The Evolution of the Skeletal Bird deals with contradicting and pivotal moments of a girl's transformation through poetry and photographic self-portraits to becoming an integrated member of society. The poems have deep undertones of coming of age along with self-contemplation. Poems and images constructed and compiled from 2009-2013.

The Fluxus Movement began during the 1960's and strives to combine different mediums and disciplines. The beginning principles of the movement were anti-art and anti-commercial . This volume includes and theses related to the Fluxus Movement. Each entry contains the name of the author, title, degree awarded, institution and year, as well as the author's abstract.

Images of paintings in oil and acrylic, regarding love, loss, visions, time, injustice, war, and people. (Several relate to experiences with dementia, schizophrenia, and depression.)

The town and actual island known as Pawleys doesn't have boardwalks or Beachy town trappings. It's slow, private and classy. The people live on island time, a little to the right of bohemian I imagine; relaxed, down to earth, and spiritual. Yes, with the tides, winds, sand, ocean smells and sounds, the soul is soothed. However, Pawleys Island can be a frightening place to visit because once you spend time here you can't get the romance of the Lowcountry out of your mind. I know this as a fact because it happened to me. After visiting some friends in Pawleys we bought a home and one year later lived here. Some say there are ghosts and spirits among us. Maybe one of these spirits cast a spell and won't let go. After moving here I wanted to know everything there was to know about the Lowcountry. I spent months exploring, learning the lore and falling in love. I took classes in art, and it became a passion. I would like to tell my experiences of Pawleys Island through my paintings.

The "One Word" series explores the how the gestalt of reading changes when there is only one word printed on each page. Different demands are made upon the viewer as the intended speed becomes slower and the act becomes more physical. Although the viewer can savor every word, different cognitive processes are in play that prematurely subjugate the sentence and the paragraph to memory. Although readers normally reads a text in phrases and sentences, the writer writes it one word at a time. It is seldom that people take the time to experience a work as the author conceived it; contemplating each word and carefully thinking it through. For the author it is both a secrete act as well as an aesthetic one. This text is laid out with one word on each page in order to provide the reader with the opportunity to contemplate the work a new.

This monograph tells the story of how three artists - Pablo Picasso, Edward Hopper and Germaine Richier - helped chart the course of modern art. The subtitle is a play on words. It is A Scenic Tour of Modern Art in the sense that all three artists created "scenes" in new and startling fashions. These scenes allow us to "see" inside modern art, a style that is often confusing to the general public.

Conceptual art as a popular phenomenon, known as conceptualism, had a profound impact upon the art world as a whole because it could manifest itself in any material or form. This allowed conceptual artists to approach themes that artists working in traditional materials could not. The term conceptual art was defined by Sol LeWitt, a pioneer of the movement, to describe diverse forms of written and visual documentation, including textual data, diagrams, drawings, maps, and photographic records. Stressing the use of language and thought process, the movement was the culmination of written information being enacted as art, something begun early in the century. In minimizing the relevance of the permanent visual object, conceptual art also demonstrated a disappointment with the museum and gallery system. It brought forth issues such as art as a commodity, what art could be, and art's role in society. It set out to shock the art community, to change the language of art, and to introduce a new way of perceiving and discussing art. Though it produced few known master works, conceptualism is credited with breaking from conventional art-making and did a great deal to open up the art world.

A FAMILY STORY AND THE TALE OF A NATION. Ai Weiwei - one of the world's most famous artists and activists - weaves a century-long epic tale of China through the story of his own life and that of his father, Ai Qing, the nation's most celebrated poet. 'Engrossing...a remarkable story' Sunday Times Here, through the sweeping lens of his own and his father's life, Ai Weiwei tells an epic tale of China over the last 100 years, from the Cultural Revolution to the modern-day Chinese Communist Party. Here is the story of a childhood spent in desolate exile after his father, Ai Qing, once China's most celebrated poet, fell foul of the authorities. Here is his move to America as a young man and his return to China, his rise from unknown to art-world superstar and international rights activist. Here is his extraordinary account of how his work has been shaped by living under a totalitarian regime. It's the story of a father and a son, of exceptional creativity and passionate belief, and of how two indomitable spirits enabled the world to understand their country. 'A story of inherited resilience and self-determination' Observer 'A majestic and exquisitely serious masterpiece about his China... One of the great voices of our time' Andrew Solomon 'Intimate, unflinching...an instant classic' Evan Osnos, author of Age of Ambition

Deserted Places is an exploration of forgotten, lost places. The photographies are taken when almost no one is out, sometimes at night. The deserted places all have stories to tell. And when there is no one left to tell, only our imaginations tells us.

