In 2006, artist Pablo Helguera drove with a portable schoolhouse from Anchorage, Alaska, to Ushuaia, Tierra del Fuego, exploring the historical ideals of Pan-Americanism. Five years after that journey, this bilingual anthology gathers a group of critical essays and documentary materials of this pedagogical and public art experiment.

Fractal Fusion is a feast for the eyes. In modern culinary terms, fusion means a mixing of cultural foods. This term is used here to represent a mixing of cultural art and literature. A fractal is a modern mathematical subset representing natural elements that can be plotted in color on a computer, however this is not about the math, it is about art. From there many digital techniques have been employed to tease out the most beautiful representations of the representative fractal. The ancient Japanese Haiga is a form where a Haiku was associated with a wood cut or drawing and more recently a photograph. Here the elements of Haiku or Senryu are incorporated to represent as best it can, modern digital abstract art based on Fractal math. It is at times a difficult task and as in the fractal, one must use their imagination

It has been brought to the attention of the proto-civilians of the region of the Tigris-Euphrates that at the event of the 21st Century AD much of our culture's 5000 plus years of future invention & evolution of civilization will be lost, forgotten, erased, appropriated, burned, americanized, exploited, & trampled on. In 3000 BCE The BABYLON MINISTRY OF MISINFORMATION had the vision to initiate a node to witness & remember the fragments of glyphs, signs, letterforms, ledgers, tablets, proclamations, lyrics & texts which repeated Expansionist-Nations will seek to overthrow. We are seeking the inventive actions of all artists & poets of the future to help remember WhatCouldBe.

A collection of original digital art paintings by San Francisco Artist George Walters created between 2008 - 2010.

It started as a personal goal to draw one family-friendly animal per week for an entire year and upload each drawing to the web as a blog post for sharing with friends. Then, the exercise took on a life of its own and became an integral part of the author's everyday life. This book is a compilation of those animal doodles and silly sketches made throughout 2009.

If the wonders of amazing fantasy worlds and extravagant alien creatures is your forte then you will love this first great volume. Travel the galaxies and great expanse of space with a skillful and professional Digital Concept Artist. A fantastic uniquely designed collection of aliens, creatures and beings will simply delight. 101 Alien Lifeforms will open your eyes to the incredible and the outrageous. Imagination from a fresh and completely futuristic point of view. With computer generated images, sketches, marker renderings and gouache paintings, each page is jam packed with creativity and originality. This is Digital Concept Art at it's very best. Take the incredible voyage in Volume One. 101 Alien Lifeforms will wow you from start to end. A universe of colour shapes and great forms.

Explore the complexity of the internal image and witness for yourself the secrets that lie beneath the human psyche... Beyond Abstraction Martin H. Bernstein

Photography After Conceptual Art presents a series of original essays that address substantive theoretical, historical, and aesthetic issues raised by post-1960s photography as a mainstream artistic medium * Selected by Choice as an Outstanding Academic Title for 2011 * Appeals to people interested in artist's use of photography and in contemporary art * Tracks the efflorescence of photography as one of the most important mediums for contemporary art * Explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case * Includes a number of the essays with previously unpublished photographs * Artists discussed include Ed Ruscha, Bernd and Hilla Becher, Douglas Huebler, Mel Bochner, Sherrie Levine, Roni Horn, Thomas Demand, and Jeff Wall

Photographs during a trip from Topeka, Kansas to Santa Fe, New Mexico, and return, for a vanload of painters. Photos not only represent the trip and the scenery, but may be used to inspire new works of Painting Art.

