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Title:
Obsidian situations
Obsidian situations
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Tricia Middleton’s debut verse-novel brings the artist’s genius for summoning the psychic life of the object world to the page, here trading in the resonant material vocabulary that she has honed to perfection conjuring the wayward spirits of late-stage capitalism in sculptural form, for the equally resplendent wordplay of incisive observational poetry. Ostensibly set(...)
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Tricia Middleton’s debut verse-novel brings the artist’s genius for summoning the psychic life of the object world to the page, here trading in the resonant material vocabulary that she has honed to perfection conjuring the wayward spirits of late-stage capitalism in sculptural form, for the equally resplendent wordplay of incisive observational poetry. Ostensibly set(...)
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Obsidian situations
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Tricia Middleton’s debut verse-novel brings the artist’s genius for summoning the psychic life of the object world to the page, here trading in the resonant material vocabulary that she has honed to perfection conjuring the wayward spirits of late-stage capitalism in sculptural form, for the equally resplendent wordplay of incisive observational poetry. Ostensibly set in present-day Paris, ''Obsidian situations'' spans centuries, telling a story about the epigenetics of suffering, survival, and redemption in social and cultural form. Alternating between myriad personae—sometimes artist or artwork, poet or amorphous cloud—the anonymous, decidedly female, narrator that serves as our guide to the city of light channels the souls of works of art and ideas, of artists, philosophers, courtesans and, most heartrending of all, des Enfants-Trouvés through incantatory soliloquies that call to account the half-life of Enlightenment ideals propping up the soft and saggy moral economy of the L’age Anthropocentric. As a force of self-definition and a body objectified—and so subject to the same degradation as any and all things—our champion encounters ‘situations’ that are in equal parts hilarious and heartbreaking, horrifying and wretched, breathtakingly beautiful, poignant, and mad. It’s a world of museums and collectors, artists and curators, lovers and mothers, daughters and others, charged with desire and repulsion, longing and rejection, death and devastation that, ironically, can only be transformed in art and in poetry and in dreams.
Obsidian situations
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Tricia Middleton’s debut verse-novel brings the artist’s genius for summoning the psychic life of the object world to the page, here trading in the resonant material vocabulary that she has honed to perfection conjuring the wayward spirits of late-stage capitalism in sculptural form, for the equally resplendent wordplay of incisive observational poetry. Ostensibly set in present-day Paris, ''Obsidian situations'' spans centuries, telling a story about the epigenetics of suffering, survival, and redemption in social and cultural form. Alternating between myriad personae—sometimes artist or artwork, poet or amorphous cloud—the anonymous, decidedly female, narrator that serves as our guide to the city of light channels the souls of works of art and ideas, of artists, philosophers, courtesans and, most heartrending of all, des Enfants-Trouvés through incantatory soliloquies that call to account the half-life of Enlightenment ideals propping up the soft and saggy moral economy of the L’age Anthropocentric. As a force of self-definition and a body objectified—and so subject to the same degradation as any and all things—our champion encounters ‘situations’ that are in equal parts hilarious and heartbreaking, horrifying and wretched, breathtakingly beautiful, poignant, and mad. It’s a world of museums and collectors, artists and curators, lovers and mothers, daughters and others, charged with desire and repulsion, longing and rejection, death and devastation that, ironically, can only be transformed in art and in poetry and in dreams.
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books
books
Publication:
January 2023
January 2023
Subject:
Literature and poetry
Literature and poetry
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books
books
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$67.95
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Upon his death, Stéphane Mallarmé (1842–98) left hundreds of notes on an unrealized great work he called ''The Book.'' Housed in a clear Plexiglas box, this card-deck conception of his project draws from that material, and from other writings alluding to its possible forms, including a letter in which he describes ''a book that is architectural... The orphic explanation(...)
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Summary:
Upon his death, Stéphane Mallarmé (1842–98) left hundreds of notes on an unrealized great work he called ''The Book.'' Housed in a clear Plexiglas box, this card-deck conception of his project draws from that material, and from other writings alluding to its possible forms, including a letter in which he describes ''a book that is architectural... The orphic explanation(...)
