Alphabetically Arranged (notes on artists)

Michael DeLucia

2010-11-28T16:43:00.000-08:00

Carl Andre

2010-11-28T16:37:00.001-08:00

Mona Hatoum

2010-11-28T16:35:00.000-08:00

'+ and -' my favourite piece of work by Mona Hatoum.

Mona Hatoum’s poetic and political oeuvre is realised in a diverse and often unconventional range of media, including installations, sculpture, video, photography and works on paper.

Hatoum started her career making visceral performance art in the 1980s that focused with great intensity on the body. Since the beginning of the 1990s, however, her work moved increasingly towards large-scale installations that aimed to engage the viewer in conflicting emotions of desire and revulsion, fear and fascination. In her singular sculptures, Hatoum has transformed familiar, every-day, domestic objects such as chairs, cots and kitchen utensils into things foreign, threatening and dangerous. Even the human body is rendered strange in works such as 'Corps étranger' (1994) or ‘Deep Throat’ (1996), installations that use endoscopic journies through the interior landscape of the artist’s own body. In Homebound (2000) and Sous Tension (1999) Hatoum uses assemblages of household furniture wired up with an audibly active electric current – works that employ the stripped down language of minimalism combined with a surrealist sense of humour to create works that draw the viewer in on both an emotive and intellectual level. In smaller sculptures such as Traffic (2004) and Twins (2006) Hatoum uses found materials, rich with patina and laden with personal resonance, to create poetic, beguiling works on an intimate scale.

Mona Hatoum was born into a Palestinian family in Beirut, Lebanon in 1952 and now lives and works in London and Berlin. She has participated in numerous important group exhibitions including The Turner Prize (1995), Venice Biennale (1995 and 2005) and Biennale of Sydney (2006). Solo exhibitions include Centre Pompidou, Paris (1994), Museum of Contemporary Art, Chicago (1997), The New Museum of Contemporary Art, New York (1998), Castello di Rivoli, Turin (1999), Tate Britain, London (2000), Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm (2004) and Museum of Contemporary Art, Sydney (2005), Parasol Unit, London (2008), Darat Al Funun, Jordan (2008) and Fondazione Querini Stampalia, Venice (2009).

Vito Acconci Bio

2010-08-03T07:51:00.000-07:00

After studying literature at Holly Cross College, Worcester, Massachusetts (B.A. in 1962), and then studying literature and poetry at the University of Iowa (M.F.A in 1964), he taught the theory of art in schools of the visual arts in New York, wrote short novels and stories which he published in magazines (Olympia Magazine, Paris) before devoting himself entirely to poetry. He founded and co-edited the review 0 to 9. he became interested in the aesthetic research of minimalism, and particularly the material properties of signs, abstract structures and the environment. He used words as objects rather than as signifiers and the page as a field of action: "I can consider my use of the page as a model space, a performance area in miniature or abstract form." 1 From 1969 onwards, the page became too small for him, no longer referring to anything but itself.The context of conceptual art and the network of galleries enabled Vito Acconci to move from poetry to the visual arts. His preoccupations were now orientated towards "real space (for example, the physical space, the social space, the cultural space, the day-to-day, time) which he explored using various media.- Photography: in Toe-Touch (1969), for example, he assessed the limits of his environment in relation to those of his body.- Sound: with Slap (1969), he explored the soundscape by the propagation of waves and their return onto his body.- Actions and performances : in the Following Pieces (1969), he experimented with the public space by following people in the street and studied the very process of following them. In Rubbing Piece (1970), he created an injury for himself and studied both the duration of the actual action and the duration of the post-performance. With Seed Bed (1971), he determined a space for contact, where the spectator makes the artist act while the artist responds to the spectator.- Super 8 films and videos: from 1969 to 1971, in Body Works (notably Opening, 1969, Correction, 1970, Water Ways, 1971), he focuses the camera on the space of his body, often without the head, and it becomes the only field of exploration and action. 2.He called these performances designed for specific media Actions Activities.In the same way that the words began to struggle with the page, the body moved away from the camera to struggle with the limits of the frame (the screen). Although Super 8 enabled Acconci to make implicit references to a private and essentially physical world, video, with the introduction of sound, offered new domains to explore with psychological, political and sociological connotations.In 1973-74, with My Word, his last Super 8 film, and in 1976, with The Red Tapes, his last video 3, Acconci offered a commentary on his previous work, a declaration concerning his introspection and all the spaces explored previously. He underlined the limits - which had become unbearable - of the place which received him like those of the edge of the screen. The "page" had once again become too small. He definitively abandoned video for ’"real space" and chose - like Dan Graham or Richard Serra at the same time - public areas. He produced essentially sculptures "in the widest sense" 4, of installations and environments. Language continued to play a role, but more directly. His environments took into account participation by the public. Acconci then turned his thinking to domestic architecture (Instant-House, 1980) and the arrangement of urban space. His projects (parks, playgrounds…) are based on a political conception of art in which the public space should "operate as a forum, a place for debate and discussion" 5.

