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Here is Nicholson Baker at his obsessive-compulsive best, with humour and observation to die for, but with underlying truths and sadness about the ephemerality of life, the joy of small things, the darkness which is just the other side of everyday life - all human life in a box of matches. This book gets at the real meaning of 'the examined life', and it's unmistakably serious, but also side-splittingly funny. 'It is 4.32 am...' most chapters start similarly...A man gets up earlier and earlier each day, dresses in the dark, makes his coffee and lights the fire with a box of matches, also in the dark, feeling his way around, through his silent house, where wife and children sleep, and then rummages through the thoughts which crowd his head and preoccupy him. Meanwhile outside, there's snow on the ground, Greta the duck is asleep in her dog kennel with a rug thrown over it, but that doesn't stop her bowl of water freezing each night. This is mid-life man, domesticated but still an alien creature, whose thoughts veer brilliantly from love and marriage, to firelighters and suicide, from peeing in the dark to ant-farms in the twinkling of an eye. This is virtuoso writing, idiosyncratic, brilliant, funny and touching. Nicholson Baker back on MEZZANINE form for a new generation of readers.

Presenting work from every stage of the versatile artist’s career, this book is the first to focus solely on Max Beckmann’s still lifes. In his still lifes, Max Beckmann juxtaposed vitality with death, permanence with ephemerality. Featuring nearly eighty paintings and watercolors, this volume covers a half-century of the artist's forays into the genre. The still life runs like a golden thread through every stage of his creative life. Images of skulls, dying flowers and extinguished candles populate these masterful works, which draw on the tradition of the Old Masters. At the same time, Beckmann's still lifes are a celebration of color and form, materiality and textures. Skillfully Beckmann plays with various levels of reality and with the inclusion of figures, landscapes or self-portraits into his still lifes he creates fascinating overlaps with other genres. The beautifully reproduced works are luminous on the page, allowing readers to appreciate Beckmann's use of iridescent color and bold lines. Together they provide a unique perspective on Beckmann's development as an artist, as well as a rich exploration into a lesser known aspect of the modern master's oeuvre.

During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.Among the magazines Allen examines are Aspen (1965--1971), a multimedia magazine in a box -- issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

Leading historians of the media arts define a new materialist media art history, discussing temporality, geography, ephemerality, and the future.In Relive, leading historians of the media arts grapple with this dilemma: how can we speak of “new media” and at the same time write the histories of these arts? These scholars and practitioners redefine the nature of the field, focusing on the materials of history―the materials through which the past is mediated. Drawing on the tools of media archaeology and the history and philosophy of media, they propose a new materialist media art history. The contributors consider the idea of history and the artwork's moment in time; the intersection of geography and history in regional practice, illustrated by examples from eastern Europe, Australia, and New Zealand; the contradictory scales of evolution, life cycles, and bodily rhythms in bio art; and the history of the future―how the future has been imagined, planned for, and established as a vector throughout the history of new media arts. These essays, written from widely diverse critical perspectives, capture a dynamic field at a moment of productive ferment.ContributorsSusan Ballard, Brogan Bunt, Andrés Burbano, Jon Cates, John Conomos, Martin Constable, Sean Cubitt, Francesca Franco, Darko Fritz, Zhang Ga, Monika Gorska-Olesinska, Ross Harley, Jens Hauser, Stephen Jones, Douglas Kahn, Ryszard W. Kluszczynski, Caroline Seck Langill, Leon Marvell, Rudy Rucker, Edward A. Shanken, Stelarc, Adele Tan, Paul Thomas, Darren Tofts, Joanna Walewska

Featuring work by 23 international artists including Bas Jan Ader, Tacita Dean, Felix Gonzalez-Torres, Rodney Graham, Louise Lawler, Yoko Ono and Frances Stark, this illustrated reader takes on romantic motifs (desire, melancholia) and methods (fragmentation, ephemerality, process) in Conceptualism, thwarting the conventional opposition between romantic inwardness and conceptual rationalism.

Japanese House ReinventedJapanese houses today have to contend with unique factors that condition their design, from tiny plots in crowded urban contexts to ever-present seismic threats. These challenges encourage their architects to explore alternating ideas of stability and ephemerality in various ways, resulting in spaces that are as fascinating as they are idiosyncratic. Their formal innovation and attention to materials, technology and measures to coax in light and air while maintaining domestic privacy make them cutting-edge residences that suggest new ways of being at home. Contemporary Japanese architecture has emerged as a substantial force on the international scene ever since Kenzo Tange won the Pritzker Prize in 1987. This overview of 50 recent houses powerfully demonstrates Japan's enduring commitment to design innovation.

Interdisciplinary and global in scope, Performing Archives/Archives of Performance investigates the relationship between live performance and recordings, bringing new—and productive—tensions between permanence and ephemerality into relief. Advancing theoretical understandings and analyzing specific artworks, performances, and archives, the contributors formulate new ways of understanding history, memory, enactment, and intervention, offering major contributions to ongoing critical discussions on performance and its disappearance and reproduction. 

How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system.During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box―issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system.During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box―issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

Presenting work from every stage of the versatile artist’s career, this book is the first to focus solely on Max Beckmann’s still lifes. In his still lifes, Max Beckmann juxtaposed vitality with death, permanence with ephemerality. Featuring nearly eighty paintings and watercolors, this volume covers a half-century of the artist's forays into the genre. The still life runs like a golden thread through every stage of his creative life. Images of skulls, dying flowers and extinguished candles populate these masterful works, which draw on the tradition of the Old Masters. At the same time, Beckmann's still lifes are a celebration of color and form, materiality and textures. Skillfully Beckmann plays with various levels of reality and with the inclusion of figures, landscapes or self-portraits into his still lifes he creates fascinating overlaps with other genres. The beautifully reproduced works are luminous on the page, allowing readers to appreciate Beckmann's use of iridescent color and bold lines. Together they provide a unique perspective on Beckmann's development as an artist, as well as a rich exploration into a lesser known aspect of the modern master's oeuvre.

During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.Among the magazines Allen examines are Aspen (1965--1971), a multimedia magazine in a box -- issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.