Title:
The glorious lie/The gloy of the lie : A poetry card game inspired by Stéphane Mallarmé's ''The Book''
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Upon his death, Stéphane Mallarmé (1842–98) left hundreds of notes on an unrealized great work he called ''The Book.'' Housed in a clear Plexiglas box, this card-deck conception of his project draws from that material, and from other writings alluding to its possible forms, including a letter in which he describes ''a book that is architectural... The orphic explanation of the Earth, which is the sole duty of the poet, and the literary game par excellence.'' The title of this game derives from another letter in which Mallarmé writes, ''perhaps the title of my volume of lyric poetry will be 'The Glory of the Lie, or The Glorious Lie.' ” Each deck contains 48 cards: three with artwork on each side, and 45 with words or phrases on each side. The size of the cards, their gold edging and the physical housing of the decks in the box reflect descriptions and clues in Mallarmé’s notes. The manner of playing the game is left open, but quotes and diagrams by Mallarmé in the accompanying 20-page booklet point to the idea of pulling cards from each of the four decks and laying them out for one reading, then flipping the cards over for a second reading. The image cards function like the Arcana of Tarot, providing a visual language equal to the word cards. The readings might be used to create poetry or, like Tarot, to divine or illuminate.
The glorious lie/The gloy of the lie : A poetry card game inspired by Stéphane Mallarmé's ''The Book''
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Upon his death, Stéphane Mallarmé (1842–98) left hundreds of notes on an unrealized great work he called ''The Book.'' Housed in a clear Plexiglas box, this card-deck conception of his project draws from that material, and from other writings alluding to its possible forms, including a letter in which he describes ''a book that is architectural... The orphic explanation of the Earth, which is the sole duty of the poet, and the literary game par excellence.'' The title of this game derives from another letter in which Mallarmé writes, ''perhaps the title of my volume of lyric poetry will be 'The Glory of the Lie, or The Glorious Lie.' ” Each deck contains 48 cards: three with artwork on each side, and 45 with words or phrases on each side. The size of the cards, their gold edging and the physical housing of the decks in the box reflect descriptions and clues in Mallarmé’s notes. The manner of playing the game is left open, but quotes and diagrams by Mallarmé in the accompanying 20-page booklet point to the idea of pulling cards from each of the four decks and laying them out for one reading, then flipping the cards over for a second reading. The image cards function like the Arcana of Tarot, providing a visual language equal to the word cards. The readings might be used to create poetry or, like Tarot, to divine or illuminate.
Form:
books
books
Publication:
July 2022
July 2022
Subject:
Literature and poetry
Literature and poetry
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books
books
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After living for several years in the chaos of influences that is New York, the visual artist Satoshi Tsuchiyama realized that it is Israel that is the world’s hub for contemporary dance. His experiences of working with both dance and Jewish artefacts fused together. Questions arose in his head: Since the political situation has long been unstable in this religiously and(...)
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After living for several years in the chaos of influences that is New York, the visual artist Satoshi Tsuchiyama realized that it is Israel that is the world’s hub for contemporary dance. His experiences of working with both dance and Jewish artefacts fused together. Questions arose in his head: Since the political situation has long been unstable in this religiously and(...)
Title:
Satoshi Tsuchiyama: Heat of sand
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After living for several years in the chaos of influences that is New York, the visual artist Satoshi Tsuchiyama realized that it is Israel that is the world’s hub for contemporary dance. His experiences of working with both dance and Jewish artefacts fused together. Questions arose in his head: Since the political situation has long been unstable in this religiously and culturally rich region, what kind of normal everyday life can be found there? What colours and scents does a country like this retain, and how do the dancers appear and move under the influence of an environment like this? He decided to go there to witness the extraordinary on a daily basis. During his four visits to Israel and Palestine in 2017–19, he wandered in scorching sand and graffiti-filled streets, climbed to the collapsing top floor of the art school. He followed the desires of his eyes. The dancers he met came from all over the world, but they seemed to share the same mood, the same force that oozed out of the ground. And one and the same aura accompanied their bodies in a common direction. He avoided all the areas at high risk of terror, but death and the random character of life were present wherever he went. The energy of the inhabitants to survive was strong, and he experienced a singular beauty in this raw, tough and vulnerable ordeal of perseverance and adaptation.