WHAT IS THE SECRET ART? The history of radionics is the story of how various inventors designed devices that employ directed intent to affect the real world. With these tools, they promoted healing without pills or surgery, grew crops without fertilizer, restrained insect predation without pesticides, and performed a host of other seemingly impossible feats that defy mechanistic science. THE SECRET ART traces this astonishing process beginning with early art designs suggestive of radionic intent. For many prehistoric and indigenous peoples, art was also a means of interacting with Nature to enhance healing, increase crop yields, and enable visionary experiences. Coincidentally, radionic inventors discovered by trial and error that even drawings and bizarre technology could function radionically. This discovery followed a long process of design innovation that started with mechanical devices, proceeded through a generation of electronic instruments, and most recently has been applied to computer and software technology. Conceivably, the theory and techniques outlined in this book could provide artists with a revolutionary approach to the creative process that is at once both new and timeless. A potential exists today for radionic ideas to empower creative individuals to develop skills in working with Nature that achieve profound real world results.

The "Not" Theory raises the question, "How can one be free from intellectual constraints?" It then gives a basic, elementary response and reasoning. This begs the question, "Is it correct?" You will not find the answer here. Instead, the book is an instruction manual/preparation guide/workbook for testing the "Not" Theory: a structure to bring together a group of 7 artists (from any medium) to create an art project of any kind (i.e. a series of paintings, sculptures, poems, photographs, a video, theater, dance, multi-media project, etc.) It is broken down into three phases: Constraints (X), Destruction (Adding Y to X), and Freedom. The group must experience Phase I together, in the format given. However, Phase II and III cannot be forced onto the group. They must choose to continue testing the theory. Last question: "Is freedom possible?" It is up to you to determine.

Kevin Weckbach has been painting for over 20 years and is known and collected nationally. Also, he has become one of the most sought after teachers in the nation. Currently he teaches classes in Colorado with student coming in from all-over the US to study under his teachings. He is known to have the ability to articulate what he knows visually, and this is a book that brings all of those teachings into concrete words. The writings here are for those of all levels and style in painting, because the principles stated are foundational and key to the quality of painting. This is not a how-to-do technique book but a more full-filling book that will awaken you to the meaning behind painting, and give you more reason and direction with your own work.

LAND ART IN THE U.S.A.

A new study of land art in America, featuring all of the well-known land artists from the golden age of land art - the 1960s - to the present day.

Fully illustrated, with a bibliography.

EXTRACT FROM THE CHAPTER ON ROBERT SMITHSON

Robert Smithson is the key land artist, the premier artist in the world of land art. And he s been a big favourite with art critics since the early Seventies. Smithson was the chief mouthpiece of American earth/ site aesthetics, and is probably the most important artist among all land artists.

For Robert Smithson, Carl Andre, Walter de Maria, Michael Heizer, Dennis Oppenheim and Tony Smith were the more compelling artists today, concerned with Place or Site . Smithson was impressed by Tony Smith s vision of the mysterious aspects of a dark unfinished road and called Smith the agent of endlessness . Smith s aesthetic became part of Smithson s view of art as a complete site, not simply an aesthetic of sculptural objects. Smithson was not inspired by ancient religious sculpture, by burial mounds, for example, so much as by decayed industrial sites. He visited some in the mid-1960s that were in some way disrupted or pulverized . He said he was looking for a denaturalization rather than built up scenic beauty .

Robert Smithson said he was concerned, like many land (and contemporary artists with the thing in itself, not its image, its effect, its critical significance: I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation . Smithson s theory of the non-site was based on absence, a very ponderous, weighty absence . Smithson proposed a theory of a dialectic between absence and presence, in which the non-site and site are both interacting. In the non-site work, presence and absence are there simultaneously. The land or ground from the Site is placed in the art (Non-Site) rather than the art is placed on the ground. The Non-Site is a container within another container the room .

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas s books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

Deciphering Human Chromosome 16: We Report Here, and Deciphering Human Chromosome 16: Index to the Report, by Sarah Jacobs, use text in a visual way to document the ethical, economic, political and philosophical polemics associated with mapping the human genome. The Report is an ebook which contains links to over 240 websites collected in the months following publication in the journal Nature of The sequence and analysis of duplication-rich human chromosome 16 ( Vol. 432. December 2004). Its contents change over time as the websites change, migrate or disappear. It is available as a FREE DOWNLOAD from the publisher at www.informationasmaterial.com .The Index sets fragments collected from the websites against the background of the earlier draft sequence originally published by Project Gutenberg. The solid physicality of the Index contrasts with the ever changing Report although vagaries of the printing process ensure that each copy of the Index is unique.

