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"Barkley L. Hendricks is rightly known as one of the foremost American painters of the late 20th century. His six-decade artistic oeuvre encompasses not only portraits but also includes evocative landscapes, hard-edged geometric abstractions, lush watercolors on paper and singular photographs informed by his studies with Walker Evans. This final publication of a five-volume set dedicated to the artist is a 300-page monograph that captures his full evolution as a portraitist. Solid! is a compilation of Hendricks' acclaimed figurative paintings: large-scale canvases of distinctively dressed (or undressed) individuals, including several self-portraits, against solid-color backgrounds. Critical essays from curators and fellow artists provide further, often personal, insight into all aspects of Hendricks' practice: probing his photographic experimentation as a forbear to contemporary street photography; celebrating his sensitivity as a colorist whose unique expertise seamlessly combines oil-based and water-based pigments; and highlighting the observational genuineness in his provocative and personal interpretations of women, of unapologetically visible queer identities and of his own beloved Black communities across the African Diaspora. The book closes with a conversation between Trevor Schoonmaker and Barkley's widow, Susan Hendricks, in which she recounts their trips to Jamaica and Barkley's process for creating landscape and fruit paintings outdoors." --

"Seeing many of my works years after I completed them is a fascinating experience. I don't really associate them with any particular time or place or state of mind, but view them as part of a long arc; a continuing of the way we go forth in the world and the way our perceptions are shaped and altered by life. One can be as profoundly influenced by events in Morretes, Brazil as the y can be by the man who sells them El País in Madrid." -Bob Dylan, 2021 Spanning six decades, Retrospectrum showcases the development and range of Dylan's visual practice, in tandem with that of his musical and literary canon. It features a wide selection of Bob Dylan's artworks in an array of media, with important works loaned from private collections around the world. The artist's diverse creations include oil, acrylic and watercolor paintings, as well as his ink, pastel and charcoal drawings and distinctive ironwork sculptures. Among the artworks presented in Retrospectrum are some of the artist's earliest ink sketches first published in 1973's Writings and Drawings that illustrated and compiled Dylan's lyrics up until that time. These drawings are shown alongside works from last year's Mondo Scripto series, in which Dylan revisited some of his most renowned lyrics, hand-writing and illustrating them in his unique hand. The book also features the iconic Train Tracks paintings representing The Drawn Blank Series (2008) that first brought Bob Dylan's visual artworks to critical and popular acclaim. Retrospectrum also presents paintings from Dylan's The New Orleans Series and The Asia Series (from 2012 and 2010 respectively), inspired by the artist's own travels, as well as works from his hugely popular The Beaten Path Series (2015 - present). Among the artist's most rarely seen pieces are his industrial ironworks, created from repurposed objects that speak to America's industrial past.

As the presence of AI and digital tools is growing in our lives, the computer has become a new medium of expression for the artist. This art technique is also a language. Art Must Be Artificial: Perspectives of AI in the Visual Arts presents the historical and current art practices of leading international and Saudi artists using computer technology, spanning from the 1960s until today. This exhibition aims to question the nature and aspects of the most accomplished computational and robotic artworks through the historic perspective of the pioneers of computer art. With a majority of artworks from the Guy & Myriam Ullens Foundation's comprehensive computing art collection, the exhibition includes more than thirty artists from fifteen countries, representing four generations of this innovative, creative practice. Organized by the Saudi Ministry of Culture and presented at the soon-to-open Diriyah Art Futures in Riyadh, the inaugural exhibition is curated by Jerome Neutres, a leading expert in the field who theorized the concept of ¿Computing art¿ and has been examining most of the participating artists' work for more than twenty years. The exhibition focuses on how the pioneers of yesterday and the emerging figures of today are depicting a meaningful history of the evolution of the homo digitalis, the new human civilization. It aims to demonstrate that digital technology is a true medium of art, opening infinite visual possibilities, rather than an experimental school or a fad art movement. The exhibition highlights some of the specificities of this new art medium: how it has placed the viewer at the heart of the artistic experience, how it presents the dream of an unlimited artwork, close to an organic creation¿it is art with a nervous system. In our algorithmic era, technology and art inspire each other. Artists are perhaps the best mediators to question the complex and numerous issues of this new world. Because imagination is an artificial reality, art must be artificial.