Vito Acconci

2010-08-03T07:40:00.000-07:00

Vito AcconciDue o tre strutture che s'aggancino a una stanza per sostenere un boomerang politico1978

Piero Manzoni

2010-08-03T07:22:00.000-07:00

Piero Manzoni (July 13, 1933 - February 6, 1963) was an Italian artist best known for his ironic conceptual art. Influenced by the work of Yves Klein, his own work anticipated, and directly influenced, the work of a generation of younger Italian artists brought together by the critic Germano Celant in the first Arte Povera exhibition held in Genoa, 1967 . Manzoni is most famous for a series of artworks that call into question the nature of the art object, directly prefiguring Conceptual Art. His work eschews normal artist's materials, instead using everything from rabbit fur to human excrement in order to "tap mythological sources and to realize authentic and universal values"
His work is widely seen as a critique of the mass production and consumerism that was changing Italian society (the 'Economic Miracle') after World War II

MANZONI'S LINES

Manzoni's Lines are drawn in ink on rolls of paper of various length, sealed in cardboard cylinders labelled and signed by the artist.
The Line 7,200 m. (Herning, Denmark, 4 July 1960) should had been the first stage of a global project: a series of extra-long Lines placed in each of the principal cities of the world, in order to equal, with the sum of their length, the earth's circumference.
The insufficiency of the limited metrical extents of the Lines is overcome in the Line of infinite length: a solid wooden cylinder hides an ideal line existing only as a metaphysical speculation.

THE LIVING WORKS OF PIERO MANZONI

On July 21, 1960, took place in Milan one of the more famous Manzoni's manifestations: the Consumption of dynamic art by the art-devouring public (Consumazione dell'arte dinamica del pubblico divorare l'arte). Manzoni marked with his fingerprint some boiled eggs and gave them to the audience to eat.
The "art devouring" project discloses a new trend in art, shifting her role from production to consumption. The spectator is involved in the artistic activity and turned himself into a work of art. "It is not our business to educate; nor is it our business to pass a message".
In addition to the "Consumption of art" ceremony of July 1960, Piero Manzoni signed people to create Living Sculptures and built the Magic bases, pedestals bearing footprints to accommodate people who, for as long they stood there, became artistic works.
The full achievement of this artistic aspiration is the Socle du monde, an upside down magic base holding on its bearing surface the entire world. Everything is recognised as a work of art.

Everything touched by the artist is changed into a work of art. An ordinary everyday object like an egg becomes a precious relic if Manzoni authenticates it.
The most radical gesture of Piero Manzoni - the ninety cans of Artist's shit sold at the then-current price of gold - shows the power of the creative act to regenerate into art also bodily secretions.An ironic reference to the willingness of the art market to buy everything on condition that it is signed.

Alberto Burri

2010-08-03T07:17:00.001-07:00

Adrian Searle on the Italian artists who found poignant beauty in acts of torture

2010-08-03T07:16:00.000-07:00

http://www.guardian.co.uk/artanddesign/2005/mar/15/art.italy

Toby Paterson

2010-07-26T12:57:00.000-07:00

Martin Creed

2010-07-26T12:49:00.001-07:00

Words

"I try to try many things. I don‘t believe enough in one thing to do just one thing. I can’t. I’ve had enough.
My world is a soup of thoughts, feelings and things quite indistinguishable one from the other. Words are somewhere half-dissolved in the soup.Words are things. Words are shapes, sounds, noises. Words are like other things. Words are materials. Words, like most things, are a demand for attention. I think I used words first in my work to try to describe things, to write instruction or scripts, to allow things to be made without me, by other people.
Words are never ironic. Words are, like money is, neutral. Meaning is made by people.
Words are things to look at. Words are no more or less than other things which fill up space and time. I try not to worry, and put words one after another in a line which stops."

