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.

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.

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.

In ART THE LANGUAGE OF THE GODS artist and mystic Herman Rednick (1902-1985) describes his unusual search for the spiritual principle in art.In meditation he traverses time and space to meet with artists of the great civilizations of the past as well as with artists of renown in the not so distant past. The text is illustrated with black and white reproductions of some Rednick's oil paintings, watercolors, and lithographs.

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.

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.

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.

Iconoclast and artist Pope.L uses the body, sex, and race as his materials the way other artists might use paint, clay, or bronze. His work problematizes social categories by exploring how difference is marked economically, socially, and politically. Working in a range of media from ketchup to baloney to correction fluid, with a special emphasis on performativity and writing, Pope.L pokes fun at and interrogates American society's pretenses, the bankruptcy of contemporary mores, and the resulting repercussions for a civil society. Other favorite Pope.L targets are squeamishness about the human body and the very possibility of making meaning through art and its display.
Published to accompany his wonderfully inscrutable exhibition "Forlesen" at the Renaissance Society at the University of Chicago, "William Pope.L: Showing Up To Withhold" is simultaneously an artist's book and a monograph. In addition to reproductions of a number of his most recent artworks, it includes images of significant works from the past decade, and presents a forum for reflection and analysis on art making today with contributions by renowned critics and scholars, including Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad.

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.

From world-renowned curator Hans Ulrich Obrist, Lives of the Artists, Lives of the Architects offers a unique opportunity to learn about the lives and creativity of the world's leading artists Hans Ulrich Obrist has been conducting ongoing conversations with the world's greatest living artists since he began in Switzerland, aged 19, with Fischli and Weiss. Here he chooses nineteen of the greatest figures and presents their conversations, offering the reader intimacy with the artists and insight into their creative processes. Inspired by the great Vasari, Lives of the Artists, Lives of the Architects explores the meaning of art and artists today, their varying approaches to creating, and a sense of how their thinking evolves over time. Including David Hockney, Gilbert and George, Gerhard Richter, Louise Bourgeois, Rem Koolhaas, and Oscar Niemeyer, this is a wonderful and unique book for those interested in modern art.

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 second in a projected four-volume series of the complete catalogue of works by John Baldessari Compiling four-hundred-plus unique works of art, this volume traces the shifts and developments in conceptual artist John Baldessari's work from 1975-86. It covers his photo-based works such as the "Strobe," "Word Chain," and "Pathetic Fallacy" series from 1975; the "Violent Space" and the seminal "Concerning Diachronic/Synchronic Time: Above, On, Under (With Mermaid)," from 1976; and the "Blasted Allegories" series from 1977-78, which drew heavily from the artist's vast collection of photo stills taken from commercial television. In the 1980s, Baldessari's art took a different direction, beginning with the expansive "Fugitive Essays" triptychs from 1980 and leading to 1982's photographic interpretations of Grimm's Fairy Tales. Building on these themes, Baldessari began producing a body of work that was inspired in part by dreams, psychology, film, and popular culture. Ensuing works were more formal, elaborate, and large-scale. From 1984 to 1986 Baldessari created a number of works that employed his soon-to-be-signature colored discs painted over people's faces in the photos. An introductory essay will provide a close reading of selected works and a historical context for understanding Baldessari's art from this period. A detailed chronology and exhibition history and bibliography are also included. This is the second of a projected four-volume catalogue raisonne. Published in association with Marian Goodman Gallery

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"

This engaging publication explores the artistic practices that employ evocation-the calling forth of past emotions, desires, frustrations, and memories into the present-as a mode of connecting past and present. Featuring the work of emerging artists working in a variety of media, including Ronnie Bass, Kajsa Dahlberg, Tellervo Kalleinen and Oliver Kochta-Kalleinen, Fikret Atay, Katerina Seda, Maryam Jafri, and Johanna Billing, as well as films by Keren Cytter, Kevin Willmott, and Jennifer Phang, the book challenges the conventional approach to history whereby the past is kept at a distance as historical fact. Ranging from playful to haunting, the artworks presented here rupture conventional notions of time to alter the dynamic of the present moment and enhance the possibilities for radical change on both a personal and sociopolitical scale. Distributed for the Whitney Museum of American Art Exhibition Schedule: The Kitchen, New York (opens 5/22/09)

Mel Bochner (b. 1940) is recognized as one of the leading figures in the development of Conceptual art in New York in the 1960s and 1970s. He pioneered the introduction of the use of language in the visual, probing the way they relate to one another to make us more attentive to the unspoken codes that underpin our visual engagement with the world. Featuring color plates of more than thirty new, previously unpublished paintings, and accompanied by an essay by Jeremy Sigler, this handsome publication offers a new perspective on Mel Bochner's career-long engagement with language and painting. Sigler points to how Bochner's newest images poignantly signal a return to visceral materiality, revealing the unexpected painterly roots of his body of work. Distributed for Peter Freeman, Inc.