This book stems from love for design, tells Emanuele Cappelli¿s personal story (one that over time has been shared by many others), and most importantly presents the Dynamic Brand method as an approach to integrated contemporary communication. A method that has grown with its founder, with Cappelli Design, and with its lively, curious, experimental approach open to taking risks. Dynamic Brand¿s vocation is to appreciate design for its cultural meaning and the methodology laid out in this book is key to understanding the studiös communication projects. Dynamic Brand tells how new media have transformed the way companies and institutions communicate their brands. Through a series of case studies and a road map of this design method, readers find themselves immersed in a dimension where design and strategy merge creating corporate identity systems capable of creating authentic relations with people. The development of the Dynamic Brand method is a story about people, a story connected to the history of Cappelli Identity Design, told through the eyes of Emanuele Cappelli, designer and founder of the Studio, and of his team.

A comprehensive monograph on Hiroshige, the last great master of the ukiyo-e style, with more than 400 reproductionsThis substantial volume offers a broad panorama of the hugely popular oeuvre of Hiroshige (1797-1858), the great artist of the Japanese popular school of printmaking who transmuted everyday landscapes into intimate, lyrical scenes. The text examines his life and achievements, and elucidates the special qualities that made his prints so popular in 19th-century Japan and Europe. Alongside Hokusai, Hiroshige dominated the popular art of Japan in the first half of the 19th century, capturing the ordinary person's experience of the Japanese landscape as well varied moods of memorable places at different times. Ukiyo-e publishing was not a cultural institution subsidized by public funds, but rather a commercial business. During his lifetime, Hiroshige was well known and commercially successful--his total output was immense, some 5,400 prints in all--but Japanese society took little notice of him, and his reputation only began in earnest with his discovery in Europe. Hiroshige: The Master of Nature features an abundance of color plates, and at more than 300 pages is the most complete overview currently available.

This book documents an extraordinary exhibition in 2013 commemorating the first anniversary of a disaster of extraordinary proportions--the Atlantic storm named Sandy. This catalogue reproduces installation photographs of works of art that were in the exhibition in Brooklyn, New York, along with photographs of the various events that took place while it was on view.

A unique scientific and illustrated study on one of the oldest and most enduring genres of ceramics in Ecuador: the sello, or seal. The product of unknown artists, the sellos provide us with mute testimony of unknown history of the lost world of pre-Columbian civilizations. The purpose of the present study is to contribute to an enhanced understanding of such objects.

Starting in the 1960s with the first examples of visual artworks that Azzawi conceived as books and his earliest reimaginings of entire poems in the book form, through to the shattering war diaries during the Gulf War, the introduction of limited-edition printed books and the experimental dissolution of the medium into sculptural objects, this is a lesser-known, private side of Azzawi's practice that has never been seen before. While the incorporation of Arabic text in paintings, sculptures and graphic design is one of the best-known features of the work of the Iraqi artist Dia al-Azzawi (born in 1939), these artist's books (dafatir, plural of daftar) more directly reflect Azzawi's love of literature itself and how it informs his overall practice. A deep fascination with poetry, both written and spoken, led him to create over 100 artworks based on a huge range of literature, including poetry from the medieval and modern eras and works by Arab and non-Arab writers. Initially inspired by illustrated manuscripts from the Islamic era (including the extant Yahya al-Wasiti drawings for a C13th manuscript of Maqamat al-Hariri) and modern book art (such as Henri Matisse's Jazz and Chafic Abboud's interpretation of Maqamat al-Hariri), Azzawi reimagines the experience of hearing poetry in his distinctive visual style, including detailed line drawings and explosions of colour, thereby transforming the experience of the listener or reader into that of the viewer. Over time, he also reimagined the daftar medium itself by blurring the line between sculpture and book art as he shifted from works on paper and sketchbooks to sculptural forms, as he increasingly envisaged the daftar as a standalone three-dimensional object.

This book documents the exhibition Lux et Veritas, organized by NSU Art Museum Fort Lauderdale in 2022. The exhibition¿s title alludes to Yale University¿s motto, Lux et Veritas, which translates from Latin to ¿Light and Truth¿; in this context, the title references how these artists thought with critical complexity about their work and their movement through institutional structures. As with similar programs, Yale School of Art, in New Haven, Connecticut, had not been historically diverse, which spurred these art students to form affiliations across the departments of painting, graphic design, sculpture, photography and art history. They filled gaps in the school¿s curriculum and counteracted the lack of diversity among the faculty by inviting artists, curators and writers of colour as advisors and guest speakers, developing an interdisciplinary forum, publishing art journals, organizing exhibitions and documenting their experiences in video and photography. The relationships they formed at school evolved into communities that networked and provided essential support and feedback for one another, often passing on these efforts beyond graduate study. Their re-evaluation of the Western art canon, and commitment to the method and practice of teaching has contributed to a greater recognition of artists of colour, challenged stereotypes and enriched the overall shared spaces of learning and thinking about art and the art praxis. Lux et Veritas provides a public forum in which to address the directions these artists took based on the explorations that began in graduate school and were instilled thereafter in their practice.

