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.

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.

At the intersection of art, contemporary design, and social activism, Winfried Baumann's ongoing Urban Nomads series has as its focus the harsh realities of homelessness and neonomadism, often in conjunction with issues of housing, food, and restricted mobility. Foremost among the projects that comprise Urban Nomads is Instant Housing, a collection of customizable and readily mobile residential units for those in need of shelter. Other projects in the series range from the transportable cooking stations of Instant Cooking to mobile medical care units and Dresscode, which considers the special requirements of dress for those without a permanent address. Formally trained as a sculptor, Baumann brings to each of his projects both a careful consideration of function and a mastery of sculptural technique. With more than four hundred full-color illustrations, this is the first English-language publication to focus solely on Baumann's powerful and thought-provoking body of work. Rounding out the volume is an extensive interview with the artist and several essays by scholars in the field, shedding light on how the Urban Nomads projects prompt reflection on our own lifestyles and those around us.

In the fateful month of March 2000, shortly after opening a hugely successful show in New York that unveiled the more nefarious financial connections of Presidential candidate George W. Bush, the hugely ambitious Conceptual artist Mark Lombardi was found hanged in his studio, an apparent suicide. With museums lining up to buy his work, and the fame he had sought relentlessly at last within his reach, speculation about whether his death was suicide or murder has titillated the art world ever since. Lombardi was an enigma who was at once a compulsive truth-teller and a cunning player of the art game, a political operative and a stubborn independent, a serious artist and a Merry Prankster, a metaphysicist if not a scientist.Lombardi's spidery, elusive diagrams describing the evolution of the shadow-banking industry from a decades-old alliances between intelligence agencies, banking, government and organized crime, may have made him unique in art history as the only artist whose primary subject, the CIA, has turned around and studied him and his art work. Exhaustively researched, this is the first comprehensive biography of this immensely contradictory and brilliantly original artist whose pervasive influence in not only the art world, but also in the world of computer science and cyber-security is only now coming to light.

'I, Kusama, am the modern Alice in Wonderland' Yayoi Kusama Nonagenarian Japanese artist is simultaneously one of the most famous and most mysterious artists on the planet. A wild child of the 1950s and 1960s, she emerged out of the international Fluxus movement to launch naked happenings in New York and went on to become a doyenne of that city's counter-cultural scene. In the early 1970s, she returned to Japan and by 1977 had checked herself in to a psychiatric hospital which has remained her home to this day. But, though she was removed from the world, she was definitely not in retirement. Her love and belief in the polka dot has given birth to some of the most surprising and inspiring installations and paintings of the last four decades - and made her exhibitions the most visited of any single living artist.

Writing in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O'Grady, who for over forty years has investigated the complicated relationship between text and image. A firsthand account of O'Grady's wide-ranging practice, this volume contains statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography; her art and music criticism that appeared in the Village Voice and Artforum; critical and theoretical essays on art and culture, including her classic "Olympia's Maid"; and interviews in which O'Grady maps, expands, and complicates the intellectual terrain of her work. She examines issues ranging from black female subjectivity to diaspora and race and representation in contemporary art, exploring both their personal and their institutional implications. O'Grady's writings-introduced in this collection by critic and curator Aruna D'Souza-offer a unique window into her artistic and intellectual evolution while consistently plumbing the political possibilities of art.

The fourteen prominent 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 Anglo-American philosophers tackling these concerns head-on.
Contributors:
Margaret Boden, Diarmuid Costello, Gregory Currie, David Davies, Peter Goldie, Robert Hopkins, Matthew Kieran, Peter Lamarque, Dominic McIver Lopes, Derek Matravers, Elisabeth Schellekens, Kathleen Stock, Carolyn Wilde, and the "Art & Language" group.

Drawing on unpublished documents and oral histories, an illustrated examination of an iconic artwork of an artist who has made a lifework of tactical evasion. One wintry day in 1983, alongside other street sellers in the East Village, David Hammons peddled snowballs of various sizes. He had neatly laid them out in graduated rows and spent the day acting as obliging salesman. He called the evanescent and unannounced street action Bliz-aard Ball Sale, thus inscribing it into a body of work that, from the late 1960s to the present, has used a lexicon of ephemeral actions and self-consciously "black" materials to comment on the nature of the artwork, the art world, and race in America. And although Bliz-aard Ball Sale has been frequently cited and is increasingly influential, it has long been known only through a mix of eyewitness rumors and a handful of photographs. Its details were as elusive as the artist himself; even its exact date was unrecorded. Like so much of the artist's work, it was conceived, it seems, to slip between our fingers-to trouble the grasp of the market, as much as of history and knowability. In this engaging study, Elena Filipovic collects a vast oral history of the ephemeral action, uncovering rare images and documents, and giving us singular insight into an artist who made an art of making himself difficult to find. And through it, she reveals Bliz-aard Ball Sale to be the backbone of a radical artistic oeuvre that transforms such notions as "art," "commodity," "performance," and even "race" into categories that shift and dissolve, much like slowly melting snowballs.

An attempt to melt an iceberg with a blowtorch, an indoor lake of tequila, an ascent of Mt Everest, driftwood burnt with sunlight focused through a magnifying glass and a doorbell that emits the sound of a dying star; these are some of the extraordinary artistic strategies covered in this collection. Gathering together texts published since 2002, as well as specially written new essays, In Land traces recent engagements with landscape, nature, environment and the cosmos.