Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period.

    Dutton edition originally published in 1972 a celebration of a fine (and poignantly nostalgic) college that endured from 1933 to 1956. Annotation copyright Book News, Inc. Portland, Or.

    Like all of Michaux's texts (be they visual or verbal), it is a profoundly provisional or occasional work, written on commission, tossed off (one imagines) at considerable speed -- as an Action Writer (and Painter), Michaux always wanted to work fast and, ever impatient, ever nomadic, rush on to the next thing at hand. Part essay, part poem -- by turns lyric, ekphrastic, didactic, gnomic, and comic -- Emergences-Resurgences is also one of Michaux's most sustained self-portraits (as he notes in these pages, the world often comes to him as sheer head or face). Its explicitly autobiographical elements are few, but telling: his childhood in Belgium, his initial foray into drawing in 1925, his first "alphabet" works of 1927, his travels to Asia during 1930-31...These dates and events, however, merely provide the barest external framework for the true autobiography that is told in these pages, namely, the further gnostic adventures of Monsieur Plume, a picaresque account of a man whose deepest (and most saintly) life takes place on the page, as he ceaselessly reinvents himself, pen or brush in hand, and propels himself ever forward (as one of his late titles has it) par les trails, via stigmata or marks.