Being a forerunner of contemporary art, I created a new trend, a new "school" clashing with the common themes and the traditional expression media: "the cosmic art." I consider the cosmos as a topic, but also as an expression support. Each painting is a proposition of a drawing, a destiny or a planetary "design" from a scientific point of view, but it is also a celebration of beauty and the diversity of outer space from an artistic point of view. And finally, on a spiritual level, each painting can be seen as a mandala, a meditation support to connect with the essential, beyond life and death, in the framework of a Jungian psychological perspective. Socially, this series of paintings is the opportunity to incite reflection on the finitude of our planet and the way we are changing our lives, for better or worse. The money raised by selling the planet series is being used to run a systemic research and innovation program open internationally, "Design me a Planet." Through "Design Me a Planet" I invite the different stakeholders of the world to democratically discuss and create a real global program, viable and exciting through its beauty, its generousness and its truth.

In the twenty-first century, we are continually confronted with the existential side of technology-the relationships between identity and the mechanizations that have become extensions of the self. Focusing on one of humanity's most ubiquitous machines, Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art combines critical theory and new media theory to form the first philosophical analysis of the car within works of conceptual art. These works are broadly defined to encompass a wide range of creative expressions, particularly in car-based conceptual art by both older, established artists and younger, emerging artists, including Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper. At its core, the book offers an alternative formation of conceptual art understood according to technology, the body moving through space, and what art historian, curator, and artist Jack Burnham calls "relations." This thought-provoking study illuminates the ways in which the automobile becomes a naturalized extension of the human body, incarnating new forms of "car art" and spurring a technological reframing of conceptual art. Steeped in a sophisticated take on the image and semiotics of the car, the chapters probe the politics of materialism as well as high/low debates about taste, culture, and art. The result is a highly innovative approach to contemporary intersections of art and technology.

When two strangers meet a story is sparked, which becomes a torch that lights the halls of Imagination. A story of two souls' journey through Dream-space and time. And in this Journey there are whisperings of a place we have all come from, a place that we all Share and that we all may visit far more often than we think.

a collection of prose and poetry from the real life experiences of Travis White. An emotive exploration into the metaphoric and symbolic existentialist introspection of the darkest, deepest, recesses of the human feeling and experience. Travis White teamed up with David Cartwright to bring visual elements to complement each others works that has brought this collaborative work to print in "the dying of the hay"

2013 Reprint of 1947 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. In this title Kandinsky analyzed the geometrical elements which make up every painting-the point and the line. He called the physical support and the material surface on which the artist draws or paints the basic plane, or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of color put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension, form and color. This form can be a square, a triangle, a circle, a star or something more complex. The point is the most concise form but, according to its placement on the basic plane, it will take a different tonality. It can be isolated or resonate with other points or lines. A line is the product of a force which has been applied in a given direction: the force exerted on the pencil or paintbrush by the artist. The produced linear forms may be of several types: a straight line, which results from a unique force applied in a single direction; an angular line, resulting from the alternation of two forces in different directions, or a curved (or wave-like) line, produced by the effect of two forces acting simultaneously. The book contains many photographic examples and drawings from Kandinsky's works which offer the demonstration of its theoretical observations, and which allow the reader to experience the inner effect of the point and line to plane.

The art book "Wake" contains 2 mini illustration collections by Clash of Weapons member, Konaa. Muyuubyou -Konsui-: mini watercolor painting collection (2011) & Moboroshi: best of 2011 - 2012 mixed media illustrations.

Artist's book/visual poetry of found punctuation from Clement Greenberg's 1939 article Avant-Garde and Ktisch and other material, such as the punctuation from poets (Keats, cummings, Pound, Stein and others) as inspiration for these minimal implied narrative pieces. Essay by Peter Frank.

Artist's book project of found narrative poetry from many different sources, father's diary, NYT wedding announcement pages, university alumni material, Clement Greenberg article, and other material.

In his new book, the eminent philosopher Andrew Benjamin turns his attention to architecture, design, sculpture, painting and writing. Drawing predominantly on a European tradition of modern philosophical criticism running from the German Romantics through Walter Benjamin and beyond, he offers a sequence of strong meditations on a diverse ensemble of works and themes: on the library and the house, on architectural theory, on Rachel Whiteread, Peter Eisenman, Anselm Kiefer, Peter Nielson, David Hawley, Terri Bird, Elizabeth Presa and others. In Benjamin's hands, criticism is bound up with judgment. Objects of criticism always become more than mere documents. These essays dissolve the prejudices that have determined our relation to aesthetic objects and to thought, releasing in their very care and attentiveness to the 'objects themselves' the unexpected potentialities such objects harbour. In his sensitivity to what he calls 'the particularity of material events', Benjamin's writing comes to exemplify new possibilities for the contemporary practice of criticism itself. These essays are a major contribution to critical thought about art and architecture today, and a genuine work of what Benjamin himself identifies as a 'materialist aesthetics'.