Satoshi Tsuchiyama: Heat of sand
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After living for several years in the chaos of influences that is New York, the visual artist Satoshi Tsuchiyama realized that it is Israel that is the world’s hub for contemporary dance. His experiences of working with both dance and Jewish artefacts fused together. Questions arose in his head: Since the political situation has long been unstable in this religiously and culturally rich region, what kind of normal everyday life can be found there? What colours and scents does a country like this retain, and how do the dancers appear and move under the influence of an environment like this? He decided to go there to witness the extraordinary on a daily basis. During his four visits to Israel and Palestine in 2017–19, he wandered in scorching sand and graffiti-filled streets, climbed to the collapsing top floor of the art school. He followed the desires of his eyes. The dancers he met came from all over the world, but they seemed to share the same mood, the same force that oozed out of the ground. And one and the same aura accompanied their bodies in a common direction. He avoided all the areas at high risk of terror, but death and the random character of life were present wherever he went. The energy of the inhabitants to survive was strong, and he experienced a singular beauty in this raw, tough and vulnerable ordeal of perseverance and adaptation.
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books
books
Publication:
September 2022
September 2022
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books
books
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$48.00
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Summary:
The Space Race was an exhilirating moment in history, alternately frighten-ing, thrilling, awe-inspiring, and ultimately, sublime. Its most enigmatic element was the competition. The Soviets seemed less technologically sophisticated (at least from the American perspective) but in fact won many of the races: first satellite to orbit the earth; first man in space; first(...)
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Summary:
The Space Race was an exhilirating moment in history, alternately frighten-ing, thrilling, awe-inspiring, and ultimately, sublime. Its most enigmatic element was the competition. The Soviets seemed less technologically sophisticated (at least from the American perspective) but in fact won many of the races: first satellite to orbit the earth; first man in space; first(...)
Title:
Kosmos: a portrait of the Russian Space Age
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The Space Race was an exhilirating moment in history, alternately frighten-ing, thrilling, awe-inspiring, and ultimately, sublime. Its most enigmatic element was the competition. The Soviets seemed less technologically sophisticated (at least from the American perspective) but in fact won many of the races: first satellite to orbit the earth; first man in space; first unmanned landings on Mars, Venus, and the Moon; first woman in space; most powerful rockets; and, until its recent fiery death, the most long-lived space station to name but a few. The inherent contradictions of the age--the mixture of technologies high and low, of nostalgia and progress, of pathos and promise--are revealed in Kosmos, Adam Bartos's astonishing photographic survey of the Soviet space program. Bartos' fascination with this subject led him to seek out places like the bedroom where Yuri Gagarian slept the night before his history-making flight into space, located in the Baiknour Cosmodrome, the one-time top-secret space complex in the Kazakh desert. Bartos also takes us inside the cockpit of the Merkur space capsule, used to ferry crew members and supplies to the super-secret Almaz orbital space stations, and behind the changing screens cosmonauts used before being fitted for their space suits at Zvezda, the chief manufacturer of Soviet life-support systems. In total, Kosmos presents over 100 of Bartos's photographs, rich with the incongruities of the history, science, culture, and politics of the Space Age.
Kosmos: a portrait of the Russian Space Age
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The Space Race was an exhilirating moment in history, alternately frighten-ing, thrilling, awe-inspiring, and ultimately, sublime. Its most enigmatic element was the competition. The Soviets seemed less technologically sophisticated (at least from the American perspective) but in fact won many of the races: first satellite to orbit the earth; first man in space; first unmanned landings on Mars, Venus, and the Moon; first woman in space; most powerful rockets; and, until its recent fiery death, the most long-lived space station to name but a few. The inherent contradictions of the age--the mixture of technologies high and low, of nostalgia and progress, of pathos and promise--are revealed in Kosmos, Adam Bartos's astonishing photographic survey of the Soviet space program. Bartos' fascination with this subject led him to seek out places like the bedroom where Yuri Gagarian slept the night before his history-making flight into space, located in the Baiknour Cosmodrome, the one-time top-secret space complex in the Kazakh desert. Bartos also takes us inside the cockpit of the Merkur space capsule, used to ferry crew members and supplies to the super-secret Almaz orbital space stations, and behind the changing screens cosmonauts used before being fitted for their space suits at Zvezda, the chief manufacturer of Soviet life-support systems. In total, Kosmos presents over 100 of Bartos's photographs, rich with the incongruities of the history, science, culture, and politics of the Space Age.
Form:
books
books
Publication:
November 2001
November 2001
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$130.00
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Summary:
For five decades, photographer Gianfranco Gorgoni (1941-2019) built his reputation as the premier documentarian of Land Art in the US and beyond. After leaving Italy, Gorgoni started making portraits of the major artists of the New York scene, including Michael Heizer, Robert Smithson, Nancy Holt, Walter De Maria, Carl Andre, and Richard Serra. It was not long before he(...)