Anish Kapoor

2010-07-26T12:46:00.001-07:00

Absalon

2010-07-26T12:39:00.000-07:00

Cell No. 1 1992Cellule No. 1Wood, cardboard, fabric and neon lightsunconfirmed: 2450 x 4200 x 2200 mmsculpturePresented by the Patrons of New Art through the Tate Gallery Foundation

Cell No.1 is one of six structures modelled on human dimensions that Absalon designed for various major cities around the world. He intended to inhabit these cells himself, maintaining a consistent lifestyle within a nomadic existence. The structure recalls the simple forms of modernist architecture. It also refers to the impact of technology in the twentieth century, mimicking a space capsule or nuclear shelter. Absalon explained that the cells embodied a 'desire for a perfect universe', not in the revolutionary or utopian sense, but as a personal space for solitude and shelter. (From the display caption August 2004)

Magdalena Abakanowicz

2010-07-26T12:33:00.000-07:00

Abakan Orange 1971Sisal on metal supportunconfirmed: 3000 x 4000 x 500 mminstallation

Abakan Red 1969Sisal on metal supportunconfirmed: 3000 x 3000 x 3500 mminstallation

Angela Bulloch 'Betaville'

2010-07-26T12:20:00.001-07:00

Her 1994 work Betaville consisted of a machine painting vertical and horizontal stripes on a wall, triggered whenever someone sat on the bench in front of it

Angela Bulloch

2010-07-26T12:10:00.001-07:00

Mac Adams

2010-07-26T11:53:00.000-07:00

Shadow Sculptures

Scott Burton

2010-07-26T11:49:00.001-07:00

Nancy Holt

2010-07-26T11:42:00.000-07:00

Sun Tunnels

Kate Ericson / Mel Ziegler

2010-07-26T11:24:00.000-07:00

Statue of Liberty, 1988Etched glass jars and paint on metal shelves72" x 5" x 5"POR

Michael Heizer

2010-07-26T11:16:00.000-07:00

Michael Heizer. North, East, South, West, 1967—2002

"Titled North, East, South, West, a more moving piece of art we don't know that we've ever seen. Each of the four twenty-feet deep inversions that comprise the piece has a different geometry: a compound cube, a cone, a wedge, and a conical section; and each, inserted into the museum floor, is lined with Cor-Ten steel whose color - an orange/brown, changes as it oxidizes. The uncanny volumes in this sculpture, when seen close up, redefine relationships between body, solids and void in spiritual as well as in physical terms."

Beauty and the Contemporary Sublime

2010-05-03T06:44:00.000-07:00

Observations on the Feeling of the Beautiful and the Sublime

2010-05-03T06:29:00.000-07:00

John McCracken

2010-04-19T15:20:00.000-07:00

John McCracken (b. 1934, Berkeley, California) is an American artist. He started his career creating bold, tight geometric compositions on Masonite or treated canvas. While still in school, his first exhibition at Nicholas Wilder's gallery in Los Angeles, California in 1965 was a critical success. He was included in the seminal 1966 exhibit, "Primary Structures" at the Jewish Museum (New York) as part of the West Coast influence. The new work he presented jumped off the wall in the form of objects that had been distilled down to their most basic form. McCracken calls his objects "blocks, slabs, columns, planks. Basic beautiful forms, neutral forms." After his early paintings, a technique emerged on these physical forms of high gloss lacquer over fiberglass or polyester resin on plywood or wood substructure similar to techniques used in surfboard construction pervasive in his Southern California environment. For him, color is also used as "material." Bold solid colors with their highly polished finish reflect the unique California light or mirror the observer in a way that takes the work into another dimension. Although many of his pieces stand solidly on or off a pedestal, it was his decision to lean the objects against the wall that gave him international recognition.

