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Although it is more than sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the "formless" been deployed in the theorizing and reconfiguring of twentieth-century art. In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a "job." The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

In the mid-1960s, artists like Robert Morris, Joseph Beuys, Michelangelo Pistoletto and Lynda Benglis began to experiment with formlessness in their materials. The maxim Form follows material, however, was not only proclaimed in the era's avant-garde art: it had a distinct impact on furniture design as well--for example, on Gunnar A. Andersen's experimental polyurethane Portrait of My Mother's Chesterfield Chair of 1964 and Zanotta's famous Sacco beanbag chair of 1968. Edited by Peter Noever, Director of Vienna's MAK museum of applied and contemporary art, this volume is the first to concentrate on formlessness in furniture design. Featuring work from the 1960s through today by such revolutionary figures as Frank Gehry, Gaetano Pesce, Ron Arad and Karim Rashid, it illuminates connections between the historical avant-garde and the applied arts, and tracks the various manifestations of design formlessness to have emerged over the past half century--from Robert Dean's 1967 Sea Urchin chair to today's computer-assisted "blobjects."

Although it is more than sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the "formless" been deployed in the theorizing and reconfiguring of twentieth-century art. In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a "job." The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

Although it is more than sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the "formless" been deployed in the theorizing and reconfiguring of twentieth-century art. In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a "job." The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

Unread book in perfect condition.

Although it is more than sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the "formless" been deployed in the theorizing and reconfiguring of twentieth-century art. In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a "job." The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.54

SHAPING FORMLESS FIRE is Stephen Mace s distillation of magick down to the basics of psychic energy manipulation. Its application does not require the assimilation of any symbolic or theogonic scheme, and none is offered until the last chapter. What the book does offer is a technique that enables an open-minded exploitation of one s own psychic energy. We focus power through our attention, and with the technique of magick we may begin to focus both the entirety of conscious attention and its unconscious biases into the accomplishment of our wills. One striking feature of psychic energy dynamics is how analogous they are to physical energy dynamics. Every action brings on an equal and opposite reaction in psychic interactions as well as mechanical ones. Physical energy going to entropy works a lot like desire going to satiety. You can t get something for nothing is a psychic affirmation of conservation of energy. And yet the book affirms that magick can never be science. Science demands objectivity, measurement and replication, but psychic energy is the energy of the subjective, defies calibration, and its effect is upon the unrepeatable now. And its instrument is unique, the magician s own Self, which he or she must hone to a fine edge. SHAPING FORMLESS FIRE offers instruction for making a sound beginning, and a clear look at what is apt to come after. When people do the work, a whole realm of power opens up for their recognition and manipulation. And when they do not, power remains to manipulate them, just as it always has. Deep understanding is not required to start. Persistence of effort is essential to get anywhere at all.

Forming the Formless: Accessing and Elevating Your Spirit and Soul 0.63

Book is in NEW condition. 0.54

From two great masters comes a detailed description of meditative practices for developing a mind that is alert, powerful, and capable of gaining great insight. Discussing step-by-step the practice of meditation itself, they provide us with practical antidotes to the various obstacles that may arise in meditation. At the same time, they intersperse their presentations with captivating descriptions of the sometimes fantastic and astonishing cosmology that provides the background and context for Buddhist practice.

ART DESCRIPTION: This intricately detailed pink and green sea coral stands proud in a formless watery blue backdrop, inviting the viewer to relax in the oceans soothing depths. This Amanti Art canvas art print was created by Julia Purinton and printed by Amanti Art in Madison WI. The canvas is stretched by hand and finished with a float frame. Individually made using traditional custom framing techniques, it has the quality you would expect from your local frame shop. Because of our attention to detail and focus on artistry, architects, interior designers, and homeowners alike choose this framed canvas artwork to create beautiful living spaces. Color: Sylvie Beaded Bronze.

ART DESCRIPTION: This neutral beige, gold and grey abstract features a familiar form in the foreground that reminds one of a ribbon or perhaps the petal of a flower, inviting the viewer to experience formless natural beauty. This Amanti Art canvas art print was created by Julia Contacessi and printed by Amanti Art in Madison WI. The canvas is stretched by hand and finished with a float frame. Individually made using traditional custom framing techniques, it has the quality you would expect from your local frame shop. Because of our attention to detail and focus on artistry, architects, interior designers, and homeowners alike choose this framed canvas artwork to create beautiful living spaces. Color: Sylvie Beaded Bronze.

ART DESCRIPTION: This intricately detailed pink and green sea coral stands proud in a formless watery blue backdrop, inviting the viewer to relax in the oceans soothing depths. This Amanti Art canvas art print was created by Julia Purinton and printed by Amanti Art in Madison WI. The canvas is stretched by hand and finished with a float frame. Individually made using traditional custom framing techniques, it has the quality you would expect from your local frame shop. Because of our attention to detail and focus on artistry, architects, interior designers, and homeowners alike choose this framed canvas artwork to create beautiful living spaces. Color: Sylvie Beaded Bronze.

ART DESCRIPTION: This neutral beige, gold and grey abstract features a familiar form in the foreground that reminds one of a ribbon or perhaps the petal of a flower, inviting the viewer to experience formless natural beauty. This Amanti Art canvas art print was created by Julia Contacessi and printed by Amanti Art in Madison WI. The canvas is stretched by hand and finished with a float frame. Individually made using traditional custom framing techniques, it has the quality you would expect from your local frame shop. Because of our attention to detail and focus on artistry, architects, interior designers, and homeowners alike choose this framed canvas artwork to create beautiful living spaces. Color: Sylvie Beaded Bronze.

Queen is intimately seduced by the form and the formless. Handcrafted to adorn your shapes and shadows. She unearths Galaxies in the depth of her waters. This piece is hand-crafted with vegan leather and the protective courage of Tiger's Eye. Wipe clean with a dry cloth.

Some works of metallic sculpture truly benefit from being freed from the usual restrictions of a canvas, with Obsidian showing this perfectly. Without a defining border, the black orbs mounted on this work seem to float freely, giving them a formless and free quality. They seem to have motion, like they should be spreading out and moving like drops of oil, one imagines that they will have moved if one looks away too long. This is a haunting and detailed work that will always catch attention, yet remains very subtle. Color: Multicolor.

Shy Layers Midnight Marker dances between darkness and light, discreet but assured music aware of an other self and the dream world which that vessel visits. Rich in symbolism, appearing as floating, formless reflections and poignant pop statements, musician and visual artist JD Walshs sophomore album offers new perceptions of time and transition, the emotional tides of experience, and the joy of the journey. LP comes with multi-format digital download code.

"Spollen interweaves elemental, evocative images of what is formless and boundless―water, air, grief, death―with what is solid and limited-earth, objects, human love and forgiveness. This enchanting novel starts quietly, draws the reader in and weaves a seductive spell that holds until the last page."--Kirkus (starred review) "I had come to know silence well during those months after my mother died. When you sit in silence long enough, you learn that silence has a motion. It glides over you without shape or form, but with weight, exactly like water." Magda's mother always said the world was full of strange and beautiful secrets only the two of them could see. But now she's gone and Magda's world is flooded with anxiety and loneliness―and maybe, madness. As an imaginary family of bickering fish begins to torment her, Magda's only outlet is starting beautiful but destructive fires in the marshes near her house. The Shape of Water is a darkly lyrical and surprising tapestry of the mundane and the surreal, in which Magda begins to untangle her family's secrets and search for a stable place in the world.

The Pinecone gymnastic team begins to demonstrate lethargic, lifeless leaps and formless, fatigue-ridden flips so the team captain, Darlene, decides to add some spirit to their spins and splits