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For five decades, photographer Gianfranco Gorgoni (1941-2019) built his reputation as the premier documentarian of Land Art in the US and beyond. After leaving Italy, Gorgoni started making portraits of the major artists of the New York scene, including Michael Heizer, Robert Smithson, Nancy Holt, Walter De Maria, Carl Andre, and Richard Serra. It was not long before he(...)
Title:
Gianfranco Gorgoni: Land Art photographs
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For five decades, photographer Gianfranco Gorgoni (1941-2019) built his reputation as the premier documentarian of Land Art in the US and beyond. After leaving Italy, Gorgoni started making portraits of the major artists of the New York scene, including Michael Heizer, Robert Smithson, Nancy Holt, Walter De Maria, Carl Andre, and Richard Serra. It was not long before he was traveling with Heizer, Smithson, and De Maria to the American West in the late 1960s to plot the works that would famously break art practice out of the confines of the gallery world. In Nevada, New Mexico, and Utah, these artists embarked on major Land Art installations that would redefine contemporary art practice of the era. In many cases, Gorgoni was the only photographer on the ground to document their projects, and his images often serve as the definitive photographic record of the planning and creation of these groundbreaking works. Published to coincide with the first major exhibition of Gorgoni's photographic Land Art images at the Nevada Museum of Art, featuring over fifty of his large-scale photographs, "Gianfranco Gorgoni: Land Art Photographs" includes an introduction by Ann M. Wolfe, Andrea and John C. Deane Family senior curator and deputy director at the Nevada Museum of Art, an essay by the late art historian and critic Germano Celant, whose contribution here is among the last he wrote before his death in 2020, and William L. Fox, the Peter E. Pool Director of the Center for Art + Environment.
Gianfranco Gorgoni: Land Art photographs
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For five decades, photographer Gianfranco Gorgoni (1941-2019) built his reputation as the premier documentarian of Land Art in the US and beyond. After leaving Italy, Gorgoni started making portraits of the major artists of the New York scene, including Michael Heizer, Robert Smithson, Nancy Holt, Walter De Maria, Carl Andre, and Richard Serra. It was not long before he was traveling with Heizer, Smithson, and De Maria to the American West in the late 1960s to plot the works that would famously break art practice out of the confines of the gallery world. In Nevada, New Mexico, and Utah, these artists embarked on major Land Art installations that would redefine contemporary art practice of the era. In many cases, Gorgoni was the only photographer on the ground to document their projects, and his images often serve as the definitive photographic record of the planning and creation of these groundbreaking works. Published to coincide with the first major exhibition of Gorgoni's photographic Land Art images at the Nevada Museum of Art, featuring over fifty of his large-scale photographs, "Gianfranco Gorgoni: Land Art Photographs" includes an introduction by Ann M. Wolfe, Andrea and John C. Deane Family senior curator and deputy director at the Nevada Museum of Art, an essay by the late art historian and critic Germano Celant, whose contribution here is among the last he wrote before his death in 2020, and William L. Fox, the Peter E. Pool Director of the Center for Art + Environment.
Form:
books
books
Publication:
August 2021
August 2021
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
On European ground
On European ground
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A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's "On European Ground" considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can (...)
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A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's "On European Ground" considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can (...)
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On European ground
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A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's "On European Ground" considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can still observe in them today. By walking these sites and photographing the very ground in which their history has dissolved, Cohen opens a space for reflection on their complex gravity and legacy. Cohen's images achieve a solemn beauty even as they engage history at its most topical. Pictures of trenches and bunkers at the battlefields of Somme and Verdun explore the tension between the violence of the past and the inscrutability of its remnants. Photographs from the grounds of Dachau and Auschwitz solicit a provocative dialogue between the ordinariness of these sites today and their haunting memory. They teach us, as the New Art Examiner notes, "that the living perceptual connection to the Holocaust is vanishing." Images of the Berlin Wall show only the footprint of the barricade that once separated two hostile ideologies. They record the physical erosion and looming disappearance of the Wall while capturing its reappearance as a memorialized abstraction. Accompanying the photographs in On European Ground are essays by Sander Gilman and Jonathan Bordo, as well as an interview with Cohen by critic Roberta Smith of the New York Times. The essays present both an introduction to and aesthetic analysis of Cohen's work, while the interview discusses the intractable problems of history and memory that his photographs so uniquely capture.
