Bound or beaten, naked or painted, still or spasmodic: the artist lives his or her art publicly in performance or privately in video and photography; these records form the Works section. Amelia Jones's survey examines the most significant works in the context of social history and Tracey Warr's selection of documents combines writings by artists, critics and philosophers.

    Has the 21st century resolved the question of postmodernism or are we more than ever ensnared in its perplexities? Postmodernism seemed to promise an end to the grim Cold War era of nuclear confrontation and oppressive ideologies. Fukuyama's notoriously proclaimed end of history, the triumph of liberal democracy over Communist tyranny, has proved an illusion. We awoke in the anxious grip of globalization, unpredictable terrorism and unforeseen war. Introducing Postmodernism traces the pedigrees of postmodernism in art, theory, science and history, providing an urgent guide to the present. Derrida, Baudrillard, Foucault and many other icons of postmodern complexity are brilliantly elucidated by Richard Appignanesi and enlivened by the Guardian's Biff cartoonist Chris Garratt.

    This revised text covers movements in art since 1945.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    In this radical reappraisal of Gothic art in Europe, the word "Gothic" describes not only an art style but a changing concept of space, time, and society - a new kind of perception, both visual and spiritual, in which light is of central importance. Camille shows us how the art of the thirteenth and fourteenth centuries was seen in its own time and explores the way vision itself was understood. In this age of glorious painting, magnificent, intricate architecture and sculpture, and jewellike manuscript illumination, art was an expression of religious passion and earthly power, of public and private wealth; of science and learning. The new vision led to an explosion of brilliant images but had its grim side, rarely noticed by art history: the distorted representation of "others" like Jews, heretics, and lepers; a new vision not only of the marvelous, but also of the grotesque.

    In July of 1991, he launched Cartoon Books in Columbus, Ohio, to publish his black-and-white comic strip Bone. A tale of three marshmallowy creatures named Bone, adrift in a world of humans, monsters and fantasy creatures, Bone has since been translated into 15 languages and won Smith countless awards. Bone and Beyond is the first volume to offer an overview of Smith's work. Published in conjunction with the Wexner Center and Cartoon Research Library's 2008 exhibition, this catalogue presents work featured in the show, including examples of Smith's original drawings for Bone, plus the more recent Shazam and Rasl, a forthcoming time travel story. Also featured are selected works by cartoonists who have influenced Smith, such as George Herriman, Charles Schulz and Walt Kelly, and essays by comic book and fantasy author Neil Gaiman, comic book artist and scholar Scott McCloud and Wexner Center film/video curator David Filipi, the exhibition's co-curator. Cartoon Research Library curator Lucy Shelton Caswell, the exhibition's other co-curator, provides an introduction.

    James Wines puts up the various - and often irreconcilable - concepts of environmentally-friendly architecture for discussion, making a case for an architecture that not only focuses on technological solutions, but also tries to reconcile man and nature in its formal idiom. Among the examples of contemporary ecological architecture presented are works by Emilio Ambasz, Gustav Peichl, Arthur Quarmby, Jean Nouvel, Sim Van der Ryn, Jourda and Perraudin, Log ID, James Cutler, Stanley Saitowitz, Fran ois Roche, Nigel Coates and Michael Sorkin.

    The grandness of that history no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. This was soon reflected in artistic representation, from Fuseli on. The partial image, the "crop," fragmentation, ruin, and mutilationall expressed grief and nostalgia for the loss of a vanished totality, a utopian wholeness. Often such feelings were expressed in deliberate destructiveness, which became the new way of seeing: the notion of the modern. In The Body in Pieces, the noted critic and art historian Linda Nochlin traces these developments by looking at work produced by artists from Neoclassicism and Romanticism to Impressionism, Post-Impressionism, Surrealism, and beyond. 59 illustrations.

    It also relates the extraordinary history of the museum's collection, a collection that has enabled the Van Gogh Museum to evolve into a world-renowned centre of knowledge about Van Gogh's work and the art of his time.

    Join Sister Wendy on a journey through Lent, and discover the timeless wisdom to be found in some of the world's greatest paintings.Illustrated in full colour with over forty famous and lesser-known masterpieces of Western art, this beautiful book will lead you into a deeply prayerful response to all that these paintings convey to the discerning eye.'For those who want to appreciate the spirituality behind some of the world's greatest works of art, this book will be hugely inspiring - not only during Lent but at any time of the year.'Dr Janina Ramirez, art historian and broadcaster

    Through this triple focus, Peter Blake provides a perspective on the entire range of twentieth-century architecture.

    Blessed with an unerring eye, he tackles a myriad of subjects with wit, poetry, and perspicacity, examining and questioning the art before him while reveling in the power and beauty of language. His writing springs from a desire to be understood by all readers, and a determination to help them engage with art of every kind.Covering subjects drawn from a broad canvas of the history of art—from ancient Greece, Mexico, and Byzantium, through Raphael, Rubens, and Rembrandt, to Bruce Nauman, Jean-Michel Basquiat, and John Currin—the writings collected here seek out with precision and economy the essence of the individual artist or work under discussion, but they never lose sight of the bigger picture: What is beauty? What does it mean to be an American artist? What can the art we produce and admire tell us about ourselves?With an imaginative introduction—twenty questions, each one posed to Schjeldahl by a different artist or writer—this collection will appeal to anyone who considers the experience of art, and of writing on art, an invitation to a voyage.Coverage includes:     • large-scale exhibitions at leading institutions around the world     • shows at private galleries     • profiles of prominent members of the art world     • personal accounts of time spent with artists     • the influences of museum spaces on our experience of art

    Inspired by the order and beauty inherent in nature, his groundbreaking work sets out the principles of distance, dimension and proportion; instructs the painter on how to use the rules of composition, representation, light and colour to create work that is graceful and pleasing to the eye; and stipulates the moral and artistic pre-requisites of the successful painter. On Painting had an immediate and profound influence on Italian Renaissance artists including Ghiberti, Fra Angelico and Veneziano and on later figures such as Leonardo da Vinci, and remains a compelling theory of art.

    They are world-famous for their inimitable, democratic designs which bridge the gap between crafts and industrial production. The marriage of beautiful, organic forms with everyday functionality is one of the primary strengths of Scandinavian design and one of the reasons why Scandinavian creations are so cherished and sought after. This guide provides a detailed look at Scandinavian design from 1900 to the present day, with in-depth entries on featured designers and design-led companies, plus essays on the similarities and differences in approach between Norway, Sweden, Finland, Iceland, and Denmark.

    It has influenced a generation of students and critics interested in the formation of attitudes, themes, and forms which were characteristic of artists and architects working primarily in Europe between 1900 and 1930 under the compulsion of new technological developments in the first machine age.