If there is, indeed, nothing lovelier than a tree, Connecticut-based artist Bryan Nash Gill shows us why. Creating large-scale relief prints from the cross sections of trees, the artist reveals the sublime power locked inside their arboreal rings. Gill creates patterns not only of great beauty but also year-by-year records of the life and times of fallen or damaged logs. He rescues the wood from the property surrounding his studio and neighboring land, extracts and prepares blocks of various species (including ash, maple, oak, spruce, and willow), then makes prints by carefully following and pressing the contours of rings and ridges until the intricate designs transfer from tree to paper. The results are colored, nuanced shapes—mesmerizing impressions of the structural integrity hidden inside each tree. These exquisitely detailed prints are collected and published here for the first time, with an introduction by esteemed nature writer Verlyn Klinkenborg and an interview with the artist describing his labor-intensive printmaking process. Also featured are Gill's series of printed lumber and offcuts, such as burls, branches, knots, and scrubs. Woodcut will appeal to anybody who appreciates the grandeur and mystery of trees, as well as those who work with wood and marvel at the rich history embedded in its growth.

This guide aims to move students away from a cut-and-paste mentality and refocus design instruction on the fundamentals of form (starting from such basics as point and line) in a critical, rigorous way informed by contemporary media, theory and software systems.

There's a rainbow of ways to think about colors. Colors pop and shine. Cool colors make us shiver, while warm colors heat us up. They can even express our moods, from feeling blue to being tickled pink. What Can Colors Do? introduces children to color through vibrant artworks that inspire curiosity, joy, and surprise in young learners. Colorful paintings, sculptures, and objects from the Philadelphia Museum of Art help children think about how artists use color. How can colors express feelings? Can a color be loud or soft? As children learn the basics of color theory, from mixing to contrast and color wheels, they answer engaging, thoughtful questions that bring the world of art and their own experiences together. A series of activities for kids to complete on their own—from a scavenger hunt to a color-inspired way to meditate—helps them to appreciate the beauty and complexity of the hues around us.

An indispensable and distinctive book that will help anyone who wants to write, write better, or have a clearer understanding of what it means for them to be writing, from widely admired writer and teacher Verlyn Klinkenborg. Klinkenborg believes that most of our received wisdom about how writing works is not only wrong but an obstacle to our ability to write. In Several Short Sentences About Writing, he sets out to help us unlearn that “wisdom”—about genius, about creativity, about writer’s block, topic sentences, and outline—and understand that writing is just as much about thinking, noticing, and learning what it means to be involved in the act of writing. There is no gospel, no orthodoxy, no dogma in this book. Instead it is a gathering of starting points in a journey toward lively, lucid, satisfying self-expression.

This book presents an unprecedented visual survey of the living and working spaces of the artist Donald Judd in New York and Texas. Filled with newly commissioned and previously unpublished archival photographs alongside five essays by the artist, this book provides an opportunity to explore Judd's personal spaces, which are a crucial part of this revered artist's oeuvre. From a 19th-century cast-iron building in Manhattan to an extensive ranch in the mountains of western Texas, this book details the interiors, exteriors, and lands surrounding the buildings that comprise Judd's extant living and working spaces. Readers will discover how Judd developed the concept of permanent installation at Spring Street in New York City, with artworks, furniture, and decorative objects striking a balance between the building's historic qualities and his own architectural innovations. His buildings in Marfa, Texas, demonstrate how Judd reiterated his concept of integrative living on a larger scale, extending to the reaches of the Chinati Mountains at Ayala de Chinati, his 33,000-acre ranch south of the town. Each of the spaces was thoroughly considered by Judd with resolute attention to function and design. From furniture to utilitarian structures that Judd designed himself, these residences reflect Judd's consistent aesthetic. His spaces underscore his deep interest in the preservation of buildings and his deliberate interventions within existing architecture. Published with Judd Foundation

La quatrième de couverture indique: "How does the modern museum respond to the movement, migrations and mobilities of the modern world that exceed its practices and premises? The essays in this volume circulate in the constellation of cultural, postcolonial and museum studies to propose a series of intersecting perspectives promoting critical responses to this ongoing interrogation. Memory, the archive, and the politics of display, are unwound from their institutional moorings and allowed to drift into other, frequently non-authorised, accounts of time and space. Called upon to negotiate unplanned encounters with unsuspected actors and the obscured sides of modernity, the museum becomes an experimental space, a laboratory for a cultural democracy yet to come."