Drawing Degree Zero examines a pivotal moment in the history of drawing, when the medium was disengaged from its connoisseurial associations and positioned at the forefront of contemporary art. From Mel Bochner’s seminal exhibition Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art of 1966 to the Museum of Modern Art’s major survey Drawing Now ten years later, Anna Lovatt documents this period of restless artistic experimentation and fierce political ambition. Traditionally considered a preparatory or subsidiary practice, drawing’s notational, provisional, and incidental qualities accrued new value in the context of post-Minimal and Conceptual art. Considering the work of Bochner, Sol LeWitt, Rosemarie Castoro, Dorothea Rockburne, and Richard Tuttle, Lovatt explores the strategies these artists used to confound long-standing presumptions about drawing, rendering it systematic rather than autographic, public rather than private, and conceptually rigorous rather than manually dexterous. Drawing Degree Zero argues that these artists pursued a neutral, anonymous mode of inscription analogous to Roland Barthes’s concept of “writing degree zero.” A lively examination of the resurgence of interest in drawing, Drawing Degree Zero highlights the medium’s ability to foreground issues of authorship, process, location, and participation that remain fundamental to contemporary art. Scholars and art aficionados will welcome Lovatt’s insights.

By the early 1960s, theorists like Levi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, "Systems We Have Loved" shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century's most transformative movements - one artistic, one expansively theoretical - and she reveals their shared dream - or nightmare - of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art's embrace of the world as an information system, "Systems We Have Loved" breathes new life into the study of conceptual art.

Daniel Arsham mines lusted-after consumer goods and iconic imagery to create his conceptual objects and sculptures. The artist then casts and refinishes his work to imitate the effects of erosion and subsidence, creating monuments to our present obsessions, as if the objects were rescued from Pompeii. That same impulse toward excavation animates many of his installations, which range from layered broken walls to geodefilled caverns to melting portals. From room-collapsing environmental installations for today s leading brands and museums to elaborate set design for classical dance, Arsham twists elements of architecture to create immersive aesthetic experiences that appeal to the divided attentions of a contemporary audience. Presented as an induction manual to Arsham s covetable world, the book will provide a complete overview of his practice. Virgil Abloh discusses Arsham s contribution to a post-media artistic landscape, a thread developed by Hans Ulrich Obrist in a conversation with the artist that traces art-historical precedents. Steven Matijcio will discuss the artist s projects and collaborations, which range from sets for Merce Cunningham s dance company to clothes and sneakers with streetwear icons Ronnie Fieg and Adidas to projects with James Franco and Pharrell Williams and films with Mahershala Ali.

The synthetic proposition examines the impact of Civil Rights, Black Power, the student, feminist and sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the 1990s. It focuses on the turn to political reference in practices originally concerned with abstract ideas, as articulated by Joseph Kosuth, and traces key strategies in contemporary art to the reciprocal influences of conceptualism and identity politics: movements that have so far been historicised as mutually exclusive. The book demonstrates that while identity-based strategies were particular, their impact spread far beyond the individuals or communities that originated them. It offers a study of Adrian Piper, David Hammons, Renee Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Hans Haacke, Andrea Fraser and Charles Gaines. By turning to social issues, these artists analysed the conventions of language, photography, moving image, installation and display. -- .

Markus Raetz is one of the most renowned contemporary artists in Switzerland. Initially educated and working as a primary school teacher, he became an artist in his early twenties. Since the 1970s, his work, including solo exhibitions, has been been on the international stage. Raetz works with a variety of materials and media. The phenomenon of perception is his main focus, rather than how something is represented. Prints form a major part of his work. Markus Raetz.The Prints 1951-2013 covers his complete body of work in this genre.; the Catalogue Raisonne is complemented by a separate volume, with essays on his work and artistic development. Exhibitions: Museum of Fine Arts Bern, early 2014 (date TBC). Markus Raetz is represented with works also in the permanent collections of museums such as: Stedelijk Museum, Amsterdam; Kunstmuseum Basel, Basel; Museum fur Moderne Kunst, Frankfurt (Main); San Diego Museum of Contemporary Art, La Jolla CA; Tate Gallery, London; MoMA, New York; Musee national d art moderne, Centre Georges Pompidou, Paris; Schaulager, Munchenstein near Basel; Moderna Museet, Stockholm.