On European ground
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A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's "On European Ground" considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can still observe in them today. By walking these sites and photographing the very ground in which their history has dissolved, Cohen opens a space for reflection on their complex gravity and legacy. Cohen's images achieve a solemn beauty even as they engage history at its most topical. Pictures of trenches and bunkers at the battlefields of Somme and Verdun explore the tension between the violence of the past and the inscrutability of its remnants. Photographs from the grounds of Dachau and Auschwitz solicit a provocative dialogue between the ordinariness of these sites today and their haunting memory. They teach us, as the New Art Examiner notes, "that the living perceptual connection to the Holocaust is vanishing." Images of the Berlin Wall show only the footprint of the barricade that once separated two hostile ideologies. They record the physical erosion and looming disappearance of the Wall while capturing its reappearance as a memorialized abstraction. Accompanying the photographs in On European Ground are essays by Sander Gilman and Jonathan Bordo, as well as an interview with Cohen by critic Roberta Smith of the New York Times. The essays present both an introduction to and aesthetic analysis of Cohen's work, while the interview discusses the intractable problems of history and memory that his photographs so uniquely capture.
Form:
books
books
Publication:
April 2001, Chicago
April 2001, Chicago
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books
books
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$42.00
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Born in Estonia 1901 and brought to America in 1906, the architect Louis Kahn grew up in poverty in Philadelphia. By the time of his mysterious death in 1974, he was widely recognized as one of the greatest architects of his era. Yet this enormous reputation was based on only a handful of masterpieces, all built during the last fifteen years of his life. Wendy Lesser’s(...)
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Born in Estonia 1901 and brought to America in 1906, the architect Louis Kahn grew up in poverty in Philadelphia. By the time of his mysterious death in 1974, he was widely recognized as one of the greatest architects of his era. Yet this enormous reputation was based on only a handful of masterpieces, all built during the last fifteen years of his life. Wendy Lesser’s(...)
Title:
You say to brick: the life of Louis Kahn
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Born in Estonia 1901 and brought to America in 1906, the architect Louis Kahn grew up in poverty in Philadelphia. By the time of his mysterious death in 1974, he was widely recognized as one of the greatest architects of his era. Yet this enormous reputation was based on only a handful of masterpieces, all built during the last fifteen years of his life. Wendy Lesser’s You Say to Brick: The Life of Louis Kahn is a major exploration of the architect’s life and work. Kahn, perhaps more than any other twentieth-century American architect, was a “public” architect. Rather than focusing on corporate commissions, he devoted himself to designing research facilities, government centers, museums, libraries, and other structures that would serve the public good. But this warm, captivating person, beloved by students and admired by colleagues, was also a secretive man hiding under a series of masks. Kahn himself, however, is not the only complex subject that comes vividly to life in these pages. His signature achievements—like the Salk Institute in La Jolla, the National Assembly Building of Bangladesh, and the Indian Institute of Management in Ahmedabad—can at first seem as enigmatic and beguiling as the man who designed them. In attempts to describe these structures, we are often forced to speak in contradictions and paradoxes: structures that seem at once unmistakably modern and ancient; enormous built spaces that offer a sense of intimate containment; designs in which light itself seems tangible, a raw material as tactile as travertine or Kahn’s beloved concrete.
You say to brick: the life of Louis Kahn
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Born in Estonia 1901 and brought to America in 1906, the architect Louis Kahn grew up in poverty in Philadelphia. By the time of his mysterious death in 1974, he was widely recognized as one of the greatest architects of his era. Yet this enormous reputation was based on only a handful of masterpieces, all built during the last fifteen years of his life. Wendy Lesser’s You Say to Brick: The Life of Louis Kahn is a major exploration of the architect’s life and work. Kahn, perhaps more than any other twentieth-century American architect, was a “public” architect. Rather than focusing on corporate commissions, he devoted himself to designing research facilities, government centers, museums, libraries, and other structures that would serve the public good. But this warm, captivating person, beloved by students and admired by colleagues, was also a secretive man hiding under a series of masks. Kahn himself, however, is not the only complex subject that comes vividly to life in these pages. His signature achievements—like the Salk Institute in La Jolla, the National Assembly Building of Bangladesh, and the Indian Institute of Management in Ahmedabad—can at first seem as enigmatic and beguiling as the man who designed them. In attempts to describe these structures, we are often forced to speak in contradictions and paradoxes: structures that seem at once unmistakably modern and ancient; enormous built spaces that offer a sense of intimate containment; designs in which light itself seems tangible, a raw material as tactile as travertine or Kahn’s beloved concrete.
