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These works are by one of the most innovative of young German artists, who is an expert in fine art printmaking, a sculptor, and designer of artist-made books. His work explores the limits of philosophy and science by asking questions about personal identity and the matter of the mind, and how we artificially can affect them. There are also essays about the artist and his work.
This exciting new book showcases the work of a very diverse selectionof 52 artists from 28 countries, against a spectrum of the concernsthat inform the role and function of art in the increasinglytechnological global society. The mediums used by these artists rangefrom new variations on traditional intaglio and relief techniques, toextreme forms of digital techniques, including time-based forms such asfilm and multi-media presentation. Printmaking continues to evolve asartists develop the traditionaltechniques and experiment with new techniques and materials. In recentyears the boundaries between the once distinct fields of the visualarts have become blurred, and growing numbers of artists nowincorporate printmaking techniques within their practice. This bookprovides a broad-ranging and challenging source of information on themost exciting cutting edge developments in international printmaking,which will be of value to students, professional artists and all thosewith an interest in the contemporary visual arts
New York City was the site of a remarkable cultural and artistic renaissance during the 1950s and '60s. In the first monograph to treat all five major poets of the New York School-John Ashbery, Barbara Guest, Kenneth Koch, Frank O'Hara, and James Schuyler-Mark Silverberg examines this rich period of cross-fertilization between the arts. Silverberg uses the term 'neo-avant-garde' to describe New York School Poetry, Pop Art, Conceptual Art, Happenings, and other movements intended to revive and revise the achievements of the historical avant-garde, while remaining keenly aware of the new problems facing avant-gardists in the age of late capitalism. Silverberg highlights the family resemblances among the New York School poets, identifying the aesthetic concerns and ideological assumptions they shared with one another and with artists from the visual and performing arts. A unique feature of the book is Silverberg's annotated catalogue of collaborative works by the five poets and other artists. To comprehend the coherence of the New York School, Silverberg demonstrates, one must understand their shared commitment to a reconceptualized idea of the avant-garde specific to the United States in the 1950s and '60s, when the adversary culture of the Beats was being appropriated and repackaged as popular culture. Silverberg's detailed analysis of the strategies the New York School poets used to confront the problem of appropriation tells us much about the politics of taste and gender during the period, and suggests new ways of understanding succeeding generations of artists and poets.
The poems in this book record the experiences of the poet and her family through the Mediterranean summer while she held the Katherine Mansfield Fellowship in Menton, France. The book begins, however, with a powerfully moving group of poems from the previous summer--the summer that wouldn't go--when Bornholdt's father lay dying.
More information to be announced soon on this forthcoming title from Penguin USA
A very personal map of New Zealand--from Waiheke Island to Dunedin via the Waihi Beach Dump and Wellington's storm sewers--is laid out in this collection of poems whose emotional territory is as vast as it is geographical. Images of busy intersections, rambling sideshows, and towering cathedrals provide an exhilarating sense of commuter traffic--by road, rail, or air--between known and unknown worlds.