On July 9, 1975, artist Bas Jan Ader set sail from Chatham, Massachusetts, for Palmouth, England, on the second leg of a three-part piece titled In Search of the Miraculous. His damaged boat was found south of the western tip of Ireland nearly a year later. He was never seen again. Since his untimely death, Ader has become a legend in the art world as a figure literally willing to die for his art. Considering the artist's legacy and oeuvre beyond the mysterious circumstances of his peculiar end, Alexander Dumbadze resituates Ader's art and life within the Los Angeles conceptual art scene of the early 1970s. Blending biography, theoretical reflection, and archival research to draw a detailed picture of the world in which Ader's work was rooted, Bas Jan Ader is a thoughtful reflection on the necessity of the creative act and its inescapable relation to death.

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.

Winner, Canadian Museums Association Outstanding Achievement in Publication and Melva J. Dwyer AwardIain Baxter legally changed his name to IAIN BAXTER& in 2005. He appended an ampersand to his name to underscore that art is about connectivity -- about contingency and collaboration with a viewer. He also effected the name change to perpetuate a strategy of self re-definition that is central to his creative project. BAXTER& began making art in the late-1950s under his birth name but quickly realized that the name itself was creative material, to be deployed, manipulated, and shared. In 1965, he formed a collaborative art-making entity which evolved into N.E. Thing Company, a corporate-styled entity whose co-presidents were BAXTER& and his wife Ingrid. Producing a diverse array of projects that encompassed conceptually based photography, pioneering works of appropriation art, and gallery transforming installations, the N.E. Thing Company offered a new model of art making, allowing the artists to remain anonymous and masquerade in the guise of business people. Following the dissolution of N.E. Thing Company in 1978, BAXTER& produced extensive bodies of work with Polaroid film, created numerous installations that blended painting and sculpture, and made pedagogy a focus of his creative enterprise. Consistent themes permeate his work and vector through his thinking. And by assessing these themes -- a relentless emphasis on reaching out to the viewer, a core concern with ecology and the environment, and a belief that art must assume plural means and media -- one discerns BAXTER&'s creative credo, understanding that "art is all over." This comprehensive book reviews BAXTER&'s remarkable career across all media. It accompanies a major international touring exhibition, which opened at the Museum of Contemporary Art, Chicago in November 2011 and at the Art Gallery of Ontario in April 2012. Featuring more than 160 reproductions of BAXTER&'s work, it also includes essays by the exhibition's curator, David Moos, along with contributions by Michael Darling (James W. Alsdorf Chief Curator, Museum of Contemporary Art, Chicago), Alex Alberro (Associate Professor, University of Florida), and others. The book will also feature a comprehensive bibliography compiled by Adam Lauder (W.P. Scott Chair for Research in E-Librarianship, York University).

Emily Noyes Vanderpoel (1842-1939) was an artist, collector, scholar, and historian working at the dawn of the 20th century. Her first and most prominent work, Color Problems: A Practical Manual for the Lay Student of Color, provides a comprehensive overview of the main ideas of color theory at the time, as well as her wildly original approaches to color analysis and interaction. Through a 21st century lens, she appears to stumble upon midcentury design and minimalism decades prior to those movements. Presenting her work as a painting manual under the guise and genre of flower painting and the decorative arts-- subjects considered "appropriate" for a woman of her time--she was able to present a thoroughly studied, yet uniquely poetic, approach to color theory that was later taken up and popularized by men and became ubiquitous in contemporary art departments. Her remarkable inventiveness shines in a series of gridded squares, each 10 x 10, that analyze the proportions of color derived from actual objects: Assyrian tiles, Persian rugs, an Egyptian mummy case, and even a teacup and saucer. Vanderpoel had a deep knowledge of ceramics and analyzed many pieces from her personal collection. She leaves her process relatively mysterious but what is clear, as historian and science blogger John Ptak notes, is that Vanderpoel "sought not so much to analyze the components of color itself, but rather to quantify the overall interpretative effect of color on the imagination".

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.

With cover artwork specially created by Ruscha, this book documents hundreds of projects and miscellaneous ephemera produced by the artist alongside his main oeuvre-including installations, films, painted book covers, contour gauge profiles, and more Introducing readers to the stunning breadth of Edward Ruscha's (b. 1937) creative output over the course of his entire life, this book includes materials dating back to his childhood and extending to his present-day output. The projects featured here fall outside Ruscha's production of paintings, drawings, prints, and artists' books. Many of these are unknown and most are reproduced here for the first time. Composed of three sections-Projects and Ephemera; Contour Gauge Profiles; and Painted Book Covers-the book offers Ruscha enthusiasts and scholars a hitherto unknown aspect of Ruscha's practice, while also showing how these projects coincide with, and sometimes even prefigure, the artistic work for which he is best known. The approximately 270 painted book covers, begun in 1990, utilize found books as support for small paintings and drawings. The 57 contour gauge profiles are silhouette-like profiles made using a mechanical device for reproducing contours. The largest section, Projects and Ephemera, consists of installations, sculpture and objects, films, book and poster design, utilitarian works, and more. Distributed for Gagosian