ATROCIOUS BOOKS is Serena Levi 's meticulous inventory (with index) of her working library collection of cookbooks. Serena Levi started her adult life as a cook, and later became a milliner but she spent much of her spare time cooking for friends and family. Now living in quiet retirement, she set out to write her life. First she gathered her books around her. ... This edition of the inventory appears with supplement by A Singer.

Twentieth-century art has often been characterized as a swiping break from the tradition of painting. All the major art movements, from Cubism and Dada to Performance and Installation, were initiated as reactions to the centuries-old tradition of representing the world visually in recognizable ways. New definitions of art and the countless ways in which art can be made and experienced now place the artist firmly at the center of the artistic enterprise.

This intelligent survey traces the history of new media in art and includes discussions of video art, digital art, and media and performance by artists such as Nam June Paik, Vito Acconci, Marina Abramowic, Pipilotti Rist, and Bill Viola. Initiated by advances and inventions outside the world of art, technology-based art (which encompasses a wide range of practices from photography to film to video to virtual reality) has directed artists into areas once dominated by engineers and technicians.

The latest book of minimalist yet richly tactile projects by Dutch architect Bob Manders, illuminating his synergistic approach to light, space, and nature In this book, an inspiring combination of architecture and design, Dutch architect Bob Manders demonstrates how diverse tastes and preferences can harmoniously work together within a particular style or concept. Using nature's infinite variety as his inspiration, he creates structures that can't be easily categorized, and strongly reflect the individuality of his clients. He combines insight into architectural principles of the past with a passion for innovation, considering light and its impact, context, flexibility and versatility. His innovative treatment of space draws on his Dutch heritage, with a respect for light and shadow that acknowledges the connection between the inside and the outside. His designs feature open, fresh and white spaces, but also rooms that are warm, dark and cozy. He addresses the challenge of using all the senses when it comes to architecture, with minimalist designs which sublimely blend the traditional and the modern.

Returning to revolution's original meaning of 'cycle', Contemporary Revolutions explores how 21st-century writers, artists, and performers re-engage the arts of the past to reimagine a present and future encompassing revolutionary commitments to justice and freedom. Dealing with histories of colonialism, slavery, genocide, civil war, and gender and class inequities, essays examine literature and arts of Africa, Europe, the Middle East, the Pacific Islands, and the United States. The broad range of contemporary writers and artists considered include fabric artist Ellen Bell; poets Selena Tusitala Marsh and Antje Krog; Syrian artists of the civil war and Sana Yazigi's creative memory web site about the war; street artist Bahia Shehab; theatre installation artist William Kentridge; and the recycles of Virginia Woolf by multi-media artist Kabe Wilson, novelist W. G. Sebald, and the contemporary trans movement.

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.

Human civilizations' longest lasting artifacts are not the great Pyramids of Giza, nor the cave paintings at Lascaux, but the communications satellites that circle our planet. In a stationary orbit above the equator, the satellites that broadcast our TV signals, route our phone calls, and process our credit card transactions experience no atmospheric drag. Their inert hulls will continue to drift around Earth until the Sun expands into a red giant and engulfs them about 4.5 billion years from now. The Last Pictures, co-published by Creative Time Books, is rooted in the premise that these communications satellites will ultimately become the cultural and material ruins of the late 20th and early 21st centuries, far outlasting anything else humans have created. Inspired in part by ancient cave paintings, nuclear waste warning signs, and Carl Sagan's Golden Records of the 1970s, artist/geographer Trevor Paglen has developed a collection of one hundred images that will be etched onto an ultra-archival, golden silicon disc. The disc, commissioned by Creative Time, will then be sent into orbit onboard the Echostar XVI satellite in September 2012, as both a time capsule and a message to the future. The selection of 100 images, which are the centerpiece of the book, was influenced by four years of interviews with leading scientists, philosophers, anthropologists, and artists about the contradictions that characterize contemporary civilizations. Consequently, The Last Pictures engages some of the most profound questions of the human experience, provoking discourse about communication, deep time, and the economic, environmental, and social uncertainties that define our historical moment. Copub: Creative Time Books

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).