The monographic survey of Chung Seoyoung's (b.1964) sculptural practice from the 1990's up to the present is published in conjunction and response to Chung's retrospective exhibition held at the Seoul Museum of Art (SeMA) from September 1 to October 31, 2022. Chung Seoyoung is a sculptor who has pioneered the discourse and the artistic practice around 'things' and their status and relations in flux over time, and is regarded as a representative artist who demonstrated the turn towards contemporaneity in the 1990's Korean art scene. More than an exhibition documentation, the publication traces how the problems of the world that the artist deals with have transitioned by considering Chung Seoyoung's sculptural practice in both synchronic and diachronic manner. In the artist's engagement in the physical paths through which the world is perceived and her interest in things as manifestation of the world's relations converted to matter, Chung expands the scope of sculpture, and simultaneously searches for ways to remember the vernacular of sculpture. The book includes essays written by art historian Jihan Jang, curator and art historian Chus Martinez, and writer and critic Marina Vishmidt, and a conversation with artist Sung Hwan Kim. Their in-depth research and diverse perspectives not only put forth novel interpretations of Chung Seoyoung's oeuvre, but also recast both subtle and major shifts in Korean contemporary art that is yet to be widely discussed.

Katalin Ladik is pioneering figure in Central and Eastern European art histories, merging performance, (visual) poetry, photography, and installation in a practice that spans over six decades. Her practice is intertwined with the art histories of Novi Sad in former Yugoslavia - where she was a key protagonist among a generation of avant-garde artists and writers in the 1960s - and Budapest, her adopted home since the mid-1970s. The catalogue for the exhibition Ooooooooo-pus, organized at Muzeum Susch in 2022/2023, contextualizes Ladik¿s wide-ranging practice within post-war international discourses on (lens-based) performance, concrete and visual poetry, scoreand instruction-based work, feminist histories, as well as the presence of ritual and folklore in recent art. Authors such as Diedrich Diederichsen (theorist and critic, Berlin), Hendrik Folkerts (Curator of International Contemporary Art, Moderna Museet, Stockholm), Irena Haiduk (artist, Belgrade and New York), Ana Janevski (Curator of Media and Performance, Museum of Moderna Art, New York), and Dieter Roelstraete (writer and curator, Neubauer Collegium for Culture and Society, University of Chicago) will contribute longer-form essays, while various experts including Emese Kürti (art historian and critic, Budapest), Bhavisha Panchia (cura tor and writer, Johannesburg), Gloria Sutton (Associate Professor of Contemporary Art History, Northeastern University, Boston), Paolo Thorsen-Nagel (musician and artist, Berlin), and Mónica de la Torre (poet, New York) will discuss a single work from Ladik¿s practice.

Photographer Richard Avedon, with a more than six-decade-long career, produced innovative and delightful work in fashion, as well as incisive and captivating portraits. Over the course of his lifetime he worked with a number of models and a wide range of portrait subjects, creating a powerful body of pictures that allow his viewers to study the likenesses of actors, ballet dancers, celebrities, civil rights activists, heads of state, inventors, musicians, visual artists and writers. Avedon offers viewers the opportunity to study faces without crossing any socially imposed boundaries about staring too long; he encourages viewers to think about the people before them, the lives they have lived, their private personalities and public personas, their struggles, accomplishments, disappointments, and joys. Richard Avedon. Relationships presents a selection of 100 iconic fashion photographs and portraits, from the extensive collection at the Center for Creative Photography, to delve into his approach to photographing people. Avedon¿s combination of talent and skill, technical proficiency and attuning to his individual subjects, allowed him to make portraits that are riveting presentations of the people he photographed. Indeed, he achieved mastery of the portraiture form. Avedon had the opportunity to photograph a number of his portrait subjects on more than one occasion. Within the catalogue it is possible to see painter Jasper Johns in 1965 and 1976; novelist Carson McCullers in 1956 and 1958; the Beatles Andy Warhol, Marilyn Monroe, and poet Allen Ginsberg in 1963 and 1970. Perhaps the most dramatic and powerful example of Avedon¿s ongoing photographic relationship is that with his friend and collaborator, Truman Capote.

