Fifty two weeks of images to color with pencil or marker! Each group is clustered around the traditional qualities of the visible planets--Sun, Moon, Mercury, Venus, Jupiter, Saturn and Mars, with Earth added for good measure. Use the designs weekly, or all at once, however you want. Information on colors is offered, but you will probably come up with better color combinations than the author! Enjoy!

Hans Holbein's Dance of Death redefined the death emblem books, offering a framework for artists afterwards to emulate (and they did!). There are forty-one plates in the original 1538 edition, all reproduced here at 4.5" by 6" in size, and including the original title in English, the German text accompanying each image, as well as a Latin verse. These are followed by the original Dance of Death Alphabet, an initial caps set. All the images in this book have been scanned from the original 1538 edition and digitally cleaned up for reproduction.

A compendium of all early Njiqahdda writings. 11 years of philosophy, spirituality, music and art. This book contains the following texts: Njiijn Vortii - Codex I Dremoanti / Hibernation - Codex 1.5 Il' Ijni Talii Humaantii The Path of Liberation from Birth and Death Agni Yoga Serpents In The Sky This edition also includes a variety of published & unpublished interviews, poetry, writings, sigils, photos and visual relics. 142 pages total.

Hot on the heels of a series of articles published in IdN Magazine in 2005, is Neo-Photo, a photography book that is like no other. This is an amazing survey of work created by a new generation of photographers who use digital technology to combine the disciplines of graphic design and film aesthetics. The images that result are incredible indeed. Co-edited by parissydneytokyo, Neo-Photo features a collection of international artists whose work pushes the boundaries of the photographic medium and challenges the traditional rules, approaches and perceptions of this demanding art form. Photographers of note include Shun Kawakami, Jola Kudela, Frank le Petit, Guillaume Dimanche plus many other great talents.

Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy. The authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft's connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time.

Against Value in the Arts and Education proposes that it is often the staunchest defenders of art who do it the most harm, by suppressing or mollifying its dissenting voice, by neutralizing its painful truths, and by instrumentalizing its ambivalence. The result is that rather than expanding the autonomy of thought and feeling of the artist and the audience, art's defenders make art self-satisfied, or otherwise an echo-chamber for the limited and limiting self-description of people's lives lived in an "audit culture", a culture pervaded by the direct and indirect excrescence of practices of accountability. This book diagnoses the counter-intuitive effects of the rhetoric of value. It posits that the auditing of values pervades the fabric of people's work-lives, their education, and increasingly their everyday experience. The book uncovers figures of resentment, disenchantment and alienation fostered by the dogma of value. It argues instead that value judgments can behave insidiously, and incorporate aesthetic, ethical or ideological values fundamentally opposed to the "value" they purportedly name and describe. The collection contains contributions from leading scholars in the UK and US with contributions from anthropology, the history of art, literature, education, musicology, political science, and philosophy.

This book is the first in-depth and longitudinal study of the history of copyright protecting the visual arts. Exploring legal developments during an important period in the making of the modern law, the mid-nineteenth to early twentieth centuries, in relation to four themes - the protection of copyright 'authors' (painters, photographers and engravers), art collectors, sitters and the public interest - it uncovers a number of long-forgotten narratives of copyright history, including views of copyright that differ from how we think today. As well as considering the distinct nature of the contribution of copyright to the history of the cultural domain accounted for by scholars of art history and the sociology of art, this book examines the value to lawyers and policy-makers today of copyright history as a destabilising influence: in taking us to ways of thinking that differ from our own, history can sharpen the critical lens through which we view copyright debates today.

This edited collection brings together essays that share in a critical attention to visual culture as a means of representing, contributing to and/or intervening with discursive struggles and territorial conflicts currently taking place at and across the outward-facing and internal borders of the People's Republic of China. Elucidated by the essays collected here for the first time is a constellation of what might be described as visual culture wars comprising resistances on numerous fronts not only to the growing power and expansiveness of the Chinese state but also the residues of a once pervasively suppressive Western colonialism/imperialism. The present volume addresses visual culture related to struggles and conflicts at the borders of Hong Kong, the South China Sea and Taiwan as well within the PRC with regard the so-called "Great Firewall of China" and differences in discursive outlook between China and the West on the significances of art, technology, gender and sexuality. In doing so, it provides a vital index of twenty-first century China's diversely conflicted status as a contemporary nation-state and arguably nascent empire.

Ruskin's respected treatise on architectural methods and style is presented here complete, with all of the original edition's images. Written and published in the 1840s, this book sees John Ruskin set out his architectural beliefs. A man of deep religiosity, Ruskin was convinced that Gothic architecture was at the very height of beauty and achievement in building design. Even during his prime, Ruskin's opponents felt his staunch, traditionalist take on architecture confining. Despite Ruskin's now-outdated views, this book acts as a detailed history of architecture as it stood in the mid-19th century. The Seven Lamps of the title describe principles which Ruskin viewed essential in building: Sacrifice, Truth, Power, Beauty, Life, Memory, and Obedience. We find within illustrations of structures and flourishes which Ruskin admires most. His opinions on certain newer designs of the industrial era, and the painstaking restoration of ancient artworks, may be summed up in a single word: desecration.