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.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, along 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 Constantin Brancusi's studio in Paris, Brancusi's works in museums in New York, Washington and L.A., and the art of his contemporaries.

With bibliography and notes. ISBN 9781861713599. 180 pages.

This new (5th) edition has been revised.

www.crmoon.com

AUTHOR'S NOTE: The art of Constantin Brancusi never ceases to fascinate and inspire, and it always seems fresh, as if it had been created fives minutes ago, no matter how many times you look at it. When you encounter a Brancusi sculpture in a museum, it pops out, clear and direct; there is simply nothing else like Brancusi's art in history. I have tried to explore the key elements of Brancusi's art, and the important events in his development as a sculptor. I have also included comparisons with other artists of the period, and also how Brancusi's art has influenced many subsequent artists.

In 1967, the public clamor for more stringent air pollution control had increased throughout the nation. As a result, the Puget Sound Region was granted a new multi-county air control agency. After staffing it and developing regulations, personnel began ticketing pollution sources, beginning with the most onerous. A real-time monitoring network was installed and the staff began routine dispersion modeling. Indirect source controls

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, Brancusi's works in museums in New York, Washington and L.A., and the art of his contemporaries.

With bibliography and notes. ISBN 9781861713391. 180 pages.

This new (4th) edition has been revised.

www.crmoon.com

AUTHOR'S NOTE: The art of Constantin Brancusi never ceases to fascinate and inspire, and it always seems fresh, as if it had been created fives minutes ago, no matter how many times you look at it. When you encounter a Brancusi sculpture in a museum, it pops out, clear and direct; there is simply nothing else like Brancusi's art in history. I have tried to explore the key elements of Brancusi's art, and the important events in his development as a sculptor. I have also included comparisons with other artists of the period, and also how Brancusi's art has influenced many subsequent artists.

FRANK STELLA

A study of the American abstract artist Frank Stella (b. 1936), surveying his career from the famous Black Paintings of the late 1950s up to the present.

Frank Stella has become become among America's premier contemporary artists. Unlike many 20th century artists, Stella has always worked in abstraction. His art is irrepressible, daring, hugely enjoyable, and refreshingly angst-free. This book begins with the celebrated Black Paintings of 1959, moves on through the Minimalist Copper and Aluminium paintings of the early Sixties, to the exuberant Protractor series, the expansion into three dimensions in the 1970s, and closing with the 3-dimensional Polish Village, Exotic Birds and Brazilian 'maximalist' works of the 1980s and 1990s.

Employing the most up-to-date art criticism of Frank Stella, James Pearson also looks at Stella's contemporaries: Jasper Johns, Robert Rauschenberg, Kenneth Noland, Jules Olitski, Morris Louis, Robert Ryman, Brice Marden, Mark Rothko and Barnett Newman among others.

Includes new illustrations. EXTRACT FROM CHAPTER 5

There does not seem to be much going on in some of Frank Stella's 1960s Minimal paintings. But there is, in fact, a lot going on. Stella limits himself to a narrow set of rules. Like Brice Marden, Barnett Newman, Morris Louis and Mark Rothko, Stella sets himself to explore a few configurations of painting. But these things - the shape of the canvas, internal organization of the stripes, colour of the bands - offer up endless permutations.

Frank Stella's paintings are lean, but leanness does not necessarily mean unfeelingness. This is the problem that monochrome painting creates, and Minimal art in general. Certainly Stella is intense: his Black Stripe Paintings, his Protractor series, his copper paintings, his India Birds, are intense works of art.

The Stella exhibitions of the late 1980s and early 1990s were affairs, in which one was impressed by a sense of colour and light, a spaciousness to the works, and a huge scale, so that each work dominated the gallery rooms. Stella is in no way a quiet, unobtrusive artist: his paintings are domineering, self-confident, assured of their own effects. Stella has always been an artist who knows what he's doing. His paintings do not lurk in gallery corners, shyly. His paintings announce themselves instantly and powerfully. Stella's June-July 1985 show at the ICA in London was typical: massive multi-media works were squeezed into the ubiquitous sparse white rooms, completely taking over the sedate spaces.

While Nietzsche's works and ideas are relevant across the many branches of philosophy, the themes of contest and conflict have been mostly overlooked. Conflict and Contest in Nietzsche's Philosophy redresses this situation, arguing for the importance of these issues throughout Nietzsche's work. The volume has three key lines of inquiry: Nietzsche's ontology of conflict; Nietzsche's conception of the agon; and Nietzsche's warrior-philosophy. Under these three umbrellas is a collection of insightful and provocative essays considering, among other topics, Nietzsche's understanding of resistance; his engagement with classical thinkers alongside his contemporaries, including Jacob Burckhardt; his views on language, metaphor and aphorism; and war, revolt and terror. In bringing together such topics, Conflict and Contest in Nietzsche's Philosophy seeks to correct the one-sided tendencies within the existing literature to read simply 'hard' and 'soft' analyses of conflict. Written by scholars across the Anglophone and the European traditions, within and beyond philosophy, this collection emphasises the entire problematic of conflict in Nietzsche's thought and its relation to his philosophical and literary practice.

