The first book to celebrate the beautiful and provocative ways artists have represented, scrutinized and utilized the body over centuries. Body of Art is the first book to explore the various ways the human body has been both an inspiration and a medium for artists over hundreds of thousands of years. Unprecedented in its scope, it examines the many different manifestations of the body in art, from Anthony Gormley and Maya Lin sculptures to eight-armed Hindu gods and ancient Greek reliefs, from feminist graphics and Warhol's empty electric chair to the blue-tinted complexion of Singer Sargent's Madame X. It is the most expansive examination of the human body in art, spanning western and non-western, ancient to contemporary, representative to abstract and conceptual. Over 400 artists are featured in chapters that explore identity, beauty, religion, absent body, sex and gender, power, body's limits, abject body and bodies & space. Works range from 11,000 BC hand stencils in Argentine caves to videos and performances by contemporary artists such as Marina Abramovic, Joan Jonas and Bruce Nauman? Its fresh, accessible and dynamic voice brings to life the thrilling diversity of both classical and contemporary art through the prism of the body. More than simply a book of representations, this is an original and thought provoking look at the human body across time, cultures and media.

"With great originality and scholarship, Amelia Jones maps out an extraordinary history of body art over the last three decades and embeds it in the theoretical terrain of postmoderism. The result is a wonderful and permissive space in which the viewer...can wander"...-Moira Roth, Trefethen professor of art history, Mills College.

What is interactive art? Is this a genre? A medium? An art movement? Must a work be physically active to be classified as such, or do we interact when we sense and make sense? Is a switch-throw or link-click enough - I do this, and that happens - or must subjects and objects be confused over time? Is interaction multiple in its engagements (relational), or a one-to-one reaction (programmed)? Are interactive designs somehow more democratic and individualized than others, or is that merely a commercial strategy to sell products and ideas? This book argues that interactive art frames moving-thinking-feeling as embodiment; the body is addressed as it is formed, and in relation. Interactive installations amplify how the body's inscriptions, meanings, and matters unfold out, while the world's sensations, concepts, and matters enfold in. Interactive artwork creates situations that enhance, disrupt, and alter experience and action in ways that call attention to our varied relationships with and as both structure and matter. Nathaniel Stern's inspirational book, Interactive Art and Embodiment, outlines how new media has the ability to intervene in, and challenge, not only the construction of bodies and identities, but also the ongoing and emergent processes of embodiment, as they happen. It includes immersive descriptions of a significant number of interactive artworks and over 40 colour images. The theorists, artists, practitioners and curators discussed in this text include Brian Massumi, Christiane Paul, Sarah Cook, Beryl Graham, Kelli Fuery, Theodore Watson, William Kentridge, Char Davies, Stelarc, Janet Cardiff, Carlo Zanni, Tero Saarinen, Karen Barad, Daniel Rozin, Richard Schechner, Nicole Ridgway, Rebecca Schneider, Annie Sprinkle, Karen Finley, VALIE EXPORT, The Guerrilla Girls, Tegan Bristow, Brian Knep, Anna Munster, Zach Lieberman, Golan Levin, Simon Penny, Camille Utterback, Jean-Luc Nancy, The Millefiore Effect, Nick Crossley, Mathieu Briand, Scott Snibbe, David Rokeby, José Gil, Erin Manning, Rafael Lozano-Hemmer, and Norah Zuniga Shaw Contents Acknowledgments Series Foreword Introduction: Art Philosophy Chapter 1: Digital is as Digital Does Chapter 2: The Implicit Body as Performance Chapter 3: A Critical Framework for Interactive Art Chapter 4: Body-Language Chapter 5: Social-Anatomies Chapter 6: Flesh-Space Chapter 7: Implicating Art Works In Production: Companion Chapter Bibliography Index

Does everyone have a certain "type" they end up with...whether they want to or not? If Ray Carlucci's ex is anything to go by, Ray likes his men gorgeous, rebellious, and chock-full of issues. But now that Ray is single again, he has a shot at a fresh starta very fresh start, since his tattoo shop was gutted by repo men and he can fit all his belongings in the trunk of a cab.Ray's shiny new chauffeur's license lands him a job as a driver for an elderly couple on Red Wing Island. It's a cold fall, and since the Michigan island is the summer home to snowbirds who fly south for the winter, it's practically desertedsave for Ray's new household and a sculptor named Anton Kopec, who works day and night twisting brambles and twine into the distorted shapes of macabre creatures. Compelling, bizarre, and somewhat disturbing...not just the sculptures, but the artist, too. Ray has a feeling Anton is just his "type."Despite their scorching chemistry, when a dead body is unearthed by some workers and a freak ice storm traps them all on the island, Ray can't say for certain that his new flame isn't capable of murder.

Tattoos as art, work, decoration and defiance.

Since the time of Aristotle, the making of knowledge and the making of objects have generally been considered separate enterprises. Yet during the late sixteenth and early seventeenth centuries, the two became linked through a "new" philosophy known as science. In The Body of the Artisan, Pamela H. Smith demonstrates how much early modern science owed to an unlikely source-artists and artisans. From goldsmiths to locksmiths and from carpenters to painters, artists and artisans were much sought after by the new scientists for their intimate, hands-on knowledge of natural materials and the ability to manipulate them. Drawing on a fascinating array of new evidence from northern Europe including artisans' objects and their writings, Smith shows how artisans saw all knowledge as rooted in matter and nature. With nearly two hundred images, The Body of the Artisan provides astonishingly vivid examples of this Renaissance synergy among art, craft, and science, and recovers a forgotten episode of the Scientific Revolution-an episode that forever altered the way we see the natural world.