There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art. . . "In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. 'You don't mean to do it,' he said."The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage-'a Hilarious Picture.' Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. 'In the end you lose interest, so I didn't feel the necessity to finish it.'"He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, 'a new thought for that object.'"The art community feels Duchamp's presence and his absence. He has changed the condition of being here."--Jasper Johns, from Marcel Duchamp: An Appreciation

    In Studies in Iconology, the themes and concepts of Renaissance art are analysed and related to both classical and medieval tendencies.

    The twenty-six postcards (one for each letter of the alphabet) feature Gorey's illustrations of unusual and biologically questionable creatures, each one described by a typically witty Gorey couplet.

    Step by step procedures with more than 3,000 illustrations . . .

    Includes lectures, essays, diaries and other writings, including "How to Improve the World (You Will Only Make Matters Worse)" and "Juilliard Lecture."

    In addition to the contribution he made to American literature, O'Hara was a vital figure in the New York cultural scene and spent many years working at The Museum of Modern Art, where, having begun by taking a job selling postcards on the admissions desk, he ultimately became an associate curator in the Department of Painting and Sculpture. And when he unexpectedly died, in an accident on the beach at Fire Island, New York, he was deeply mourned by the Museum's staff and by the New York art world.In Memory of My Feelings was published by the Museum in 1967 to honor its late curator. The book was edited by the poet Bill Berkson, who had been a close friend of O'Hara's and was then a guest editor in the Museum's Department of Publications. Berkson invited 30 artists who had known O'Hara, ranging from Willem to Kooning to Claes Oldenburg, from Joan Mitchell to Jasper Johns, to produce works to accompany his poems. The book was issued in a limited edition as a set of folded sheets held loose in a cloth-and-board folio that was itself contained in a slipcase. Now, for the first time, it Museum has republished In Memory of My Feelings in a conventionally bound edition, and with a newly designed paper jacket instead of a slipcase. In every other way, however, this book is an exact facsimile of the edition of 1967.

    In some sections of the ceramics industry, more has been developed since the 1950s than in the previous 4000 years, This edition had added sections on health hazards, computer calculation programmes, increased colour information, and historical and contemporary photographs.

    Book is an important work for those interested in the origins and development of modern art, and for those fascinated by a unique and splendid talent that flourished far too briefly.

    In his macabre, funny way, he has given Mother Goose a dimension even she would shudder at -- but only for a moment, because the wit and candor of it all are too irresistible and insanely comic to take exception to. Addams's style and originality make his tampering with tradition completely and hilariously acceptable.""-- Chicago Tribune

    This compendium of theory and practice brings together clearly and simply diagrammed (to cut, fold, and fly-them-yourself) winning planes and other notable entries from the 1st International Paper Airplane Competition, conducted by "Scientific American."

    201 traditional fables in finest English rendition (17th century) beautifully complemented by Calder. "... a charming paperback facsimile ... wonderfully inventive drawings make a delightful, modern counterpoint..." — Saturday Review.

    He suffered from anxiety and increasingly frequent bouts of mental illness throughout his life and died, largely unknown, at the age of 37 from a self-inflicted gunshot wound.Little appreciated during his lifetime, his fame grew in the years after his death. Today, he is widely regarded as one of history's greatest painters and an important contributor to the foundations of modern art. Van Gogh did not begin painting until his late twenties, and most of his best-known works were produced during his final two years. He produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings and sketches. Today many of his pieces—including his numerous self portraits, landscapes, portraits and sunflowers—are among the world's most recognizable and expensive works of art.

    Bilingual (English/German) transcription of conversations between American composers John Cage and Morton Feldman, originally broadcast on radio station WBAI in New York City, July 1966 - January 1967.

    The artists Walter Crane, Randolph Caldecott and Kate Greenaway were noteworthy because their books were designed for children. Though Crane and Caldecott are still remembered, the illustrations of Kate Greenaway have endured the test of time and still have a place in today s nursery.The essence of Victorian childhood is exhibited in the idealized children of Greenaway s work. Her dreamy little figures seem almost melancholy as they prance through the English countryside unaware of time or place. Their outfits of frilly smocks, mob caps and sunbonnets seem Regency in appearance but are none-the-less the figments of Miss Greenaway s girlish imagination. They are an outcome of her unwillingness to leave childhood behind.In "A Treasury of Kate Greenaway Stories" her wonderful illustrations are brought back to life with such children's favorites as: Apple Pie Book of Games Mother Goose The Pied Piper of Hamelin Under the Window Birthday Book (with records section) Book of Tunes

    

    Cultural criticism has been too obsessed with the rage for order to be able to grasp the import of Peckham's search for "some human activity, which serves to break up orientations, to weaken and frustrate the tyrannous drive to order, to prepare the individual to observe what the orientation tells him is irrelevant, but what may very well be relevant." This book is destined to force a sharp turn in critical cultural studies because it addresses the rage for chaos in traditional "high culture, " not just in popular culture.

    He found his answer in dynamic symmetry, one of the most provocative and stimulating theories in art history. Hambidge's study of Greek art convinced him that the secret of the beauty of Greek design was in the conscious use of dynamic symmetry — the law of natural design based upon the symmetry of growth in man and in plants. But Hambidge, who was not only a theoretician but also a practicing artist, did much more than analyze classical art and its principles of design: he worked out a series of root rectangles that the artist, using the simple mathematics supplied in this book, can easily follow and apply in his own work.Originally published as a series of lessons in Hambidge's magazine, The Diagonal, this engrossing book explains all the basic principles of dynamic symmetry. Part I sets forth the fundamental rectangles with their simple divisions based on the proportioning law found in nature; Part II explains compound rectangles, many of which were taken from or suggested by analysis of objects of Greek art. Whether read for its historical importance in art theory, for its illuminating insights into Greek art, or for its practical value to today's artists and commercial designers, The Elements of Dynamic Symmetry has much to offer anyone who is interested in the principle of design.

