Accredited Zentangle teacher Jane Marbaix demonstrates a range of patterns one step at a time and offers a sourcebook of her own designs to inspire tanglers to try something different. Proven to reduce stress and enhance creativity in people of all ages, Zentangle does not require a background in practical art or expensive materials to produce pleasing results.

    Since founding his Toronto-based studio in 1985, Mau has become one of the world's most sought-after designers. He became an international figure following the publication of the groundbreaking and award-winning volume S,M,L,XL, which he designed and co-authored with Dutch architect and recent winner of the Pritzker Architecture Prize, Rem Koolhaas.Written by Mau and conceived and designed by BMD, Life Style is a collection of playful and critical statements about the visual and cultural trends that influence today's image-driven environment. The book showcases the methodology, philosophy, world view and projects of BMD.With over 1,000 images and available in a variety of luminous satin covers, each reader can choose his/her colour to match his/her life style.

    Si todos debemos movernos para sobrevivir, vale la pena preguntarse: ¿qué factores de nuestro entorno nos impulsan a movernos y cuáles, por el contrario, nos detienen? ¿Por qué algunas personas tienen la oportunidad de moverse hacia donde quieren y otras no? ¿Por qué ciertas sociedades evolucionan y otras no? Para responder a estas interrogantes, los autores del libro estudiaron los códigos culturales y el comportamiento Bio-Lógico de 71 países para desarrollar un índice de que permite medir la movilidad social dentro de estas sociedades.Andrés Roemer y Clotaire Rapaille señalan que las culturas más exitosas son aquellas que han sabido preservar los mejores aspectos de su tradición, al mismo tiempo que han estado dispuestas a innovar y buscar nuevos horizontes. Se trata de sociedades abiertas al cambio y sin temor al statu quo. Otra clave del éxito evolutivo de las sociedades es el equilibrio entre el aspecto biológico (determinado por cuatro factores: supervivencia, sexo, seguridad y superación) y el aspecto cultural. El reto, concluyen los autores, es aprender a armonizar nuestros instintos (nuestro cerebro reptiliano) con nuestras emociones (nuestro cerebro límbico) y nuestra lógica (el neocórtex).ENGLISH DESCRIPTION If we all know we must move to survive, shouldn’t we ask ourselves which factors in our environment propel us and which halt us? Why do certain societies evolve while others don’t? In this book, Andrés Roemer and Clotaire Rapaille point out that the most successful cultures are those that are not afraid of the status quo: they have learned to preserve the best qualities of their traditions while being open to innovation and to uncovering new horizons. Another key to the success of these societies is the equilibrium between biological and the cultural aspects. The challenge is to harmonize our instincts, our emotions, and our logic.

    In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

    This book is about building a deeper understanding of this rangy mental terrain so that you can more productively think about and discuss aesthetic phenomena and experience in your life and in your work. Until now theoretical aesthetics has been a rather unwieldy and impractical subject. This lucid and easy-to-read book—rendered in a graphically engaging format—should be of genuine value to museum-goers, professional artists and designers, and students of the arts and crafts.This book should be of particular interest to those who have enjoyed Wabi-Sabi: for Artists, Designers, Poets & Philosophers, also by Leonard Koren.Leonard Koren trained as an artist and architect. He is the founder and publisher of WET: The Magazine of Gourmet Bathing, one of the seminal avant-garde publications of the 1970s. Koren writes and consults about design- and aesthetics-related issues.

    Beauty then came to be regarded as a serious aesthetic crime, whereas a hundred years ago it was almost unanimously considered the supreme purpose of art. Beauty is not, and should not be, the be-all and end-all of art, but it has an important place, and is not something to be avoided.Danto draws eruditely upon the thoughts of artists and critics such as Rimbaud, Fry, Matisse, the Dadaists, Duchamp, and Greenberg, as well as on that of philosophers like Hume, Kant, and Hegel. Danto agrees with the dethroning of beauty as the essence of art, and maintains with telling examples that most art is not, in fact, beautiful. He argues, however, for the partial rehabilitation of beauty and the removal of any critical taboo against beauty. Beauty is one among the many modes through which thoughts are presented to human sensibility in art: disgust, horror, sublimity, and sexuality being among other such modes.

    It is both an introduction to the study of art and, for those with more specialized interests, a profound discussion of art and life in the Middle Ages and Renaissance. Panofsky's historical technique reveals an abundance of detail, detail he skillfully relates to the life and work of individual painters and their times. The papers in this volume represent a cross-section of Panofsky's major work. Included are selections from his well-known Studies in Iconology and The Life and Art of Albrecht Dürer, plus an introduction and an epilogue—"The History of Art as a Humanistic Discipline" and "Three Decades of Art History in the United States: Impressions of a Transplanted European"—as well as pieces written especially for this collection. All display Panofsky's vast erudition and deep commitment to a humanistic conception of art and art history.

    In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one.Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.

    He shows that there are many ways of achieving happiness; for example, there is the inherent happiness that comes with the love of a child; the competitive happiness of triumphing over your opponents; the sensual happiness of the hedonist. Rather than preaching a particular behavior or way of life, Morris provides knowledge that we can use, if we wish, to make ourselves happier.

