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This book is a collection of six papers from the 2004 Land/Water and Surface symposium. These works contribute both to contemporary academic debates within artist and curatorial practices, and to understanding within related areas of experience and knowledge. Central themes include: sustainability; representation of change, journey, place and visual practice; West Country and regional specificity. There is particular focus on coast as a littoral space, and interest in exploring relations between site-theme-art process-narrative. The collection also includes material about the Land/Water Research group, the programme for the 2005 symposium and speaker biographies illustrations, and a poem by Thomas A Clark written especially for the occasion.
Photography Theory presents forty of the world's most active art historians and theorists, including Victor Burgin, Joel Snyder, Rosalind Krauss, Alan Trachtenberg, Geoffrey Batchen, Carol Squiers, Margaret Iversen and Abigail Solomon-Godeau in animated debate on the nature of photography. Photography has been around for nearly two centuries, but we are no closer to understanding what it is. For some people, a photograph is an optically accurate impression of the world, for others, it is mainly a way of remembering people and places. Some view it as a sign of bourgeois life, a kind of addiction of the middle class, whilst others see it as a troublesome interloper that has confused people's ideas of reality and fine art to the point that they have difficulty even defining what a photograph is. For some, the whole question of finding photography's nature is itself misguided from the beginning. This provocative second volume in the Routledge The Art Seminar series presents not one but many answers to the question what makes a photograph a photograph?
Now in its ninety-eighth year of publication, this standard Canadian reference source contains the most comprehensive and authoritative biographical information on notable living Canadians.
Over the past seventy years, a staggering array of new pigments and binders has been developed and used in the production of paint, and twentieth-century artists readily applied these materials to their canvases. Paints intended for houses, boats, cars, and other industrial applications frequently turn up in modern art collections, posing new challenges for paintings conservators. This volume presents the papers and posters from "Modern Paints Uncovered," a symposium organized by the Getty Conservation Institute, Tate, and the National Gallery of Art and held at Tate Modern, London, in May 2006. Professionals from around the world shared the results of research on paints that have been available to artists since 1930--the date that synthetic materials began to significantly impact the paint industry. Modern Paints Uncovered showcases the varied strands of cutting-edge research into the conservation of contemporary painted surfaces. These include paint properties and surface characteristics, analysis and identification, aging behavior, and safe and effective conservation techniques.

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