    This edition of a classic text has been reorganised so that all plain radiographic techniques are included in a single volume.

    These fragile designs, hand cut in stiff paper with long thin knives and fine punches and reinforced with strands of silk, were used to print on silk and cotton. A large collection of these stencils is reproduced in this volume, together with charming descriptions of materials and methods.

    Arguably his greatest single work, ‘November Girl’ published in 1967, continues to exert a powerful and widespread influence on the world of glamour, fashion and art photographyTo celebrate his genius with the elusive ingredients of model, lights, studio and darkroom – here is a selection of images from ‘November Girl’. This was the culminating title in the figure trilogy from the sixties, ‘Five Girls’ (1962), ‘Cowboy Kate’ (1964) and ‘November Girl’ (1967). Along with ‘African Image’ also published in 1967, November Girl saw the high water mark of Sam’s pioneering creative work with black and white photography in the sixties. African Image pushed the envelope with book layout harder than November Girl, it was Sam’s book layout magnum opus but in terms of photographing a nude model in the studio November Girl remains unsurpassed to this day.One of Sam’s stylistic signatures was the use of simple ‘easily-to-hand’ props. A black raincoat from Macy’s, a set (which of course he built) made to look like a bohemian loft in Paris (one of the reasons, no doubt, why the French are so in love with ‘November Girl’), a simple cotton scarf, odd postcards and collectibles from his home.

    

    "Saint Peter's in all its majesy and glorious history is here presented in tis superbly handsome and rewardingly informative book." -- dust jacket flap

    Formulas for Painters gathers for the first time in a single volume over 200 recipes for making sizes, grounds, mediums, glazes, varnishes, fixatives, and adhesives. These recipes—some dating as far back as the Renaissance—have been tested by artists through the ages and retested by the author under controlled laboratory conditions. There are forty-two recipes for paints alone, ranging from ancient encaustic and tempera to modern acrylic and silica resins, dozens of mediums for every purpose, and a score of grounds for canvas, panels, and fresco. Each formula is presented in a uniform format which explains the purpose of the material being made, specifies precise ingredients, and gives clear directions for manufacture and use. For quick reference, all the formulas are numbered and frequently cross-referenced. Formulas for Painters also contains a section of notes on studio equipment; substitutes for hard-to-find materials; a fund of practical tips and miscellaneous information; and useful tables of drying times, solvents, melting points—making this comprehensive, compact handbook an invaluable source of reference for painters in all media.

    A "Great Bear Pamphlet" of Happenings-related material from Allan Kaprow.

    

    Within two years after the publication of his first book of illustrations, Beardsley was the best-known artist in England. Just as swiftly, with the national outcry against Oscar Wilde, his career was over. At 26 he was dead. He left behind a remarkable quantity of first-rate work. The book illustrations, the portraits, the illustrations and covers for "The Studio" and "The Yellow Book" magazines, the book plates and title pages - these are unforgettable creations of line and "black blots", masterpieces in a graphic technique that was genuinely original and that profoundly influenced the decorative arts throughout Europe for generations to follow.This reprint of The Later Work of Aubrey Beardsley includes many of the title-pages, covers and ornaments for "The Yellow Book" as well as such famous pieces as "The Wagnerites", "La Dame aux Camelias", the Venus and Tannhauser drawings, the "Rape of Lock" series, and details from the eight "Lysistrata" drawings. It is basically a reproduction of the revised edition, but with many of the plates reprinted from a finer, earlier edition and with two color plates restored. All told, there are 174 different plates. Printed one to a page and reproduced with brilliant clarity on heavy stock that minimizes show-through, this is a book to be welcomed not only by the growing number of Beardsley enthusiasts, but by everyone who cares about the modern history of the graphic arts.

    For the second edition he has revised the notes and bibliography, and has taken account of the new importance accorded to the distance point construction in Italian painting of the fourteenth and fifteenth centuries.

    

    128 plates including 35 in colour. This volume contains large-size reproductions of nearly all the masterpieces by Rembrandt as well as generous section of drawings and etchings. Most works are reproduced in the original size.The details from the paintings have been newly photographed and are reproduced in the original size or the size slightly reduced. The introductory essay is by Henri Focillon. This follows the earliest biographies of the artist with a commentary by Ludwig Goldscheider, who also has written detailed notes on the illustrations.

    Originally published in 1967 by Kulchur Press in an edition of 1,000, and out of print for more than 40 years, "Bean Spasms" is a book many have heard about but relatively few have seen, and which--until now--has been consequently shrouded in legend. The text is comprised of collaborations between poets Ted Berrigan and Ron Padgett, with further writings, illustrations and cover by artist and writer Joe Brainard. The three began collaborating in 1960, and kept a folder of their works titled "Lyrical Bullets" (a humorous homage to the well-known collaboration between Coleridge and Wordsworth, "Lyrical Ballads"). As Ron Padgett describes, in his introduction to this new facsimile edition, their collaborations included "plays, a fictitious correspondence, a picaresque novel, goofy interviews and poems of various types and lengths, as well as mistranslations and parodies of each other's work and the work of others." Poet friends dropping by during writing sessions would also add lines, and although Berrigan and Padgett also contributed visuals, and Brainard contributed texts, all works in the book were intentionally left unattributed. Full of wild wit and joy in experimentation, competition and collaboration, "Bean Spasms" is a classic document of the New York School.