Callum Innes

2010-04-19T10:05:00.000-07:00

Donald Judd

2010-04-19T10:00:00.001-07:00

Sol Lewitt

2010-04-19T09:54:00.000-07:00

Do Ho Suh

2010-04-19T09:53:00.000-07:00

Do Ho Suh

2010-04-19T09:52:00.001-07:00

Do Ho Suh

2010-04-13T07:32:00.001-07:00

Naum Gabo

2010-03-13T06:01:00.001-08:00

Anya Gallaccio

2010-03-13T05:58:00.001-08:00

Artist's talk/ Anya Gallaccio

2010-03-13T05:55:00.000-08:00

http://channel.tate.org.uk/media/26066124001

In conversation with the broadcaster and critic Tim Marlow Anya Gallaccio discusses her use of sugar and oak trees in Tate Britain's new Biennial Duveen Sculpture Commission.
18.09.2002

Anya Gallaccio

2010-03-13T05:51:00.000-08:00

Anya Gallaccio

2010-03-13T05:44:00.000-08:00

Anya Gallaccio attended Kingston Polytechnic and Goldsmiths' College at the University of London, and now lives and works in London. Gallaccio has exhibited extensively, including recent solo exhibitions at the Tate Britain and at Ikon Gallery in Birmingham, England. Her work is featured in numerous public and private collections such as the Tate Gallery, the Victoria & Albert Museum, the Museum of Contemporary Art, Sydney, and South Gallery, London. Gallaccio creates site-specific installations, often using organic materials as her medium. Past projects have included arranging a ton of oranges on a floor, placing a thirty-two ton block of ice in a boiler room, and painting a wall with chocolate. The nature of these materials results in natural processes of transformation and decay, often with unpredictable results. Gallaccio has stated, "I see my works as being a performance and a collaboration . . . There is an unpredictability in the materials and collaborations I get involved in. Making a piece of work becomes about chance - not just imposing will on something, but acknowledging its inherent qualities."

Solo show/C.Parker

2010-03-13T05:36:00.000-08:00

Cornelia Parker’s approach to making art has been described as that of a particle physicist, known for her deconstructions that are as coherent conceptually as they are fragmented visually. Her work is infused with wit, elegance and erudition. She is intrigued by the clichéd symbolic properties of the most mundane items and the presence objects acquire through their associations.

Her photographs, installations and manipulated objects do not rely on fixed meaning for their effect, rather they exploit a resonant series of visual and verbal associations to provide open fields for our imaginative exploration.

Burning, melting, dissolving, crushing, shooting and exploding are all methods the artist uses to wrest a particular and strange poetry from matter. What could be seen as mere débris is transformed into something beautiful and compelling, created by destructive forces both natural and man-made.

Parker’s work ranges in scale from the monumental to the microscopic. In this, her first solo show at Frith Street Gallery, she has created two new suspended works – one of charred wood, one of white chalk – which resurrect in sculptural form two edifices which have crumbled in dramatic circumstances. Through microscopic magnification Einstein’s Abstracts transform the gestures of Einstein’s equations into images which evoke the cosmos with all its associations of time and space.\

Subconscious Of A Monument

2010-03-13T05:31:00.000-08:00

CORNELIA PARKER: Subconscious Of A Monument

20 September 2005 – 24 October 2005

Exhibition held at the Royal Institute for British Architects

Frith Street Gallery, London and D’Amelio Terras, New York are pleased to present a major installation by Cornelia Parker at the Royal Institute for British Architects.

Cornelia Parker’s work explores the uncharted territories within those most visited places and ideas. By harnessing their aura and histories and using them as a material, she creates a new space for contemplation amidst the over familiar. In Parker’s hands, nothing is stable. Objects fall apart, collide, combust, explode or are compressed to remerge as new and surprisingly beautiful forms.

Subconscious of a Monument is composed of fragments of dry soil, which are suspended on wires from the gallery ceiling. These lumps are the now-desiccated clay which was removed from beneath the Leaning Tower of Pisa in order to prevent its collapse. There is an absurdity about removing the very earth that supports the foundations of a building to keep it standing and here the earth seems to have percolated upwards through the gallery floor and hangs like a ghostly molecular version of Walter de Maria’s Earth Room. The work highlights many of the concerns inherent in Parker’s practice from iconographic objects, places and buildings to a fascination with Freudian psychoanalysis.

