Frank Lloyd Wright is one of the 20th century's best-known architects. Over 40 years after his death, historical and critical comment and debate are increasing and controversy continues to surround him. This volume is a chronologically arranged, annotated bibliography of English- and foreign-language sources including over 3,500 primary entries, with thousands more connected references, presented alphabetically by decades and genres. The book documents not only the literature on Wright from 1886 to the present, but also his own extensive writings. It covers source books, monographs, anthologies, exhibition catalogues, book and exhibition reviews, periodical articles, and obituaries. All references are indexed by personal names, buildings, and projects. There is also a photo-essay comprised entirely of images published here for the first time, and a comprehensive chronology of the architect's life and career, which spanned 70 years and produced about 450 buildings and almost 550 unrealized architectural projects. The book will be of great value to scholars, students, and practitioners.

KURT JACKSON

A new book about the British landscape painter Kurt Jackson (b. 1961).

This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated.

EXTRACT FROM CHAPTER 4:

One of Kurt Jackson s appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It s an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson s art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area the coast which is neither land nor sea.

Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of the paintings, too).

So Jackson s Porth series, about Priest Cove, and all of his sea paintings, are very important in his art in articulating this idea of the ocean as the last wilderness. Have you ever wondered what s out there? is a question that Kurt Jackson asks (it s the title of one of his major paintings, too the centrepiece of the Porth series).

Jackson has repeated the question over a number of related works: the title of two 2004 pieces is The Last Wilderness In Western Europe? This was painted on Jura (in Scotland), and both pictures are consciously emptied of human marks just empty moorland and a delicate blue sky. An earlier picture, part of the Cape series, was entitled Do You Ever Wonder What s Out There? (1999) an unusual composition in the Jackson oeuvre which puts the horizon very high, and focusses on the dark blue ocean flecked with white spray.

Kurt Jackson isn t that interested in many of the connotations of the ocean the moon, time, goddesses, rebirth (though moons do appear in his art from time to time). He s not really interested in religious or pagan or magical symbols in that way. And he s not that interested in shipping, fishing, and all things maritime, like J.M.W. Turner was.

But when Jackson asks a question like have you ever wondered what s out there?, and considers the sea as one of the last wildernesses, that alters the interpretation of his sea paintings. It doesn t apply to all of them, though: in plenty of paintings (and not only the smaller or more modest ones), Jackson is not thinking in terms of big themes. But when he titles a painting Have You Ever Wondered What s Out There? (and writes the title in big letters across the painting), it s clearly intended to resonate in the viewer at a deeper level.

American artist, Joan Jonas' experimental projects in the late sixties and early seventies were essential to the development of contemporary performance, video, and conceptual art. Born in New York in 1936, she is regarded as a pioneer of video art and performance. Her work fuses video, dance, theatre, sculpture, drawing. Her projects have included collaborations with dancers like Trisha Brown and Yvonne Rainer and composers like Alvin Lucier. She investigates space, perception and time, ritual gestures, symbolic objects and stereotypes (especially female cliches), and the magical role of the narrator who conveys a drama in each action.

Van Eyck is now seen as the artist who bridged the gap between the medieval and the modern. His story is the story of modern art - the turbulent clash of ideologies, the shifting and making of taste, the perfect timing of historical event and technological change, the politics of the art world and the cult of celebrity. The Enlightenment had quietly placed van Eyck in the Gothic tradition. Then Napoleon looted panels of his masterwork, the Ghent Altar-piece, and took them back to the Louvre. With his work centre stage in the greatest art gallery of the time, interest in van Eyck exploded across Europe. The nineteenth century saw the arrival of van Eyck mania, with ever-more fanciful tales in the art press of his life as inventor of oil painting, monkish painter, even arsonist and murderer; with scenes from his life, cheap colour prints and van Eyck carpets and mirrors vying for popular consumption; and with the claiming of van Eyck as the first Pre-Raphaelite. Today, van Eyck is regarded as the first realist painter, with popular and scholarly attention shifted from the Ghent Altar-piece - also looted by Hitler and stored in an Austrian salt-mine during the Second World War - to the riddle of his celebrated Arnolfini Portrait. Inventing van Eyck tells the extraordinary story of the making of an artist for the modern age.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists.

This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive scultpural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

It was Constantin Brancusi's project to strip away the detritus that had accumulated around sculpture, Henry Moore said, and to offer the pure, simple shape. What Brancusi did was 'to concentrate on very simple shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.'

As well as being a sculptor, Constantin Brancusi was also an accomplished photographer. Quite a few artists (not all of them sculptors) have expressed for Brancusi's photographs, and the way he would set up his sculptures inhis studio and photograph them at particular times of the day, when the lightingwas just right. They are early examples of installation art (and some of the best, too). Andy Goldsworthy said he admired how Brancusi created the right conditions in his studio so that his work 'comes alive at a particular time of the day as the light momentarily touches it'. For Goldsworthy, Brancusi's works were at their best when they were arranged by the sculptor in his studio and photographed. Somehow, it wasn't quite the same when they were displayed in modern art museums (such as the Pompidou Centre in Paris or the Museum of Modern Art in Gotham, which have important Brancusi pieces).

Fully illustrated, including many photos of Brancusi's studio in Paris, and the art of his contemporaries.

-- Stunning watercolour paintings by one of Sweden's best-loved artists -- Fascinating insight into Swedish rural and artistic life in the late nineteenth century -- Accompanied by an explanatory text giving more detail about his life and techniques Carl Larsson is one of Sweden's best-loved artists. His stunning watercolours of his home and family from the end of the nineteenth century are acclaimed as one of the richest records of life at that time. The paintings in this book are a combined collection which depict Larsson's family -- his wife Karin and their eight children -- his home in the village of Sundborn, and his farm, Spadarvet. The accompanying text provides a fascinating insight into Larsson family and farm life, and his painting techniques. Today, over 60,000 tourists a year visit Sundborn to admire Larsson's home and work. Also published as three separate volumes: A Home, A Family, and A Farm.

THE ART OF ANDY GOLDSWORTHY

This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere.

Fully illustrated, with a revised text. Bibliography and notes.

EXTRACT FROM THE CHAPTER ON GOLDSWORTHY S LEAFWORKS

It is the leafworks that are the most colourful of Andy Goldsworthy s sculptures. What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy shows the viewer these subtle colours by contrasting one leaf with another. Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together; Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush; a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves; Dock Leaves interwove red leaves in green grass stalks. Two sycamore leafworks of 1980 and 1981 are very simple: a leaf black from cow shit is placed against pale Autumn leaves; another leaf, bleached white, is set down on a bed of dark leaves. He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy. The Autumnal colours of course connote nostalgia, decadence, sensuality, Romanticism, time passing, the decay of the year, and so on, all those things John Keats wrote about in his Ode: To Autumn, and in a billion other poets art. Goldsworthy s aim in the leaf pieces, though, draws attention to the fragility and delicacy of leaves, as well as their strength and function. A leaf, after all, is a complex biological factory, so the natural scientists say. There is a whole world in a single leaf, remarked Goldsworthy. Goldsworthy s leafworks do not have a scientific agenda. Rather, they celebrate the presence of leaves, the being-in-the-world of leaves, so to speak.

AUTHOR BIOGRAPHY

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.