Resistance, Rebellion and Death displays Camus's rigorous moral intelligence addressing issues that range from colonial warfare in Algeria to the social cancer of capital punishment. But this stirring book is above all a reflection on the problem of freedom, and, as such, belongs in the same tradition as the works that gave Camus his reputation as the conscience of our century: The Stranger, The Rebel and The Myth of Sisyphus.

    Today artists routinely dissolve the old boundaries of art by creating works that neither hang on walls nor adorn pedestals, and often willfully overturn conventions of aesthetic value, permanence and optical reward. Curator and educator Weintraub has researched and/or interviewed 35 prominent radical artists and here explores their common concerns, creative processes and media. Devoting one essay to each artist, Weintraub offers a primer for museum and gallery goers who may be confronting such works for the first time, discussing Andres Serrano's photo of a crucifix submerged in urine, the half ton of dirty clothes Christian Boltanski piled on a museum floor worn by children of the Holocaust, Janine Antoni's mammoth blocks of chocolate and lard, Chuck Close's computer art and David Hammon's detritus constructions.

    Based on the 1999 Walter Neurath Memorial Lecture, this book uses the work of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can never be simply collapsed into the physicality of their support.

    Including articles by photographers from Edward Weston to Jo Spence, as well as key thinkers like Roland Barthes, Victor Burgin and Susan Sontag, the essays trace the development of ideas about photography. Each themed section features an editor's introduction setting ideas and debates in their historical and theoretical context.Sections include: Reflections on Photography; Photographic Seeing; Coding and Rhetoric; Photography and the Postmodern; Photo-digital; Documentary and Photojournalism; The Photographic Gaze; Image and Identity; Institutions and Contexts.

    Juried by distinguished artist and educator Joe Bova, this magnificent gallery includes pieces from an international group of artists; the beautifully crafted works range from the representational to the abstract, from artful realism to provocative surrealism (including animal-human hybrids). Ann Marais’ image of a waterfowl painted onto a porcelain dish has a restrained, Asian quality. Sharkus’ painted and smoke-fired stoneware turtle could easily be mistaken for the living creature. Bova provides astute and illuminating commentary overall, with selected artists’ notes.

    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

    Introducing art in its international context, this accessible book explores core issues about how art is made, interpreted, and displayed, without any of the unnecessary terminology. Divided into themes, A Short Book About Art presents new ways of thinking about the relationship between artists and their work, as well as fresh comparisons between works of art from different periods and places. Thought-provoking and stimulating, it is the ideal companion for anyone who wants to learn about art without a dictionary in their hands.

    In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    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.

    The present volume is an unabridged English translation of the 13th French edition of that historic manifesto, in which Le Corbusier expounded his technical and aesthetic theories, views on industry, economics, relation of form to function, the "mass-production spirit," and much else. A principal prophet of the "modern" movement in architecture, and a near-legendary figure of the "International School," he designed some of the twentieth century's most memorable buildings: Chapel at Ronchamp; Swiss dormitory at the Cité Universitaire, Paris; Unité d'Habitation, Marseilles; and many more.Le Corbusier brought great passion and intelligence to these essays, which present his ideas in a concise, pithy style, studded with epigrammatic, often provocative, observations: "American engineers overwhelm with their calculations our expiring architecture." "Architecture is stifled by custom. It is the only profession in which progress is not considered necessary." "A cathedral is not very beautiful . . ." and "Rome is the damnation of the half-educated. To send architectural students to Rome is to cripple them for life."Profusely illustrated with over 200 line drawings and photographs of his own works and other structures he considered important, Towards a New Architecture is indispensable reading for architects, city planners, and cultural historians―but will intrigue anyone fascinated by the wide-ranging ideas, unvarnished opinions, and innovative theories of one of this century's master builders.

    This inventory of lacks becomes an incantation: if only for an instant, it transmits a presence to these "units" that had previously been lost to the history of human creativity and thought.- A boarder for two years following a national funeral, Mirabeau is removed from the Pantheon and transferred to the cemetery of Clamart when his pornographic novels are discovered - A photograph taken by Hessling on Christmas night, 1943, of a young woman nailed alive to the village gate of Novimgorod; Hessling asks his friend Wolfgang Borchert to develop the film, look at the photograph, and destroy it - The Beautiful Gardener, a picture by Max Ernst, burned by the Nazis -- from "The Missing PiecesThe Missing Pieces" is an incantatory text, a catalog of what has been lost over time and what in some cases never existed. Through a lengthy chain of brief, laconic citations, Henri Lefebvre evokes the history of what is no more and what never was: the artworks, films, screenplays, negatives, poems, symphonies, buildings, letters, concepts, and lives that cannot be seen, heard, read, inhabited, or known about. It is a literary vanitas of sorts, but one that confers an almost mythical quality on the enigmatic creations it recounts -- rather than reminding us of the death that inhabits everything humans create.Lefebvre's list includes Marcel Duchamp's (accdidentally destroyed) film of Man Ray shaving off the Baroness Elsa von Freytag-Loringhoven's pubic hair; the page written by Balzac on his deathbed (lost); "Spinoza's Treatise on the Rainbow" (thrown into a fire); the final seven meters of Kerouac's original typescript for "On the Road" (eaten by a dog); the chalk drawings of Francis Picabia (erased before an audience); and the one moment in Andre Malraux's life in which he exclaimed "I believe, for a minute, I was thinking nothing." "The Missing Pieces" offers a treasure trove of cultural and artistic detail and will entertain even those readers not enamored of the void."

    Now, for the first time, Olivia's work has been compiled into one deluxe book. Included are over 100 drawings and paintings, many previously unpublished, spanning the past fifteen years.

     A constellation of previously published pieces and new essays as provocative and idiosyncratic as any he’s written, this volume sheds light on an array of topics from sex in cinema to drugs, graffiti, Bob Dylan, cyberculture, 9/11, book touring, and Marlon Brando, as well as on a shelf’s worth of his literary models and contemporaries: Norman Mailer, Paula Fox, Bret Easton Ellis, James Wood, and oth­ers. And, writing about Brooklyn, his father, and his sojourn through two decades of writing, Lethem sheds an equally strong light on himself.

    Auguste Rodin spoke candidly to his protégé, Paul Gsell, who recorded the master's thoughts not only about the technical secrets of his craft, but also about its aesthetic and philosophical underpinnings.Here is the real Rodin—relaxed, intimate, open, and charming—offering a wealth of observations on the relationship of sculpture to poetry, painting, theater, and music. He also makes perceptive comments on Rembrandt, Michelangelo, Raphael, and other great artists, and he shares revealing anecdotes about Hugo, Balzac, and others who posed for him. Seventy-six superb illustrations of the sculptor's works complement the text, including St John the Baptist Preaching, The Burghers of Calais, The Thinker, and many others, along with a selection of exuberant drawings and prints.

    Two pages, with illustrations and biographical/bibliographical information, are devoted to each artist.