“I’m concerned with ambivalence, with opposites, with inhaling and exhaling, things falling and things rising, things disintegrating and coming back together …with killing things off, as if they existed in cartoon comics, and then resurrecting them, so that one set of references is negated as a new one takes its place.”

Cornelia Parker

2010-03-13T05:30:00.001-08:00

b. 1956, Cheshire, England

For some years Cornelia Parker’s work has been concerned with formalising things beyond our control, containing the volatile and making it into something that is quiet and contemplative like the ‘eye of the storm’. She is fascinated with processes in the world that mimic cartoon ‘deaths’ – steamrollering, shooting full of holes, falling from cliffs and explosions. Through a combination of visual and verbal allusions her work triggers cultural metaphors and personal associations, which allow the viewer to witness the transformation of the most ordinary objects into something compelling and extraordinary. Lately Parker’s attention has turned to issues of globalisation, consumerism and the mass-media.

A solo exhibition of Cornelia Parker’s work was staged last year at Frith Street Gallery at the same time her video piece Chomskian Abstract was screened at London’s Whitechapel Art Gallery Laboratory. Her work was included in the inaugural exhibition of Tokyo’s new National Art Centre in late 2007. Parker had a major solo exhibition at Birmingham’s Ikon Gallery in 2007 and The Wurttembergischer Kunstverein, Stuttgart in 2005. She was nominated for the Turner Prize in 1997. Other notable solo exhibitions include Galleria d’Arte Moderna e Contemporanea, Turin; ICA, Philadelphia; Aspen Museum of Art, Colorado; Chicago Arts Club and the ICA, Boston. Parker’s work is represented in many international collections including The Arts Council of England, Tate Gallery, London and the Museum of Modern Art, New York.

Felix Gonzalez-Torres

2010-01-18T13:39:00.000-08:00

Untitled [Passport] 1991

Marielle Neudecker

2010-01-18T13:22:00.000-08:00

The Sunken Village (2001)

The work of Mariele Neudecker (born 1965) deals with the concepts of "the romantic" and its reception and nationalistic abuse throughout German history. Drawing on the tradition of German romantic painting and its most prominent representative Caspar David Friedrich, the artist recreates and transforms the historical work into three-dimensional, contemporary versions. Her major installation "Unrecallable Now" (1998) consists of a model representation of an alpine range submerged in a freestanding aquarium of water. Not only is this huge sculpture a reference to the concept of romantic landscape both in painting and literature of that time, it also time reflects contemporary postmodern theory by laying open the sculptures' components. A similar approach is taken by recreating model landscapes that represent archetypes of German landscape and their counterparts in fairy tale and art history, which are built in small tanks filled with liquids. And although these works reveal that atmosphere is created by chemistry they are still of an amazing beauty.

Emma Kay

2010-01-18T13:04:00.000-08:00

The World From Memory IV (1999)

Layla Curtis

2010-01-18T13:00:00.000-08:00

United Kingdom (1999)

Collage on paper
unconfirmed: 2050 x 2260 mm
on paper, unique

United Kingdom was made during the period of Scottish political devolution and the establishment of a Scottish parliament. By manipulating a road map of Great Britain, Curtis integrates Scottish and Welsh territory within the contours of England, and English and Welsh within Scotland. Furthermore, Scotland has become a separate island, occupying the position usually held by Ireland. By imposing the details of one geographical area upon the outline of another, Curtis raises fundamental questions about place and national identity.

Michael Landy

2010-01-17T20:02:00.000-08:00

Semi-detached (2004)

Semi-detached, a major site-specific installation, takes as its focus the artist’s father, a former tunnel miner incapacitated by an industrial accident twenty-five years ago. Through sculpture, video and sound Landy invokes broader questions of value and usefulness, employment and purpose. This major project is Landy’s first since Breakdown 2001, his most celebrated work to date, which took place in a former high-street department store in central London. After creating a meticulous inventory of all his possessions, Landy set about systematically destroying them over a two-week period in what he described as a consumerist experiment in identity. This followed a series of theatrically spectacular installations which examined and challenged attitudes to contemporary consumerism, often exposing the less palatable aspects of the society in which we live.