Since 2011, Alcantara has initiated a series of collaborations and virtual projects, establishing a new form of intervention in the art world. A unique, tailor-made approach, in perfect harmony with the brand¿s values and identity. Visual artists, fashion and industrial designers, directors and video makers, architects and musicians from all over the world have worked with Alcantara, developing works exhibited in some of the most prestigious museums, cultural institutions and international theatres, from MAXXI in Rome to the Victoria and Albert Museum in London, the Yuz Museum in Shanghai, the Mori Museum in Tokyo, the Teatro Regio in Turin and the Teatro Massimo in Palermo. Some real highlights stand out among the many collaborative projects with international artists: from the designers Nendo, Marcel Wanders, Ross Lovegrove, Giulio Cappellini and Ingo Maurer to the architect Nanda Vigo, known for introducing the concept of spatialism in interior design; from the most poetic of Italian video makers, Yuri Ancarani, to Chinese calligraphy artists such as Qin Feng and Qu Lei; from the visionary haute couture designer Iris Van Herpen to brilliant musicians such as Matthew Herbert, Caterina Barbieri and Soundwalk Collective, and so on. These are just some of the protagonists of the creative scene with whom Alcantara has had the privilege of establishing a relationship of genuine complicity, enjoying the privilege of sharing their creative path for a certain period of time. Founded in 1972, Alcantara represents the very best of Italian production. The result of a unique and proprietary technology, Alcantara is a highly innovative material able to offer an unparalleled combination of sensory aspects, aesthetics and functionality. Thanks to its extraordinary versatility, Alcantara is the choice of the most prestigious brands in numerous fields of application: fashion and accessories, automotive, interior design and home décor, consumer-electronics. These characteristics, together with a serious and certified commitment to sustainability, enable Alcantara to express and define the contemporary lifestyle.

This volume presents the works of Kerunen and Sekajugo, whose dual ways of making art, despite their different aesthetic approaches, find common ground in their respective visions of materiality and form. Says Shaheen Merali, curator: "Radiance. They Dream in Time refers to the essential knowledge and lived experiences of Kerunen and Sekajugo in speaking to the many different territories of Uganda as well as to urban trade and living conditions in its urban centres. Both artists have been actively working with formal and informal archives of Uganda's dynamic visual culture". Acaye Kerunen's process as a socially engaged artist foregrounds the work of local and regional Ugandan craftswomen, celebrating them as integral collaborators and elevating the artistic practices of local artisans who are the gatekeepers of their local wetlands, drawing upon a sacred and unspoken knowledge of ecological stewardship. By deconstructing utilitarian materials and artisan crafts, Kerunen repositions the work in order to tell new stories and posit new meaning. The act of re-installing these deconstructed materials is a response to the agency of women's work in Africa and an acknowledgment of the role that this artistic labor plays in the climate ecosystem. Collin Sekajugo approaches his work from a distinct, aesthetic departure point that resides in his repeated return to pop culture and the omnipresent influence exuded by the global mainstream, conversing and critiquing its many biases across visual, oral and digital cultures. Since 2012, Sekajugo has worked with the manipulation of the common stock image to reveal its inherent biases of entitlement and privilege largely modelled on the Western self. Sekajugo's artistic practice highlights a contemporaneous anthropological reversal of this mainstream culture through the lens of a decidedly African sense for irreverence and play on the ad-hoc. Conceptually, the works of Sekajugo become pure theatre, a hacking of identity that exposes some truths behind these stock images that quietly continue to colonise the entire globe by the weight of their own popularity.

The long Pax Tokugawa was founded on the blood of 40,000 severed enemy heads. Indeed, 1600 marked the end of the period of wars that saw the defeat of the troops opposed to General Ieyasu Tokugawa. The absence of wars, banishing the memories and horrors of past massacres, favoured the development of epic tales that gave rise to dark and terrifying atmospheres, such as the game of the hundred candles, a test of courage in which a handful of warriors meet on a summer night to tell each other scary stories populated by monsters from the national tradition. So we have the Joro¯ gumo, comely women who reveal their true nature as enormous spiders to their victims; the Tanuki, endearing badgers able to transform themselves; the Bakeneko, monstrous cats; the Kappa, aquatic beings that pester women; the Ningyo, mermaids whose fragrant flesh can give men renewed youth or an excruciating death. The macabre ritual of the hundred candles is the great idea behind this original project that presents 200 works from the 18th and 19th centuries, including prints, rare antique books, clothes, weapons, swords, a samurai suit of armour, as well as seventy-seven precious netsuke, small ivory sculptures, from the Bertocchi private collection and a ten-metre long scroll that tells the story of Shutendoji, a mythological creature (Oni) at the head of an army of monsters that haunted Mount Oe near Kyoto. Published on the occasion of the exhibition at the Villa Reale in Monza, the book is a real journey of discovery of Japanese imagery, ranging from Hokusai¿s famous manga notebooks (alongside his other masterpieces) to the works of Loputyn, the contemporary illustrator well known to hotaku manga enthusiasts.