Form:
books
books
Publication:
March 2017
March 2017
Subject:
Architecture Monographs
Architecture Monographs
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books
books
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"Sleeping by the Mississippi" by Alec Soth is one of the defining publications in the photobook era. First published by Steidl in 2004, it was Soth’s first book, sold through three editions, and established him as one of the leading lights of contemporary photographic practice. This MACK edition launches to coincide with the first exhibition in London dedicated to the(...)
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"Sleeping by the Mississippi" by Alec Soth is one of the defining publications in the photobook era. First published by Steidl in 2004, it was Soth’s first book, sold through three editions, and established him as one of the leading lights of contemporary photographic practice. This MACK edition launches to coincide with the first exhibition in London dedicated to the(...)
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Alec Soth : sleeping by the Mississippi
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"Sleeping by the Mississippi" by Alec Soth is one of the defining publications in the photobook era. First published by Steidl in 2004, it was Soth’s first book, sold through three editions, and established him as one of the leading lights of contemporary photographic practice. This MACK edition launches to coincide with the first exhibition in London dedicated to the series at Beetles+Huxley gallery, and includes two new photographs that were not included in the previous versions of the book. Evolving from a series of road trips along the Mississippi River, "Sleeping by the Mississippi" captures America’s iconic yet oft-neglected ‘third coast’. Soth’s richly descriptive, large-format colour photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. ‘In the book’s 46 ruthlessly edited pictures’, writes Anne Wilkes Tucker in the original essay published in the book, ‘Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex.’ Like Robert Frank’s classic "The Americans", "Sleeping by the Mississippi" merges a documentary style with poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust. Thirteen years since the book was first published, the artist’s lyrical view has undoubtedly acquired a nuanced significance – one in which hope, fear, desire and regret coalesce in the evocative journey along this mythic river.
Alec Soth : sleeping by the Mississippi
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"Sleeping by the Mississippi" by Alec Soth is one of the defining publications in the photobook era. First published by Steidl in 2004, it was Soth’s first book, sold through three editions, and established him as one of the leading lights of contemporary photographic practice. This MACK edition launches to coincide with the first exhibition in London dedicated to the series at Beetles+Huxley gallery, and includes two new photographs that were not included in the previous versions of the book. Evolving from a series of road trips along the Mississippi River, "Sleeping by the Mississippi" captures America’s iconic yet oft-neglected ‘third coast’. Soth’s richly descriptive, large-format colour photographs present an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, Sleeping by the Mississippi elicits a consistent mood of loneliness, longing, and reverie. ‘In the book’s 46 ruthlessly edited pictures’, writes Anne Wilkes Tucker in the original essay published in the book, ‘Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex.’ Like Robert Frank’s classic "The Americans", "Sleeping by the Mississippi" merges a documentary style with poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust. Thirteen years since the book was first published, the artist’s lyrical view has undoubtedly acquired a nuanced significance – one in which hope, fear, desire and regret coalesce in the evocative journey along this mythic river.
Form:
books
books
Publication:
September 2017
September 2017
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$17.00
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Written in his characteristic "mesostics" (linked lines of prose poetry), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: Indeterminacy, nonunderstanding, inconsistency, imitation, variable structure, contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes(...)
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Written in his characteristic "mesostics" (linked lines of prose poetry), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: Indeterminacy, nonunderstanding, inconsistency, imitation, variable structure, contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes(...)
Title:
John Cage composition in retrospect
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Written in his characteristic "mesostics" (linked lines of prose poetry), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: Indeterminacy, nonunderstanding, inconsistency, imitation, variable structure, contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes the documentation of Cage's thought that began with his classic book Silence (1961), but it is an introduction and invitation to his work as much as a summary or conclusion. Also included in this volume (at Cage's request) is "Themes and Variations," a piece written in 1982 about friends and heroes such as Jasper Johns, Buckminster Fuller, Marcel Duchamp and Erik Satie. Together these pieces form a book that is both a testament to the artists Cage admired and a clear statement of his own ars poetica. John Cage (1912-1992) was an American composer, writer, artist and mycologist. Having studied with Arnold Schonberg (who proclaimed him "not a composer, but an inventor-of genius") and Henry Cowell in the 30s, Cage went on to devise landmark compositions for percussion and prepared piano before making his hugely influential work 4'33" (1952). Later works privileged composition by chance procedure--"imitating Nature in the manner of her operation"--and the use of ambient noise, electronics and tape manipulation. Cage's influence can be seen in the works of countless composers (especially the New York School "group" of Morton Feldman, Christian Wolff and Earle Brown), artists (such as those affiliated with Fluxus) and writers.
