Readers will learn the basic anatomy, fundamentals of storycraft and how the medium works as a means of expression.

    Gestalt theory and the psychology of visual perception form the basis for an analysis of art and its basic elements.

    First published ahead of its time, this book has become a classic.

    Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum to remove the work is to destroy the work is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

    The book has remained continuously in print through many editions and has some more than a quarter of a million copies. It is, as American Artist Magazine calls it, the "artist's bible," an invaluable reference for the painter, sculptor, and printmaker. During the past few years, however, new art movements and new research have led to many changes in the technology of artist's materials. With the assistance of Mayer's window, Bena, and his colleagues, Viking and Steven Sheehan, Director of the Ralph Mayer Center at Yale University, have prepared this latest revision of the book, which is now completely updated and expanded.

    Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. -- subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture -- the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field -- her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book: an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. Boundaries is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.

    Finally available in English, this unrivaled example of Panofsky's early method places him within broader developments in theories of knowledge and cultural change.Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of "archaeology" of Western representation that far surpasses the usual scope of art historical studies.Perspective in Panofsky's hands becomes a central component of a Western "will to form," the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world.Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.

    This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory.First published in French in 1981, Francis Bacon has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.”Illuminating Bacon’s paintings, the non-rational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. Francis Bacon is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole.

    Mixing realism and abstraction, Bacon delves deep beneath the surfaces of things, opening up the human body to reveal the chaos that lies within and struggling with all that is inexplicable. Erotic and grotesquely beautiful is the work of this legendary painter whose haunting, distorted figures have inspired entire generations of painters who seek to emulate his highly original style.

    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.

    Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion -- imageability -- and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

    In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.Discussing expressionism / Ernst BlochRealism in the balance / Georg LukacsAgainst Georg Luckacs / Bertolt BrechtConversations with Brecht / Walter BenjaminLetters to Walter Benjamin / Theodor AdornoReply / Walter BenjaminReconciliation under duress ; Commitment / Theodor AdornoReflections in conclusion / Fredric Jameson

    The richness of Native American artis emphasized through discussions of basketry, wood and rock carvings, dance masks, and beadwork, alongside the contemporary vitality of paintings and installations by modern artists such as Robert Davidson, Emmi Whitehorse, and Alex Janvier. Authors Berlo and Philips fully incorporate substantivenew research and scholarship, and examine such issues as gender, representation, the colonial encounter, and contemporary arts. By encompassing both the sacred and secular, political and domestic, the ceremonial and commercial, Native North American Art shows the importance of the visual arts inmaintaining the integrity of spiritual, social, political, and economic systems within Native North American societies.

    Installation Art provides the first clear account of the rise of installation as a form while revisiting and, in some cases, reassessing many well-known names of post-1960 art. This lavishly produced volume also introduces the reader to a wider spectrum of younger artists yet to receive serious critical attention. Artists featured include Vito Acconci, Joseph Beuys, Christian Boltanski, Marcel Broodthaers, Judy Chicago, Olafur Eliasson, Group Material, Isaac Julien, Ilya Kabakov, Yayoi Kusama, Cildo Meireles, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Smithson, Bill Viola, and many others.

    J. Clark addresses these questions—and many more—in ways that steer art writing into new territory.In early 2000 two extraordinary paintings by Poussin hung in the Getty Museum in a single room, Landscape with a Man Killed by a Snake (National Gallery, London) and the Getty's own Landscape with a Calm. Clark found himself returning to the gallery to look at these paintings morning after morning, and almost involuntarily he began to record his shifting responses in a notebook. The result is a riveting analysis of the two landscapes and their different views of life and death, but more, a chronicle of an investigation into the very nature of visual complexity. Clark’s meditations—sometimes directly personal, sometimes speaking to the wider politics of our present image-world—track the experience of viewing art through all its real-life twists and turns.