Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

In Religion and the Arts: History and Method, Diane Apostolos-Cappadona presents an overview of the 19th century origins of this discrete field of study and its methodological journey to the present-day through issues of repatriation, museum exhibitions, and globalization. Apostolos-Cappadona suggests that the fluidity and flexibility of the study of religion and the arts has expanded like an umbrella since the 1970s - and the understanding that art was simply a visual exegesis of texts - to now support the study of material, popular, and visual culture, as well as gender. She also delivers a careful analysis of the evolution of thought from traditional iconographies to the transformations once scholars were influenced by response theory and challenged by globalization and technology. Religion and the Arts: History and Method offers an indispensable introduction to the questions and perspectives essential to the study of this field.

LITHOGRAPHY FOR ARTISTS A COMPLETE ACCOUNT OF HOW TO GRIND, DRAW UPON, ETCH, AND PRINT FROM THE STONE, TOGETHER WITH INSTRUCTIONS FOR MAKING CRAYON, TRANS FERRING, ETC. BY BOLTON BROWN THE SCAMMON LECTURES FOR 192.9. PUBLISHED FOR THE ART INSTITUTE OP CHICAGO BY THE UNIVERSITY OF CHICAGO PRESS., CHICAGO, ILLINOIS COPYRIGHT 1930 BY THE UNIVERSITY OF CHICAGO ALL RIGHTS RESERVED, PUBLISHED FEBRUARY 1930 o COMPOSED AND PRINTED BY THE UNIVERSITY OF CHICAGO PRESS, CHICAGO, ILLINOIS, U. S. A. PREAMBLE IT IS suggested that one who puts out a technical book should begin by telling his public reasons why it should believe what he says. Reluc tantly conforming to this, I will say that I was trained as a painter, also as an etcher, and have paid in time and labor the price necessary to the mas tery of the operations involved in both the art and craft of crayonstone lithography. Here is brought into co-operation an artists lifelong familiar ity with artistic problems and a technical grasp of the craft side of the mat ter from graining the stone to flattening the finished proofs. The British Museum has a practically complete set of my prints, presumably as works of art while in the offices of the heads of several of the best lithographic firms in New York they also may be seen hanging, bought and placed there as examples of craftsmanship. For a year I worked with my stones and presses in London. Then I brought them over to my present home at Woodstock, New York. Here I have gradually rounded out a sufficiently complete equipment Here it is that I have done my private work, and here people sometimes come to study with me. Here in 1919 I put out what I think was the first published offer in thiscountry to teach artistic lithog raphy. When I go down from this rustic retreat to New York, it is general ly to work for the rest of the world write, lecture, print, exhibit whatever comes up to be done. As I have worked making my own lithographs I mean I have kept up a continuous and extensive experimenting with a view to subordinate to my purposes various new substances and methods. The bulk of the infor mation thus obtained has had only a negative value but in a few instances, important inventions of interest to artists generally have resulted. I have not, however, in cases where these are incorporated in succeeding chapters, thought it worth while to cumber my pages with a continual patter of re marks as to how this or that formerly was, or now is, done by others. Any one who wants to may do this and it would be of interest, for sometimes the new usages vary so widely from the old as to constitute almost a new art VII viii PREAMBLE Indeed, when working thus, solely for my own artistic aims, I have found this almost-new lithography more rewarding, more tempting to new fields, more certain of getting results, more lovely in results when got, than I ever dreamed was possible when I began. Probably that particular new contribution which can be most readily appreciated is the one which puts into our hands a power, somewhat like that of the plate printer, to get tints and tones and richnesses by manipula tions of oil and draggings of ink on the copper plate. The lithographic achievement of analogous results is entirely new. The results it is, not the process, which are analogous, for you cannot smear your ink and oil on stone as you can on copper. The means are unique, but the resultsare a richness suggestive of charcoal, mezzotint effects of great beauty, and, as I said, not hitherto obtained, or possible, in lithography. That I have written in a highly condensed and, from a literary point of view, unrewarding style is explained by the fact than any other style would have led on to a book of quite impracticable dimensions...

This volume explores how reproduction and reproducibility impact artistic and literary creation while also examining the ways in which reproducibility impacts our practices and disciplines. Ce volume explore l'impact de la reproduction et de la reproductibilite sur la creation artistique et litteraire, mais aussi l'impact de la reproductibilite sur nos pratiques et sur nos disciplines.

This book is about the enjoyment and preservation of riddles. There are many more than i have presented here, but these are a few of my favorites which i feel are worth preserving.