    A loosely formed autobiography by Andy Warhol, told with his trademark blend of irony and detachmentIn The Philosophy of Andy Warhol—which, with the subtitle "(From A to B and Back Again)," is less a memoir than a collection of riffs and reflections—he talks about love, sex, food, beauty, fame, work, money, and success; about New York, America, and his childhood in McKeesport, Pennsylvania; about his good times and bad in New York, the explosion of his career in the sixties, and his life among celebrities.

    Evans are the writings that have had such a major role in shaping the Western monastic tradition and influencing the development of Catholic mystical theology. Together with an introduction by the master of Bernard studies, jean Leclercq, they comprise a volume that occupies and place of special importance in the chronicle of the history of the western spiritual adventure.

    Harry Sword traces the line from neolithic Indo-European traditions to the modern underground by way of mid-20th Century New York, navigating a beguiling topography of archeoacoustics, ringing feedback, chest plate sub bass, avant-garde eccentricity, and fervent spiritualism. From ancient beginnings to bawdy medieval troubadours, Sufi mystics to Indian raga masters, North Mississippi bluesmen to cone-shattering South London dub reggae sound systems, Hawkwind's Ladbroke Grove to the outer reaches of Faust, Ash Ra Temple and sonic architects like La Monte Young, Brian Eno, and John Cale, the opium-fueled fug of The Theatre of Eternal Music to the caveman doom of Saint Vitus, the cough syrup reverse hardcore of Swans to the seedy VHS hinterland of Electric Wizard, ritual amp worship of Earth and Sunn O))) and the many touch points in between, Monolithic Undertow probes the power of the drone: something capable of affording womb-like warmth or evoking cavernous dread alike.This story does not start in the twentieth century underground: the monolithic undertow has bewitched us for millennia. The book takes the drone not as codified genre but as an audio carrier vessel deployed for purposes of ritual, personal catharsis, or sensory obliteration, revealing also a naturally occurring auditory phenomenon spanning continents and manifesting in fascinatingly unexpected places.Monolithic Undertow will be a book about music and the very human need for transcendence and intoxication through sound. It seeks to reveal the drone as a tool of personal liberation that exists far outside the brittle confines of commodity culture.

    She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art. Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

    This volume contains twenty-seven pieces, including the influential introduction to the catalog for Three American Painters, the text of his book Morris Louis, and the renowned "Art and Objecthood." Originally published between 1962 and 1977, they continue to generate debate today. These are uncompromising, exciting, and impassioned writings, aware of their transformative power during a time of intense controversy about the nature of modernism and the aims and essence of advanced painting and sculpture. Ranging from brief reviews to extended essays, and including major critiques of Jackson Pollock, Morris Louis, Kenneth Noland, Jules Olitski, Frank Stella, and Anthony Caro, these writings establish a set of basic terms for understanding key issues in high modernism: the viability of Clement Greenberg’s account of the infralogic of modernism, the status of figuration after Pollock, the centrality of the problem of shape, the nature of pictorial and sculptural abstraction, and the relationship between work and beholder. In a number of essays Fried contrasts the modernist enterprise with minimalist or literalist art, and, taking a position that remains provocative to this day, he argues that minimalism is essentially a genre of theater, hence artistically self-defeating.For this volume Fried has also provided an extensive introductory essay in which he discusses how he became an art critic, clarifies his intentions in his art criticism, and draws crucial distinctions between his art criticism and the art history he went on to write. The result is a book that is simply indispensable for anyone concerned with modernist painting and sculpture and the task of art criticism in our time.

    He's familiar to readers who made his style guides for men -- and the women who dress them -- bestselling books. Now with Before You Put That On, Boston delivers 365 expert fashion tips to help women create a wardrobe and a personal style they can be proud of every day of the year -- using much of what may already be in their closets! Lloyd Boston defines finding your style as "taking your world and giving it shape." That's what he's done for his individual and corporate clientele for years, and now with this beautifully designed book -- including his own original art -- he's offering his insider secrets to you. Boston's user-friendly references are filled with inspirational ideas for looking and feeling your most stylish.Friendly, frank, and with a wealth of professional tips at his disposal, Boston guides readers through an entire year's worth of fashion choices, beginning with a new style resolution at the top of the year, through the fresh fashion possibilities of spring and barely dressed days of summer, and back through the glittering holidays.Before You Put That On offers:• Hints for choosing garments to flatter every body type• Simple solutions for going from day to night in minutes• Tailoring tricks that bring new life to items you already own• Advice on adding accessories that turn a look from frumpy to fabulous• Organizational tips for creating a user-friendly closetNamed one of Crain's magazine's "40 Under 40," he is also a national spokesperson for companies including Tommy Hilfiger, Jones New York, and LensCrafters. As Boston himself says, "Nothing makes me happier than helping real people look their absolute best." Whether the occasion is lunch with a new client, a catch-up drink with friends, or a special holiday gathering, Before You Put That On provides classic ideas that will usher readers through every event with confidence and panache.