He talks of the creation of the work of art, the importance of the community, the problem of communication, and the critical theories governing the artist and his audience.

    He relates the ways they found to live simply and sustainably, in harmony with their environment, surrounded by the luxuries of nature, art, friends, delicious food, and most important, an abundance of time in which to enjoy it all. The ten people describe the profound personal transformations they underwent as they escaped the stress, consumerism, busyness, and dependence on technology of modern life to establish fulfilling lives as farmers and artists who rely on themselves for happiness and sustenance. Their journeys show us how we too can travel a meaningful path by living simply, growing rich in a whole new way, and discovering true success by having a life that matters. This updated edition is supplemented by evocative photos that contextualize the stories.

    Part personal narrative, part documentary, part travelogue, part chapbook, and all Kalman, these brilliant, whimsical paintings, ideas, and images - which initially appear random - ultimately form an intricately interconnected worldview, an idiosyncratic inner monologue.

    It is one of the few documents which shows him concentratedly at work on a single philosophical issue. The principal theme is the features of different colours, of different kinds of colour (metallic colour, the colours of flames, etc.) and of luminosity--a theme which Wittgenstein treats in such a way as to destroy the traditional idea that colour is a simple and logically uniform kind of thing.

    The best collection of Zen wisdom and wit since "Zen Flesh, Zen Bones": koans, sayings, poems, and stories by Eastern and American Zen teachers and students capture the delightful, challenging, mystifying, mind-stopping, outrageous, and scandalous heart of Zen.

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations.From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration"). Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.

    A Dutch artist offers his concept of seeing and drawing as a discipline by which the world may be rediscovered, a way of experiencing Zen.

    That wish has come true for us. Now what? In this radically illuminating book, Alan Cohen delves into one of the world’s most venerated wisdom texts for answers and brings the lofty and enigmatic concepts of the Tao Te Ching down to earth in fresh, easy-to-grasp language with practical, personal examples we can use to uplift our daily lives.Most other interpretations of the Tao march through the stanzas one by one. Here Alan Cohen calls forth the ancient verses around themes that are central to our modern lives —from love to work to the lessons we learn from pain. Then he brings each message to life in short vignettes where he imagines himself a student of Lao Tse and interacts with the master directly and intimately. He invites you to join the ancient sage and the contemporary seeker as they wend their way through the challenges and triumphs of the same journey you’re taking yourself.

    From the Pale Gold (15-0927 TPX) and Almost Mauve (12-2103 TPX) of the 1900 Universal Exposition in Paris to the Rust (18-1248 TPX) and Midnight Navy (19-4110 TPX) of the countdown to the Millennium, the 20th century brimmed with color. Longtime Pantone collaborators and color gurus Leatrice Eiseman and Keith Recker identify more than 200 touchstone works of art, products, d cor, and fashion, and carefully match them with 80 different official PANTONE color palettes to reveal the trends, radical shifts, and resurgences of various hues. This vibrant volume takes the social temperature of our recent history with the panache that is uniquely Pantone.

    

    Celebrated scholar Joseph Campbell shares his intimate and inspiring reflections on the art of living in this beautifully packaged book, part of a new series to be based on his unpublished writings.

    His vision of the impact of modern technology on the contemporary global condition is powerful and disturbing, ranging over art, science, politics and warfare.In Art and Fear, Paul Virilio traces the twin development of art and science over the twentieth century. In his provocative and challenging vision, art and science vie with each other for the destruction of the human form as we know it. He traces the connections between the way early twentieth century avant-garde artists twisted and tortured the human form before making it vanish in abstraction, and the blasting to bits of men who were no more than cannon fodder i nthe trenches of the Great War; and between the German Expressionists' hate-filled portraits of the damned, and the 'medical' experiments of the Nazi eugenicists; and between the mangled messages of global advertising, and the organisation of global terrorism.Now, at the start of the twenty-first century, science has finally left art behind, as genetic engineers prepare to turn themselves into the worst of expressionists, with the human being the raw material for new and monstrous forms of life.Art and Fear is essential reading for anyone wondering where art has gone and where science is taking us.

    First published in 1925, the book was originally edited by Japanese scholars of Buddhism before WWII and distributed widely throughout Japan. The first English edition was published in 1934. The Reverend Dr. Yehan Numata brought out another English edition in 1962, and in 1966, after the establishment of the Bukkyo Dendo Kyokai (BDK) (Society for the Promotion of Buddhism), Dr. Numata assembled a committee of Buddhist scholars to substantially revise and edit a new English-Japanese edition. The Teaching of Buddha has undergone minor revisions and numerous reprintings since. It is now available in more than forty-two languages and over 8 million copies have been distributed and placed in hotel rooms in over fifty countries throughout the world.The Teaching of Buddha is a collection of writings on the essence of Buddhism, selected and edited from the vast Buddhist canon, presented in a concise, easy-to-read, and nonsectarian format. It also includes a brief history of Buddhism, a listing of the source texts, a glossary of Sanskrit terms, and an index.

    It's not an autobiography, though it does offer a revealing and highly personal inside view of contemporary culture. It's an essential tool kit for understanding the world around us. Deyan Sudjic studied architecture in Edinburgh, edited Domus in Milan, was the director of the Venice architecture biennale, and a curator in Glasgow, Istanbul and Copenhagen. The author of The Language of Things and The Edifice Complex, Deyan Sudjic is now Director of the Design Museum, London.