This book is ambitiously inter-disciplinary. Its eleven works, in full colour, form a striking contribution to the commonwealth of colour studies and to a possible unification of C. P. Snow's Two Cultures. Colour and inter-disciplinarity go hand in hand. This so often involves the authors leaving the comfort zone of their original specialty and striving for excellence in another. The personal story of Franziska Schenk is but one good example. Colour in Art, Design and Nature may be divided into four main sections, defined in terms of the authors themselves. First, there are two contributions by biologists. Second, the largest section is by practicing artists. Third, there are two engineering-based contributions. Finally, two contributions address some of the historical proponents of colour theory and art. It seems that our perceptions of aesthetics and beauty must be very flexible indeed so as to find absolute opposites equally fascinating. If so, it goes to show how wonderful are the construction and operation of the human brain. Does psychology win in the end? Does colour lead to a single culture?"

For anyone interested in Northern Ireland, it's history, it's culture, it's music.... finally here comes a book that offers a new approach into understanding the complex diversity that has shaped Northern Irish society and its people during the times of the Troubles and beyond. Like poems, songs, in their own right, should be recognised as historical documents. From Mickey McConnells Only our Rivers Run Free and Phil Coulter The Town I loved so Well to Tommy Sands There Were Roses - political & social developments inspired Northern Irish poets and songwriters alike. By incorporating a great amount of background information on the artists mentioned above and resulting from personal interviews with the author a very unique insight into the history of Northern Ireland is given. In addition, the vast amount of songs written from an outsiders perspective and in particular in the Rock and Popmusic Genre such as Paul McCartney's Give Ireland back to the Irish, John Lennon's Sunday, Bloody Sunday to James Taylor's Belfast to Boston and Katie Melua's Belfast, also required appropriate recognition. Together, all these songs compiled and discussed in this book will provide the reader with a better understanding of Northern Ireland's history, its society, its people past and present. Whether it is for further academic research or simply used as reference material for anyone interested in Irish Music and Songs about and from Northern Ireland, this book will remain an essential guide and reference book in years to come.

Draw your own comic book using this easy book of comic book templates. Includes storytelling tips and templates for drawing your own comic book Over 100 pages of blank comic strips Do it yourself and stop waiting for permission to make a comic book

In 1917, the French poet Guillaume Apollinaire predicted the "death" of books in one or two centuries and their replacement by film and sound. In the early sixties, Marshall McLuhan proclaimed the end of the "Gutenberg Galaxy." Neither of these predictions has yet happened. Nonetheless, the development of computer science and the spread of the Internet have already changed the landscape of the media and affected the fields of book publishing, journalism, cinema, and television. In his new book, Hoveyda, who was involved with cinema and literature for many years, scrutinizes the relationship between the different forms of media and art. Drawing on his varied experience as well as on his knowledge of the arts and media, he explains how "cinema" literally existed before literature or articulate language, and that all other forms of communication stem from this innate capability to think cinematically. Looking at the extraordinary technological developments in the fields of cinema, television, and communications, Hoveyda finds a "hidden purpose" behind them; a kind of "common thread" that illustrates and explains the quest of humans for communication. As far back as one can go, Hoveyda finds that humans were always preoccupied with the question of how to communicate what was going on in their minds. They tried--and found--ways of transmitting to one another the impressions and ideas churning in their heads. Prehistoric cave drawings, hieroglyphs, literature, and canvas paintings were and are part of such attempts. This progression of inventions seems to pursue a linear path toward "externalization" of their people's thoughts and dreams. The pinnacle of this "externalization" will be reachedwhen it becomes "automatic" and foregoes the use of heavy equipment. Bunuel once told the author and his friends that he dreamt of the day when he would sit in a darkened room and project on a wall the film he was concocting in his head. This is exactly the goal of the technological progress we witness. Hoveyda's survey also includes a description of the evolution of modern cinema as he witnessed it; some new and revolutionary remarks about film appreciation and filmmaking; discussion of television and how it differs from cinema; and observations on the impact of media on one another as well as the influence of the more recent technologies on "narration" styles. A provocative account that will be of interest to scholars, researchers, students, and anyone involved with the development of communications.

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 Arts and the Brain: Psychology and Physiology beyond Pleasure, Volume 237, combines the work of an excellent group of experts who explain evidence on the neural and biobehavioral science of the arts. Topics covered include the emergence of early art and the evolution of human culture, the interaction between cultural and biological evolutionary processes in generating artistic creation, the nature of the aesthetic experience of art, the arts as a multisensory experience, new insights from the neuroscience of dance, a systematic review of the biological impact of music, and more.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.