Joseph Beuys

2010-01-17T19:31:00.000-08:00

Plight, 1958/1985, installation: 43 rolls of felt, piano, black table, thermometer, 310 x 890 x 1813 cm

Lucy Gunning

2010-01-17T17:33:00.001-08:00

Intermediate II, 2001

The second part of the installation is a room constructed within the space. From the outside, this room resembles a simple wooden box or crate, but on entering the space we find ourselves in a miniature ballet studio, complete with mirrors on all sides, an exercise barre and a polished wooden dance floor. The room is scaled down but there is enough space for someone to dance freely, and the mirrors surrounding us make us even more aware of our physical presence here. As we stand inside this space, confronting our own reflections, it seems that our secret observation of the ballet students has turned full circle. We are now the performers.

Rachel Whiteread

2010-01-17T17:23:00.001-08:00

Untitled (Paperbacks) 1997

Audio Program excerpt Rachel Whiteread
MoMA2000: Open Ends (1960-2000)
September 28, 2000-March 4, 2001
The piece, Untitled (Paperbacks) was made about four years ago. I was thinking about trying to make something that was a combination of units that were nearly the same, but not quite. What I wanted to do was to make an impression of a room that was potentially full of books, but also read as a kind of very simple, minimal, textured surface. What I did was make a series of bookshelves, which I then packed with books, then made a polystyrene interior, sort of mold of the inside of that, and then filled it with plaster.
What you're seeing is a negative space of where the books were. So, if you're looking at your bookcase at home and you think about the space behind the books—that's what's left. That's what I've actually cast, that's what's making this sculpture hold. There's a mixture of new books and second-hand books, some very well thumbed books, some library books. If you look onto the surface of the work, you'll notice that there are thumb marks where you may have had a dictionary with indentations down the side of it. Or there are certain words spelled back to front. And there's an awful lot of color in there, it's very subtle color, but there's a lot of color, so it's really about trying to work with the surface, laying down surface detail and color.
What I really like about the piece is it's very hard to make your eye settle on one point. There are apertures—two doorways—but other than that, it's very hard to, you know, where you just look at something and, "Ooh, I like that bit best, or I like that bit." It just really is a matter of your eye wandering around. There's no one area that you stare at, you're just kind of taken around it.

When is a room not a room?

2010-01-17T17:19:00.000-08:00

http://www.guardian.co.uk/education/2001/nov/24/arts.highereducation

Stuart Jeffries

But is it Installation Art

2010-01-17T17:08:00.000-08:00

http://www.tate.org.uk/tateetc/issue3/butisitinstallationart.htm

Claire Bishop 'But is it Installation Art'

Fred Sandback

2010-01-17T16:55:00.000-08:00

Untitled (Sculptural Study, Two-part Vertical Construction)

James Turrell

2010-01-17T16:36:00.001-08:00

Extract from an interview with James Turrell : http://conversations.org/story.php?sid=32

RW: This interests you obviously, this phenomenon of cultural overlay, and then physiological possibilities.

JT: Yes. We have the physiological limits of perception, and then we have this cultural overlay which is a learned perception. They are not identical at all. Some of Plato's references are to that as well.

RW: You were saying there are many relative choices made, say in a photograph, that really delimit what is seen. And what I'm wondering is, in the encounter with light- which can be an encounter with a different color of light, or a different quality, or angle-isn't there still something fundamental about the perception of light?

JT: Yes. There is a truth in light. That is, you only get light by burning material. The light that you get is representative of what is burned. So whether you take hydrogen or helium, as in the sun, or whether you decide to burn xenon in a bulb, or neon, or tungsten wire, something must be burned to get this light. The light that comes off this material burned, is characteristic of that material burned, at the temperature at which it is burned. So you can then put a filter in between or you can bounce it off paint, but there is truth in light.

There are some very interesting experiments that were done several years ago. They show that light is aware that we are looking.

Rebecca Horn

2010-01-17T16:24:00.000-08:00

High Moon (1991)

Rebecca Horn: extracts from the biography

In the first performances, the body-extensions, she explores the equilibrium between body and space. In later works she replaces the human body with kinetic sculptures which take on their own life. Her new works define and cut through spaces with reflections of mirrors, light and music.
The objects used and specially made for her installations such as violins, suitcases, batons, ladders, pianos, feather fans, metronomes, small metal hammers, black water basins, spiral drawing machines and huge funnels together build the elements for kinetic sculptures that are liberated from their defined materiality and continuously transposed into ever-changing metaphors touching on mythical, historical, literary and spiritual imagery.