John Cage composition in retrospect
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Summary:
Written in his characteristic "mesostics" (linked lines of prose poetry), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: Indeterminacy, nonunderstanding, inconsistency, imitation, variable structure, contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes the documentation of Cage's thought that began with his classic book Silence (1961), but it is an introduction and invitation to his work as much as a summary or conclusion. Also included in this volume (at Cage's request) is "Themes and Variations," a piece written in 1982 about friends and heroes such as Jasper Johns, Buckminster Fuller, Marcel Duchamp and Erik Satie. Together these pieces form a book that is both a testament to the artists Cage admired and a clear statement of his own ars poetica. John Cage (1912-1992) was an American composer, writer, artist and mycologist. Having studied with Arnold Schonberg (who proclaimed him "not a composer, but an inventor-of genius") and Henry Cowell in the 30s, Cage went on to devise landmark compositions for percussion and prepared piano before making his hugely influential work 4'33" (1952). Later works privileged composition by chance procedure--"imitating Nature in the manner of her operation"--and the use of ambient noise, electronics and tape manipulation. Cage's influence can be seen in the works of countless composers (especially the New York School "group" of Morton Feldman, Christian Wolff and Earle Brown), artists (such as those affiliated with Fluxus) and writers.
Form:
books
books
Publication:
June 2008, Cambridge
June 2008, Cambridge
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
Form:
books
books
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$72.95
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Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains(...)
$72.95
(available to order)
Summary:
Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains(...)
Title:
The universe in the landscape: landforms by Charles Jencks
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Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains his particular approach to the landform. Like the prehistoric earthworks of Britain that have been an inspiration, such as Stonehenge, his landforms contain cosmic symbolism, and they draw together sculpture, epigraphy, water, gardens, scrap metal and architecture. They address perennial themes - identity, patterns of nature, death and the power of life - but in a contemporary way, based on the insights of science. So Jencks portrays universal aspects of DNA, the spacetime warp of a black hole, the extraordinary way cells divide and unite and some basic forms of life. In this publication Jencks seeks to define a new landscape iconography based on forms and themes that may be eternal, in the sense that they crystallise nature's laws, some of which have been recently discovered. To see a world in a grain of sand was a poetic quest of William Blake and, in a different sense, to find the universe in a ritual landscape was a goal of prehistoric cultures. Jencks allies these spiritual affinities with the view of science that stresses the common patterns that underlie all parts of the cosmos, thus making them like our home planet, and the universe in a landscape.
The universe in the landscape: landforms by Charles Jencks
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Price:
$72.95
(available to order)
Summary:
Landforms are a fast-developing art form that enjoy a wide following today, because of their multiple uses and their enveloping beauty. As formal landscapes that often arise from necessity - recycling a coal site for human use or making new use of excess earth - they are a pleasure to walk over and through. In this collection of his recent work, Charles Jencks explains his particular approach to the landform. Like the prehistoric earthworks of Britain that have been an inspiration, such as Stonehenge, his landforms contain cosmic symbolism, and they draw together sculpture, epigraphy, water, gardens, scrap metal and architecture. They address perennial themes - identity, patterns of nature, death and the power of life - but in a contemporary way, based on the insights of science. So Jencks portrays universal aspects of DNA, the spacetime warp of a black hole, the extraordinary way cells divide and unite and some basic forms of life. In this publication Jencks seeks to define a new landscape iconography based on forms and themes that may be eternal, in the sense that they crystallise nature's laws, some of which have been recently discovered. To see a world in a grain of sand was a poetic quest of William Blake and, in a different sense, to find the universe in a ritual landscape was a goal of prehistoric cultures. Jencks allies these spiritual affinities with the view of science that stresses the common patterns that underlie all parts of the cosmos, thus making them like our home planet, and the universe in a landscape.
Form:
books
books
Publication:
June 2011
June 2011
Subject:
Landscape Architecture, Monographs
Landscape Architecture, Monographs