"Reading the interviews gathered by Patricia Norvell more than thirty years ago is like opening one of the time capsules Steven Kaltenbach made at around the same time and discusses here. It makes one feel nostalgic for these uncompromising times-so much has changed, so fast! One should be immensely grateful to Norvell for her undertaking and, paradoxically, for the long delay in the publication of these conversations: nothing could have better highlighted the candor and commitment of the artists who participated in this project than their willingness, long after the fact, to let their youthful voices be heard unedited. This is a precious document that casts a fresh light on the early history of Conceptual art, revealing all the doubts and uncertainties its practitioners had to overcome."--Yve-Alain Bois, Harvard University

"These interviews, full of the rich texture and confusion of an art movement at its inception, began as a "process piece" in mid-1969 when formalism still seemed worth defeating. The artists, tired of talking about turpentine, struggle to extend the rhetoric of form, and as they do so, reveal their roles as theorists and philosophers of a newly cerebral art, Conceptualism. Alberro's helpful introduction frames both Norvell's provocative questions and the surprising responses in a useful book that continues the process of historicizing 20th century art."--Caroline Jones, author of "Machine in the Studio

"The contemporary interviews collected in this volume shift the ground on which conceptualism in the United States should be understood. The middle months of 1969 were a time of artistic and social unease when artists were anxious to test-and occasionally todeclaim, as the interviews demonstrate-ideas in conversation with a sympathetic interlocutor. Patricia Norvell proves to have been an ideal listener. She knew conceptualism well enough to keep the conversations honest, but not so well as to make the artists defensive and wary. The artists had things to say, and were not afraid to put themselves out on a limb."--John O'Brian, Professor of Art History, University of British Columbia

"A key document of the late 1960s avant-garde."--James Meyer, Emory University

"[This book is] a reminder that the project of Conceptual art and its artists' reasons for refusing the object of art were far from monolithic. The differences that emerge in the interviews are spoken in voices that are still fresh and particular, but each voice and position is tied to the moment of the late 1960s, from stoned mysticism to philosophical idealism, from political optimism to materialist critique."--Howard Singerman, author of "Art Subjects"

In "What We Made," Tom Finkelpearl examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. He suggests social cooperation as a meaningful way to think about this work and provides a framework for understanding its emergence and acceptance. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media. Issues discussed include the experiences of working in public and of working with museums and libraries, opportunities for social change, the lines between education and art, spirituality, collaborative opportunities made available by new media, and the elusive criteria for evaluating cooperative art. Finkelpearl engages the art historians Grant Kester and Claire Bishop in conversation on the challenges of writing critically about this work and the aesthetic status of the dialogical encounter. He also interviews the often overlooked co-creators of cooperative art, "expert participants" who have worked with artists. In his conclusion, Finkelpearl argues that pragmatism offers a useful critical platform for understanding the experiential nature of social cooperation, and he brings pragmatism to bear in a discussion of Houston's "Project Row Houses."

"Interviewees." Naomi Beckwith, Claire Bishop, Tania Bruguera, Brett Cook, Teddy Cruz, Jay Dykeman, Wendy Ewald, Sondra Farganis, Harrell Fletcher, David Henry, Gregg Horowitz, Grant Kester, Mierle Laderman Ukeles, Pedro Lasch, Rick Lowe, Daniel Martinez, Lee Mingwei, Jonah Peretti, Ernesto Pujol, Evan Roth, Ethan Seltzer, and Mark Stern