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We are all fascinated by the mystery of metamorphosis – of the caterpillar that transforms itself into a butterfly. Their bodies have almost nothing in common. They don’t share the same world: one crawls on the ground and the other flutters its wings in the air. And yet they are one and the same life. Emanuele Coccia argues that metamorphosis – the phenomenon that allows the same life to subsist in disparate bodies – is the relationship that binds all species together and unites the living with the non-living. Bacteria, viruses, fungi, plants, animals: they are all one and the same life. Each species, including the human species, is the metamorphosis of all those that preceded it – the same life, cobbling together a new body and a new form in order to exist differently. And there is no opposition between the living and the non-living: life is always the reincarnation of the non-living, a carnival of the telluric substance of a planet – the Earth – that continually draws new faces and new ways of being out of even the smallest particle of its disparate body. By highlighting what joins humans together with other forms of life, Coccia’s brilliant reflection on metamorphosis encourages us to abandon our view of the human species as static and independent and to recognize instead that we are part of a much larger and interconnected form of life.
This book is significant for its concept of "openness"--the artist's decision to leave arrangements of some constituents of a work to the public or to chance--and for its anticipation of two themes of literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interaction between reader and text.
The Power Lecture in Contemporary Art is delivered annually throughout Australia ... The present volume contains the first six lectures, given between 1968 and 1973.
This classic work discusses representations in Egyptian painting, sculpture and reliefs, assessing how objects and figures are represented in two dimensions, introducing the idea of "conceptual" and "perceptual" art. Translated from the German by John Baines, who has revised the text and illustrations to take account of recent research.
The Dictionary of English Furniture by Ralph Edwards (1954 Revised Edition) is the most authoritative general work on English antique furniture ever published. The first edition of this work was published 1924-27. It was instantly recognised as the primar
"First published in 1973, this book quickly became an indispensable short history of Canadian painting and was reprinted many times. For this Second Edition the text has been revised to incorporate new information--and, in some places, new interpretations--and expanded. The First Edition studied Canadian painting to 1965, masterfully combining visual description, anecdotes, and aesthetic evaluation with full accounts of the careers of most of the leading painters, beginning in the French colonial period. This Second Edition covers painting to 1980. A long final chapter treats a crucial fifteen years when there developed in Canada a tremendous interest in other art forms and apparent falling off of interest in painting. In fact the cry was heard--throughout the western world--that painting was dead. It turned out, however, that this was far from true. Dennis Reid discusses the work of established artists who produced steadily in this period--including Jack Bush, Jack Chambers, Greg Curnoe, Gershon Iskowitz, John Meredith, Guido Molinari, Jack Shadbolt, and Claude Tousignant--as well as new arrivals on the scene who have since joined the ranks of leading Canadian artists. Among the more recent painters discussed are David Bolduc, John Boyle, David Craven, Paterson Ewen, Ivan Eyre, Yves Gaucher, John Hall, Ron Martin, Michale Morris, Norval Morrisseau, Christopher Pratt, Shirley Wiitasalo, and Tim Zuck. Enriched by this overview, and by many additions to the original text, A Concise History of Canadian Painting in its Second Edition is the widest-ranging and most authoritative handbook available. Lucid, interesting, and informative, it is still a pleasure to read from first to last." -- Back cover
Carla Sozzani opened Galleria Carla Sozzani in September 1990 as a space for art, photography, and design housed in a converted garage at 10 Corso Como in Milan. Along with American artist Kris Ruhs, Sozzani created a space like no other. Rejecting ordinary retail norms, this concept store has always promoted a different philosophy—that of slow shopping, a succession of spaces and events that prioritize lifestyle over object acquisition. In this book, Sozzani describes her world: her style, personal taste, and opinions on fashion, travel, design, and lifestyle. The Galleria now incorporates a bookshop, a fashion and design store, and a garden café, and it is one of Milan’s hippest and most exquisitely curated spaces—a destination in itself. 10 Corso Como has become the nexus of a global network of cultural exchange through fashion, food, art, and photography that continues to inspire fashion and design. In recent years, two additional locations have been added: 10 Corso Como–Comme des Garçons in Tokyo in 2002 and a Seoul branch in 2008.