This book examines a selection of paintings by Bernardino Luini (ca. 1480/85¿1532) that were influenced by Leonardo da Vinci (1452¿1519). Comparative analysis shows that Luini, from adopting Leonardös compositions and motifs, went on to incorporate elements of his style and expression in a group of works dating to the 1520s. These are the focus of the book. In imitating Leonardo, Luini traded complexity for clarity, simplifying his manner and making it accessible to a broad audience undifferentiated by age, gender, or class. The artist¿s method of popularizing Leonardo, however, led to criticism of his works as merely derivative, but that fails to consider their function as devotional images. Beyond church teachings and practices, little is known about how ordinary viewers looked at religious art in this period. Their responses are not recorded. But Luini¿s paintings themselves provide clues, like the foregrounding of the figures and their interaction with each other and the beholder, to indicate how they served a devotional purpose. The artist may not have been an intellectual like Leonardo, but the thinking inherent in his works is absolutely coherent and consistent. Their clear organization and unequivocal meaning effectively communicate the religious message he sought to convey. This book revisits the idea that Leonardo da Vinci was the essential inspiration for his younger contemporary Bernardino Luini. Instead of a broad notion of Leonardös influence, however, the book offers a more complex understanding of the relation between the two artists, one that seeks to account for Luini¿s much-criticized lack of originality vis-à-vis the older master. In one artistic category in which Leonardo offered few models ¿ devotional images of the Passion of Christ ¿ Andrea Solario, himself influenced by Leonardo, had a decisive impact on Luini. Solariös influence complemented Leonardös, enabling Luini to set a new standard for depicting a broad range of sacred subjects.

This book examines a selection of paintings by Bernardino Luini (ca. 1480/85¿1532) that were influenced by Leonardo da Vinci (1452¿1519). Comparative analysis shows that Luini, from adopting Leonardös compositions and motifs, went on to incorporate elements of his style and expression in a group of works dating to the 1520s. These are the focus of the book. In imitating Leonardo, Luini traded complexity for clarity, simplifying his manner and making it accessible to a broad audience undifferentiated by age, gender, or class. The artist¿s method of popularizing Leonardo, however, led to criticism of his works as merely derivative, but that fails to consider their function as devotional images. Beyond church teachings and practices, little is known about how ordinary viewers looked at religious art in this period. Their responses are not recorded. But Luini¿s paintings themselves provide clues, like the foregrounding of the figures and their interaction with each other and the beholder, to indicate how they served a devotional purpose. The artist may not have been an intellectual like Leonardo, but the thinking inherent in his works is absolutely coherent and consistent. Their clear organization and unequivocal meaning effectively communicate the religious message he sought to convey. This book revisits the idea that Leonardo da Vinci was the essential inspiration for his younger contemporary Bernardino Luini. Instead of a broad notion of Leonardös influence, however, the book offers a more complex understanding of the relation between the two artists, one that seeks to account for Luini¿s much-criticized lack of originality vis-à-vis the older master. In one artistic category in which Leonardo offered few models ¿ devotional images of the Passion of Christ ¿ Andrea Solario, himself influenced by Leonardo, had a decisive impact on Luini. Solariös influence complemented Leonardös, enabling Luini to set a new standard for depicting a broad range of sacred subjects.