**Named one of the best books of 2015 by The Economist** Private Markets, Fashion Trends, Prison Camps, Dissenters and Defectors. North Korea is one of the most troubled societies on earth. The country's 24 million people live under a violent dictatorship led by a single family, which relentlessly pursues the development of nuclear arms, which periodically incites risky military clashes with the larger, richer, liberal South, and which forces each and every person to play a role in the "theater state" even as it pays little more than lip service to the wellbeing of the overwhelming majority. With this profoundly anachronistic system eventually failed in the 1990s, it triggered a famine that decimated the countryside and obliterated the lives of many hundreds of thousands of people. However, it also changed the lives of those who survived forever. A lawless form of marketization came to replace the iron rice bowl of work in state companies, and the Orwellian mind control of the Korean Workers' Party was replaced for many by dreams of trade and profit. A new North Korea Society was born from the horrors of the era-one that is more susceptible to outside information than ever before with the advent of k-pop and video-carrying USB sticks. This is the North Korean society that is described in this book. In seven fascinating chapters, the authors explore what life is actually like in modern North Korea today for the ordinary "man and woman on the street." They interview experts and tap a broad variety of sources to bring a startling new insider's view of North Korean society-from members of Pyongyang's ruling families to defectors from different periods and regions, to diplomats and NGOs with years of experience in the country, to cross-border traders from neighboring China, and textual accounts appearing in English, Korean and Chinese sources. The resulting stories reveal the horror as well as the innovation and humor which abound in this fascinating country.

While Nietzsche's works and ideas are relevant across the many branches of philosophy, the themes of contest and conflict have been mostly overlooked. Conflict and Contest in Nietzsche's Philosophy redresses this situation, arguing for the importance of these issues throughout Nietzsche's work. The volume has three key lines of inquiry: Nietzsche's ontology of conflict; Nietzsche's conception of the agon; and Nietzsche's warrior-philosophy. Under these three umbrellas is a collection of insightful and provocative essays considering, among other topics, Nietzsche's understanding of resistance; his engagement with classical thinkers alongside his contemporaries, including Jacob Burckhardt; his views on language, metaphor and aphorism; and war, revolt and terror. In bringing together such topics, Conflict and Contest in Nietzsche's Philosophy seeks to correct the one-sided tendencies within the existing literature to read simply 'hard' and 'soft' analyses of conflict. Written by scholars across the Anglophone and the European traditions, within and beyond philosophy, this collection emphasises the entire problematic of conflict in Nietzsche's thought and its relation to his philosophical and literary practice.

One in five small businesses fall victim to cybercrime each year. Cybercrime costs the global economy billions of dollars each year and is expected to continue to rise because small businesses are considered low-hanging fruit and easy prey for criminals. Inside You'll find practical, cost-effective ways to protect you, your clients' data, and your reputation from hackers, ransomware and identity thieves. You'll learn: -The truth about Windows updates and software patches -The 7 layers of security every small business must have -The top 10 ways hackers get around your firewall and anti-virus software -46 security tips to keep you safe and more.

1968: Vietnam. Deep in the battle ravaged jungle twelve US Marines confront an enemy infinitely more terrifying and savage than the Viet Cong. An immortal evil. An agent of the apocalypse lurks watching. Waiting. 1988: Manhattan; the economic hub of global commerce. Six survivors must reunite to destroy the bloodthirsty horror they believed defeated and buried decades ago. These six ex-marines are about to discover that some wars never end. And the Heart of War beats eternal. LOCK AND LOAD

A study of the American abstract artist Frank Stella (b. 1936), surveying his career from the famous Black Paintings of the late 1950s up to the present day. Frank Stella has become become among America's premier contemporary artists. Unlike many modern artists, Stella has always worked in abstraction. His art is irrepressible, daring, hugely enjoyable, and refreshingly angst-free. This book begins with the celebrated Black Paintings of 1959, moves on through the Minimalist Copper and Aluminium paintings of the early Sixties, to the exuberant Protractor series, the expansion into three dimensions in the 1970s, and closing with the 3-dimensional Polish Village, Exotic Birds and Brazilian 'maximalist' works of the 1980s and 1990s.

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, along 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 sculptural 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.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, along 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 Constantin Brancusi's studio in Paris, Brancusi's works in museums in New York, Washington and L.A., and the art of his contemporaries.

With bibliography and notes. ISBN 9781861713384. 180 pages.

This new (5th) edition has been revised.

www.crmoon.com

AUTHOR'S NOTE: The art of Constantin Brancusi never ceases to fascinate and inspire, and it always seems fresh, as if it had been created fives minutes ago, no matter how many times you look at it. When you encounter a Brancusi sculpture in a museum, it pops out, clear and direct; there is simply nothing else like Brancusi's art in history. I have tried to explore the key elements of Brancusi's art, and the important events in his development as a sculptor. I have also included comparisons with other artists of the period, and also how Brancusi's art has influenced many subsequent artists.

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.