Sentences are translated from English to Italian to local Sardu, using different words and verbal constructs and presented simultaneously to open manifold possibilities to read and interpret: something may be lost in translation, yet much more can be found. Text in English and Italian.

Tracey Emin has undergone an extraordinary metamorphosis from a young, unknown artist into the ‘bad girl’ of the Young British Art (YBA) movement, challenging the complacency of the art establishment in both her work and her life. Today she is arguably the doyenne of the British art scene and attracts more acclaim than controversy. Her work is known by a wide audience, yet rarely receives the critical attention it deserves. In Tracey Emin: Art Into Life, writers from a range of art historical, artistic and curatorial perspectives examine how Emin’s art, life and celebrity status have become inextricably intertwined. This innovative collection explores Emin’s intersectional identity, including her Turkish-Cypriot heritage, ageing and sexuality, reflects on her early years as an artist, and debates issues of autobiography, self-presentation and performativity alongside the multi-media exchanges of her work and the tensions between art and craft. With its discussions of the central themes of Emin's art, attention to key works such as My Bed, and accessible theorization of her creative practice, Tracey Emin: Art into Life will interest a broad readership.

This second volume of JRP-Ringier's complete John Baldessari writings traces the genesis and development of the artist's understanding of art in the early 1960s through to the present. "More Than You Wanted to Know About John Baldessari" presents Baldessari as storyteller, moralist, teacher and occasional gadfly, always concerned to accomplish what he describes as the central task of art making: to communicate in a way that people can understand. These writings address everything from matters of color in sculpture, to the dilemmas of art students in need of ideas, to the art world's ever-conflicted relationship with money, while always returning to Baldessari's love of language and his longstanding investigation into the tensions of word and image. With numerous never-before-published texts and facsimiles of original documents, this long-anticipated collection will prove essential reading for anyone involved in contemporary art.

The Punch Drunk Moustache team is back, and the artists are coming out swinging! The original mustachioed maniacs head into the ring for a second round of never-before-seen visual stories. Prepare to be knocked out by magical warriors, Western dreamlands, enchanted dolls, courageous outlaws, and much, much more.

Following his previous books, Quantum Dreams and Quantumscapes, Velocity is a stunning new visionary collection of sci-fi book cover paintings, commercial and film art, video game designs, and never before-seen artwork from the fantastic imagination of acclaimed artist Stephan Martiniere.

In 1971, Laszlo Beke--a renowned Hungarian art historian and curator--asked 28 artists to submit their reaction to the concept "WORK = the DOCUMENTATION OF THE IMAGINATION/IDEA" on A4 sheets. Beke arranged and preserved the contributions in folders, which have been available for viewing over the last 30 years only in his apartment, which has become a center of archival research for artists interested in Conceptual art. This comprehensive documentation is now published in facsimile with English translations, accompanied by Georg Scholhammer's interview with Laszlo Beke and Beke's essay on the context of the project, as well as biographical data on the participants, who include Imre Bak, Miklos Erdely, Gyorgy Jovanovics, Ilona Keseru, Dezso Korniss, Laszlo Lakner, Gyula Pauer, Geza Perneczky, Sandor Pinczehelyi, Tamas Szentjoby and Endre Tot, among others. This volume presents a cornerstone document of Conceptual art in Hungary for the first time.

A major reassessment of photography's pivotal role in 1960s conceptual art Why do we continue to look to photographs for evidence despite our awareness of photography's potential for duplicity? Documents of Doubt critically reassesses the truth claims surrounding photographs by looking at how conceptual artists creatively undermined them. Studying the unique relationship between photography and conceptual art practices in the United States during the social and political instability of the late 1960s, Heather Diack offers vital new perspectives on our "post-truth" world and the importance of suspending easy conclusions in contemporary art. Considering the work of four leading conceptual artists of the 1960s and '70s, Diack looks at photographs as documents of doubt, pushing the form beyond commonly assumed limits. Through in-depth and thorough reevaluations of early work by noted artists Mel Bochner, Bruce Nauman, Douglas Huebler, and John Baldessari, Diack advances the powerful thesis that photography provided a means of moving away from the object and toward performative effects, playing a crucial role in the development of conceptual art as a medium of doubt and contingency. Discussing how unexpected and contradictory meanings can exist in the guise of ordinary pictures, Documents of Doubt offers evocative and original ideas on truth's connection to photography in the United States during the late 1960s and how conceptual art from that period anticipated our current era of "alternative facts" in contemporary politics and culture.

This Limited Edition comes with a unique cover and a pristine slipcase with metallic foil print. The print run is limited to world-wide 1113 copies. At a stunning size of 12" x 14" (30.5cm x 35.5cm), and with full spread images spanning 24" in width, this first book of a new fiction series will open the doors to a parallel history of racing. Daniel Simon designed for Bugatti, Lotus, Formula 1 and penned unforgettable vehicles for Hollywood movies like Tron: Legacy or Oblivion. This is his second book after Cosmic Motors.
Simon will present in this series over the next years fictitious racing machines at impeccable detail up to 50 megapixel, including vehicle specs and maps of the tracks they raced on. All vehicles and characters are explained through the carefully written story of racer Vic Cooper, who time-travels to the past and the future to compete in the most challenging motor races between 1916 and 2615. This is episode 1, the year 2027, written in English, French and German.
Top Gear magazine says on the back cover: ' After Cosmic Motors and his adventures in Hollywood, this is Daniel Simon's next big coup. '
Design fans, car enthusiasts, CG addicts and science-fiction aficionados can enjoy Simon's parallel world through hyper-real renderings, drawings and photography of fictional drivers, managers and beautiful women. This first episode puts three uniquely designed race cars in the spotlight: The 1981 Masucci X-5, the 2027 Masucci X-7 and the 2027 Prideux -Martin MF/27.
The foreword has been written by racing legend Jacky Ickx, who raced in the 1960s, '70s and '80s for many famed teams such as Ferrari, McLaren, Porsche, Brabham or Lotus. He is the only driver to have won in Formula One, Can-Am, Le Mans, and the Paris-Dakar rally.