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.

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.

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.

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.

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.

BRICE MARDEN

The American artist Brice Marden (b. 1938) is one of the great contemporary painters.

Brice Marden's first works were the Minimalist monochrome panels of the 1960s, large, austere, 'implacable' oil and wax paintings characterized by a precise coolness. In 1975 Marden had a one-man show at the Guggenheim Museum.

Laura Garrard looks at Marden's artistic career, from the early works, the multi-panel works of the 1970s, the Sea Paintings, Grove Group, Greek and landscape works, and the 'Annunciation Series' and Thira.

In the 1980s, Brice Marden developed a 'calligraphic' or 'Oriental' art, which appeared in many prints as well as large canvases.

Brice Marden studied at Florida Southern College, Lakeland, and Boston University School of Fine and Applied Arts, receiving aBachelor of Fine Arts in 1961. That year, he worked at Yale NorfolkSummer School in Connecticut. In 1963 he was awarded a Master of Fine Arts degree in painting from Yale University at New Haven.He moved to New York City, and worked as a guard in the JewishMuseum. At this time he was married to Pauline Baez, the sister ofJoan Baez, the singer, and had a son, Nicholas.

In the mid-1960s, Marden began to have one-man exhibitions (typically at Bykert Gallery, where he had many shows). In 1966 he became an assistant to Robert Rauschenberg. In the late 1960s, Marden began making multi-panel paintings. He worked as a painting instructor at the School of Visual Arts in New York from 1969-74. He had solo shows and group shows in Europe (Milan, Turin, Paris, Dusseldorf). In 1975 there was the ten-year retrospective at the Guggenheim in New York, unusual for so young an artist. From 1973, Marden visited Greece every year.

Other major shows included a one-man exhibition of drawings (1964-74) at Contemporary Arts Museum, a drawing retrospective at Kunstraum Munich, and the Whitechapel and Stedelijk Museum, Amsterdam one-man shows of 1981. An exhibition of prints 1961-91 travelled to the Tate Gallery, London, Baltimore Museum of Art and the Musee d'art moderne de la ville de Paris.

This is the only full-length appraisal available. Fully illustrated, with new illustrations. This book has been revised. ISBN 9781861713766. 196 pages. www.crmoon.com

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'.

Published by Xexoxial Editions. A collection of graphics from this Russian Zaum artist focussing on the possibilities of the purely visual in which fragments of language, musical scores, and abstracted ink drawings combine to form a visual language.

"This Is Textbook" by Distrikt (Paperback, 244 pages, Second Edition). Introduction by William Bostwick. "This is Textbook" is the first title released by the Distrikt Design Collective. Showcasing a broad range of photography, art, and design, this book will be a sought-after source book for anyone in the creative world. Category: Arts & Photography Introduction: William Bostwick, Kelly D. Williams Copyright Year: (c) 2009 Language: English Country: United States Publisher: Rolf Contemporary Details: 242 pages, full-color. 8" x 10" paperback

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.

Elisabeth Faulhaber was born in south west Germany in 1890. By the time she was admitted to a psychiatric hospital in Doesen near Leipzig in 1914, she had worked in a factory, been a chambermaid and a waitress, and had had a child out of wedlock. She was an inmate of the hospital for six years, dying of tuberculosis in 1921, at the age of 31.She wrote, she drew and - according to hospital notes - scribbled unstoppably on furniture, floor, walls. A handful of her drawings survive, and six small notebooks. These now form part of the Prinzhorn Collection, Heidelberg. The notebooks show Elisabeth Faulhaber to have been intelligent and questioning. She was also often muddled to an extreme. Her work is imbued with sensibility. The notebooks varied subject matter and range of graphic invention show a wonderful artistic talent.Sarah Jacobs rendition of the notebooks contains more than 550 drawings by Faulhaber but, although the rendition contains one page for every page of the notebooks, it is not a facsimile. Instead, black and white photographs of the drawings have been reversed, and then partly erased so that what is presented is both faithful to the original, and insistently the opposite. Freely translated extracts from the Faulhaber 's texts have also been included, together with a selection of the poems and songs which Faulhaber copied into her notebooks. These have been left in the original German. The rendition has been produced in association with Sammlung Prinzhorn, UniversitaetsKlinikum, Heidelberg.Sarah Jacobs is an artist living in London.

Xerox of holograph edition of the film script of movie of the same name. Featuring Liaizon Wakest & the words of Abraham Lincoln Gillespie.

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

Jesse Fleming's Desert (2010), was shot in California's Joshua Tree National Park, 140 miles east of Los Angeles. The park is over 1200 square miles of high altitude desert with bizarre geological features. Fleming lived remotely in the park for one month working between the uninhabited and habited landscape. He approaches this work as a disciplined observer: setting out to document life in the arid landscape and the intricacies that exist between the Desert's people and landscape. This catalog features a selection of photographs from the project Desert, along with images from the ethereal IT series (2010), distilling the content of Desert to shape, light, color, and atmospheric perspective. The resulting book is a hypnotic, sublime, and cryptic piece. - Anat Ebgi DESERT by Jesse Fleming Printed for the occasion of the exhibition Desert, at The Company, March 12 - April 23, 2011 introduction by Anat Ebgi interview by Amanda Law photographs, sequencing, and book design by Jesse Fleming "The desert is less nature than a concept, a place that swallows up boundaries. When the artist goes to the desert he enriches his absence and burns off the water on his brain... A consciousness of the desert operates between craving and satiety." --Robert Smithson, excerpted from A Sedimentation of the Mind: Earth Projects (1968)

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.

Land Art emerged in the 1970s when a handful of New York's more adventurous artists departed the gallery scene to make work in the open landscapes of the American West--Robert Smithson, James Turrell and Walter De Maria among them. Today, the genre has been renamed "environmental art," and encompasses the global community, the microscopic world, cyber space, suburban sprawl and the urban environment. "Land/Art" documents a series of events presented by 18 New Mexico arts organizations which explore the relationship between land, art and community through exhibitions, site-specific works and lectures. Featuring works by more than 40 artists, including the Center for Land Use Interpretation, Laurie Anderson, Erika Blumenfeld, Basia Irland, Patrick Dougherty, Catalina Delgado Trunk and Shelley Niro, this volume includes an introduction by critic Lucy Lippard, one of Land Art's best-known exponents.

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.