The Art Of Distances

In The Art of Distances, Corina Stan identifies an insistent preoccupation with interpersonal distance in a strand of twentieth-century European and Anglophone literature that includes the work of George Orwell, Paul Morand, Elias Canetti, Iris Murdoch, Walter Benjamin, Annie Ernaux, Günter Grass, and Damon Galgut. Specifically, Stan shows that these authors all engage in philosophical meditations, in the realm of literary writing, on the ethical question of how to live with others and how to find an ideal interpersonal distance at historical moments when there are no obviously agreed-upon social norms for ethical behavior. Bringing these authors into dialogue with philosophers such as Michel de Montaigne, Ralph Waldo Emerson, Friedrich Nietzsche, Sigmund Freud, Helmuth Plessner, Martin Heidegger, Jean-Luc Nancy, Emmanuel Levinas, Peter Sloterdijk, Guillaume le Blanc, and Pierre Zaoui, Stan shows how the question of the right interpersonal distance became a fundamental one for the literary authors under consideration and explores what forms and genres they proposed in order to convey the complexity of this question. Albeit unknowingly, she suggests, they are engaged in fleshing out what Roland Barthes called “a science, or perhaps an art, of distances.”

The theory and practice of networked art and activism, including mail art, sound art, telematic art, fax art, Fluxus, and assemblings. Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance--geographical, temporal, or emotional--theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s. By providing a context for this work--showing that it was shaped by varying mixes of social relations, cultural strategies, and political and aesthetic concerns-- At a Distance effectively refutes the widely accepted idea that networked art is technologically determined. Doing so, it provides the historical grounding needed for a more complete understanding of today's practices of Internet art and activism and suggests the possibilities inherent in networked practice. At a Distance traces the history and theory of such experimental art projects as Mail Art, sound and radio art, telematic art, assemblings, and Fluxus. Although the projects differed, a conceptual questioning of the "art object," combined with a political undermining of dominant art institutional practices, animated most distance art. After a section that sets this work in historical and critical perspective, the book presents artists and others involved in this art "re-viewing" their work--including experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive book construction. Finally, the book recasts the history of networks from the perspectives of politics, aesthetics, economics, and cross-cultural analysis.

These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance architecture. The largest group of essays, dealing with the character of Renaissance architecture, are models of art historical scholarship in their direct approach to identifying the essentials of a building and the social and intellectual context in which they should be viewed. Another group of essays explores encounters between the traditions of artistic practice and early optics and color theory. The three essays that begin this collection bring to light the intellectual and moral concerns that underlie all of Ackerman's art historical work.

Beloved children's entertainer Emily Arrow's first picture book, perfect for (little) makers everywhere: a story about finding a space to create! A young bunny makes the rounds of a studio building, taking in all the different artists in their habitats. Making, thinking, sharing, performing . . . but can our bunny find the perfect space to let imagination shine? In this charming ode to creativity, noted children's singer and entertainer Emily Arrow introduces readers to the concept of the studio: a place for painters, dancers, singers, actors, sculptors, printmakers . . . and you! Whether it's a purpose-made space with big windows, a room filled with equipment, or the corner of a bedroom, your studio can be anywhere--you just have to find it!

The illustrated contents include detailed chapters on: Male and Female Strains - Inbreeding - Starting a Strain - The Male Strain - The Producer Hen - Pedigree Breeding - Egg Perfection - The Female Line - Art of Selection - Eye Sign - Champions - Pedigrees etc. Originally published early 1900s. Many of the earliest livestock books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing many of these classic works in affordable, high quality, modern editions, using the original text and artwork.

Maps poised at the intersection of art, architecture, activism, and geography trace a profound shift in our understanding and experience of space. The maps in this book are drawn with satellites, assembled with pixels radioed from outer space, and constructed from statistics; they record situations of intense conflict and express fundamental transformations in our ways of seeing and of experiencing space. These maps are built with Global Positioning Systems (GPS), remote sensing satellites, or Geographic Information Systems (GIS): digital spatial hardware and software designed for such military and governmental uses as reconnaissance, secrecy, monitoring, ballistics, the census, and national security. Rather than shying away from the politics and complexities of their intended uses, in Close Up at a Distance Laura Kurgan attempts to illuminate them. Poised at the intersection of art, architecture, activism, and geography, her analysis uncovers the implicit biases of the new views, the means of recording information they present, and the new spaces they have opened up. Her presentation of these maps reclaims, repurposes, and discovers new and even inadvertent uses for them, including documentary, memorial, preservation, interpretation, political, or simply aesthetic. GPS has been available to both civilians and the military since 1991; the World Wide Web democratized the distribution of data in 1992; Google Earth has captured global bird's-eye views since 2005. Technology has brought about a revolutionary shift in our ability to navigate, inhabit, and define the spatial realm. The traces of interactions, both physical and virtual, charted by the maps in Close Up at a Distance define this shift.

A story about the French painter Claude Monet. Monet noticed that in nature colors, shapes, and shadows are not always the same but change constantly as the sun moves across the sky and shines more or less brightly. Monet tried to show the effects of sunlight in his paintings. He and other artists who did this became known as Impressionists. Seen from a Distance looks at some paintings by Monet and shows the methods he used to create beautiful impressions of nature's ever-changing colors. Contains biographical information about the artist at the end of story.

After his studies at the arts academies in Berlin and Düsseldorf, Ull Hohn (1960-1995) moved to New York to attend the Whitney Independent Study Program in 1987. Engaging with current theoretical debates and cultural issues, his work from the late 1980s and early 1990s frequently invokes questions of gender and homosexuality, as well as their representation. It interrogates the history of painting, traditional notions of virtuosity, the conventions of value and taste inherent to education, and the distinction between high and popular culture. Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s. Published in collaboration with Galerie Neu and the Estate of Ull Hohn Contributors Tom Burr, Thomas Eggerer, Manfred Hermes, Hannes Loichinger, Fionn Meade, Magnus Schaefer, Megan Francis Sullivan, Lanka Tattersall, Alexis Vaillant