The Mystery of Economic Growth (OISC)
The Mystery of Economic Growth (OISC)...
From a Broken Bottle Traces of Perfume Still Emanate: Volumes 1-3
From a Broken Bottle Traces of Perfume Still Emanate: Volumes 1-3 collects the first three installments - Bedouin Hornbook, Djbot Baghostus's Run, and Atet A.D. - of Nathaniel Mackey's genre-defying work of fiction. A project that began over thirty years ago, From a Broken Bottle is an epistolary novel that unfolds through N.'s intricate letters to the mysterious Angel of Dust. Unexpected, profound happenings take place as N. delves into music and art and the goings-on of his transmorphic Los Angeles-based jazz ensemble, in which he is a composer and instrumentalist. This triple-set book opens in July 1978 with a dream of a haunting Archie Shepp solo, and closes in September 1982 in a parallactic studio recording session on a glass-bottomed boat borne aloft by the music. The fourth volume of Mackey's novel, Bass Cathedral - also available from New Directions - was chosen by The New York Times as one of 100 Notable Books of 2008. But that it didn't end there......
The Architecture of Historic Hungary
The Architecture of Historic Hungary...
Chronophobia – On Time in the Art of the 1960s
Chronophobia – On Time in the Art of the 1960s...
Fastnet Force 10 Rei (Paper Only)
Fastnet Force 10 Rei (Paper Only)...
The Odd One In – On Comedy
The Odd One In – On Comedy...
Adrienne Rich's Poetry and Prose
In both poetry and prose, the editors have chosen selections intended to give readers a clear sense of Rich's evolution and accomplishment. Many of the poems in this expanded collection are from Rich's five recent volumes - The Dream of a Common Language (1978), A Wild Patience Has Taken Me This Far (1981), Your Native Land, Your Life (1986), Time's Power: Poems 1985-1988 (1989), and An Atlas of the Difficult World (1991). Prose selections include "When We Dead Awaken: Writing as Re-Vision," Rich's canonical statement on feminism; "Compulsory Heterosexuality and Lesbian Existence," on being a lesbian in a heterosexual world; Rich's interview for American Poetry Review, which presents a full and frank discussion of her work; and her previously unpublished commentary on the genesis of the poem "Yom Kippur 1984." The editors have also taken into account the many essays on Rich and reviews of her work that have been published since 1975. Some earlier biographical selections have been replaced with works that focus on the quality of Rich's writing and her place in twentieth-century American literature - not just as a poet, but as a woman, a lesbian, and a mother. Criticism includes thirteen reviews and interpretations of Rich's work by W. H. Auden, John Ashbery, Margaret Atwood, Helen Vendler, Judith McDaniel, Adrian Oktenberg, Charles Altieri, and Joanna Feit Diehl, among others. A second recent study by Albert Gelpi traces the events in Rich's life from which her work evolves. An updated Chronology and Selected Bibliography, as well as an expanded Index, are included....
Catalogue of Byzantine Seals at Dumbarton Oaks and in the Fogg Museum of Art: Volume 6: Emperors, Patriarchs of Constantinople, Addenda
The combined Dumbarton Oaks and Fogg collection of Byzantine seals is one of the largest in the world, containing 17,000 specimens. Volume 6 in the catalogue presents the seals of emperors and patriarchs of Constantinople. Imperial seals are presented in conjunction with a representative coin of the appropriate emperor or empress to help the reader compare the iconography. Also included are select seals from patriarchs of Constantinople. More than 250 seals are illustrated and accompanied—where appropriate—by a full commentary regarding each specimen's date, biographical information on its owner, peculiarities of orthography, and iconographic features. These seals contribute significantly to historical geography, the evolution of the Byzantine imperial administration, development in the Greek language, and decorative vogues....
The Strangeness of Beauty
The Strangeness of Beauty...
Cuts: Texts 1959-2004 Уцененный товар (№1)
Just as Carl Andre's sculptures are "cuts" of elemental materials, his writings are condensed expressions, "cuts" of language that emphasize the part rather than the whole. Andre, a central figure in minimalism and one of the most influential sculptors of our time, does not produce the usual critical essay. He has said that he is "not a writer of prose," and the texts included in Cuts - the most comprehensive collection of his writings yet published - appear in a wide variety of forms that are pithy and poetic rather than prosaic. Some texts are statements, many of them fifty words or less, written for catalog entries and press releases. Others are Socratic dialogues, interwoven statements, or in the form of questionnaires and interviews. Still others are letters - public and private, lengthy missives and postcards. Some are epigrams and maxims (for example, on Damian Hirst: I DON'T FEAR HIS SHARK. I FEAR HIS FORMALDEHYDE) and some are planar poems, words and letters arranged and rearranged into different patterns. They are organized alphabetically by subject, under such entries as "Art and Capitalism," "Childhood," "Entropy (After Smithson)," "Matter," "My Work," "Other Artists," and "Poetry," and they include Andre's reflections on Michelangelo and Duchamp, on Stein and Marx, and such contemporaries as Eva Hesse, Robert Smithson, Robert Morris, and Damien Hirst.
Carl Andre's writing and its materiality - its stress on the visual and tactile qualities of language - takes its place beside his sculpture and its materiality, its revelation of "matter as matter rather than matter as symbol." Both assert the ethical and political primacy of matter in a culture that prizes the replica, the insubstantial, and the virtual. "I am not an idealist as an artist," says Andre. "I try to discover my visions in the conditions of the world. It's the conditions which are important."...