On the Move features three different groups of nomadic or semi-nomadic pastoralists in three vastly different regions ¿ the Central Sahara in Africa, the Arabian Gulf and the Central Eurasian steppes ¿ highlighting crosscutting themes relevant to contemporary concerns about the human condition and our planetary future. The book shares lessons we might learn from the ways of pastoral nomads, such as living lightly on the land and working creatively with and through the sometimes challenging natural environments within which they move and know intimately. Themes under exploration include mobility and self-sufficiency; materialism, consumerism and environmental destruction; the potency of experience-based knowledge both practical and richly imaginative; and how the concepts we use affect our appreciation of cultural differences. The book seeks to highlight the gap between the ways these groups see and understand themselves and the stereotypes - both negative and romantic - by which outsiders (from travellers and architects to ecologists and state officials) have represented them or sought either to appropriate or to control and change them. Working against tendencies to view such groups as timeless or remnants of the past, this exhibit follows a historical approach, juxtaposing different historical periods to show how the pastoralists¿ ways of living and possibilities for flourishing have been affected by both environmental and political forces, specifically from key ruptures of the past century. At the same time, it suggests that we have much to learn from the pastoralist way of life.

On the Move features three different groups of nomadic or semi-nomadic pastoralists in three vastly different regions ¿ the Central Sahara in Africa, the Arabian Gulf and the Central Eurasian steppes ¿ highlighting crosscutting themes relevant to contemporary concerns about the human condition and our planetary future. The book shares lessons we might learn from the ways of pastoral nomads, such as living lightly on the land and working creatively with and through the sometimes challenging natural environments within which they move and know intimately. Themes under exploration include mobility and self-sufficiency; materialism, consumerism and environmental destruction; the potency of experience-based knowledge both practical and richly imaginative; and how the concepts we use affect our appreciation of cultural differences. The book seeks to highlight the gap between the ways these groups see and understand themselves and the stereotypes - both negative and romantic - by which outsiders (from travellers and architects to ecologists and state officials) have represented them or sought either to appropriate or to control and change them. Working against tendencies to view such groups as timeless or remnants of the past, this exhibit follows a historical approach, juxtaposing different historical periods to show how the pastoralists¿ ways of living and possibilities for flourishing have been affected by both environmental and political forces, specifically from key ruptures of the past century. At the same time, it suggests that we have much to learn from the pastoralist way of life.

The COVID-19 Visual Project. A Time of Distance began life as a multimedia platform with the aim of becoming a permanent archive on the pandemic. In its entirety, it is a collection that includes a variety of content aimed at recounting the health crisis, the social and individual consequences and the economic impact that characterize this unexpected period in history. A platform where internationally renowned photographers and video makers, visual artists and journalists, leave their indelible mark. The images touch upon the most important themes linked to the pandemic, such as the health crisis, empty cities, lockdown, the economic effects, social sacrifices and personal consequences, nature's recovery and the new normal. The book, edited by Arianna Rinaldo, seeks to be a compendium of this period of history distinguished by unique events that have touched different parts in the world in the same way, producing side effects characterized by cultural and social particularities. Punctuated by chapters on different themes, A Time of Distance aims to portray the events, reactions and widespread mood, without seeking to be exhaustive, instead offering a wide range of stories from different places around the world. The ultimate objective is to be a testimony and a space that collects significant visual accounts of this historical phase, to which we can return to try to understand what happened, how and why; and to remember a period during which humanity as a whole was forced to press "pause" as one. A Time of Distance puts itself forward as the "repository" of a collective historical memory, to help prevent us from forgetting the time of separation that we all had to live through and which we all sought to survive, each in our own way.

One of the key figures in Japan¿s pivotal Mono-ha phenomenon of the late 1960s and early 1970s, artist Kishio Suga has realized a visionary practice of ephemeral, site-specific installations and performative interventions into the everyday environment. Writing is an important mechanism in Sugäs artistic process, and his output spans aphoristic statements, fragmentary notes, art criticism, theoretical essays, and detective novels. Published in venues ranging from exhibition pamphlets to Japan¿s leading culture journals, Sugäs texts deploy barbed humor and gruff intellect to prompt readers to rethink their assumptions about art and knowledge. This volume, the second of a three-part anthology, features Sugäs writings from the period 1980¿1989. Having challenged institutional definitions of art through his formulations of the [thing] and being left a decade prior, Suga shifts his focus in the 1980s toward de-centering the human as the sole agent of perception. In particular, he embarks on a sustained investigation into the dynamics of periphery, which informs his work through to the present. Concurrently, the museum building boom that accompanied Japan¿s rise to economic superpower in the 1980s precipitated a broad historicization of post-war Japanese art, and Suga devotes several important essays to reflection on Mono-ha. He also revisits his unpublished notes in a series of fragmentary texts, culminating in a retrospective compilation of aphoristic statements for his monograph Kishio Suga: 1988¿1968.