Eva Zeisel on the playful search for beauty | Video on TED.com

2010-01-17T13:20:00.000-08:00

Eva Zeisel on the playful search for beauty Video on TED.com

Alison Moffett

2010-01-14T15:30:00.000-08:00

2009-05-31T22:29:00.000-07:00

The animatic is a large scale entertaining machine
triggered by playing a 45 record at it's start.
The turntable's motion sets off a series of small
individual animating machines.

watch the video: http://www.youtube.com/watch?v=3HTjJ-nuhdU&feature=channel_page

Blood on paper (art of books)

2009-05-25T19:53:00.000-07:00

Anish Kapoor 'wound'

Daniel Buren 'Cahier d’un Retour au Pays Natal'

Sol LeWitt 'Geometric figures and colours'

At a time when the notion of the book is challenged by the advent of the screen and computer, this exhibition aims to show the extraordinary ways in which the book has been treated by leading artists of today and the recent past. Blood on Paper will focus on new and contemporary work, and on books where the artist has been the driving force in conception and design. The past twenty years have seen outstanding work by some of the most influential and respected artists of our time.
The exhibition selects books which reveal both the creative process and the soul of the artist in question. Some are iconic works which established the genre of the livre d’artiste after the Second World War; others are surprises from artists who are best known for their work with other sorts of material. Formats and production methods vary enormously. Some works show the virtuosity of traditional ‘hot metal’ printing techniques, others take the commercially-produced book as the starting point of their statements, yet others produce stunning large-scale installations and sculptures.

Drawing Club (other projects)

2009-05-25T19:39:00.000-07:00

Here are some photographs, from the newly formed drawing club - which takes place at my flat every few weeks. To begin with, we have been using this book, almost as a guide:

The surrealist book of games' Essentially its a starting point, to begin a flow of conversations, ideas etc and find out how we want to spend these evenings. Everyone seems to have varied interests and I'm hoping we can run d.i.y workshops together, swap various skills (bookbinding, textiles, screenprint etc) I'll update this as time goes on and give a far more detailed report, on the kind of plans we are hatching.

Free Association (self)

2009-05-25T19:36:00.000-07:00

Free association (Psychodynamic theory) is a technique used in psychoanalysis, first developed by Sigmund Freud.
In free association, psychoanalytic patients are invited to relate whatever comes into their minds during the analytic session, and not to censor their thoughts. This technique is intended to help the patient learn more about what he or she thinks and feels in an atmosphere of non-judgmental curiosity and acceptance. Psychoanalysis assumes that people are often conflicted between their need to learn about themselves, and their (conscious or unconscious) fears of and defenses against change and self-exposure. The method of free association has no linear or preplanned agenda, but works by intuitive leaps and linkages which may lead to new personal insights and meanings. When used in this spirit, free association is a technique in which neither therapist nor patient knows in advance exactly where the conversation will lead, but it tends to lead to material that matters very much to the patient. Its goal is not to unearth specific answers or memories, but to instigate a journey of co-discovery which can enhance the patient's integration of thought, feeling, agency, and selfhood.
Suggested influences in the development of this technique include Husserl's version of epoche and the work of Sir Francis Galton. Free association also shares some features with the idea of stream of consciousness employed by writers such as Virginia Woolf and Marcel Proust. Freud developed the technique as an alternative to hypnosis, both because of its perceived fallibility and because he found that patients could recover and comprehend crucial memories while conscious. However, Freud found that despite a subject's effort to remember, a certain resistance kept him or her from the most painful and important memories. He eventually came to the view that certain items were completely repressed, and off-limits to the conscious realm of the mind.
Freud's eventual practice of psychoanalysis focused not so much on the recall of these memories as on the internal mental conflicts which kept them buried deep within the mind, though the technique of free association still plays a role today in therapeutic practice and in the study of the mind.

Freud and Jung (self)

2009-05-25T19:33:00.000-07:00

Freud (wiki)

It was in his book The Interpretation of Dreams ('Die Traumdeutung'; literally 'dream-interpretation'), first published in 1899 (but dated 1900), that Sigmund Freud first argued that the foundation of all dream content is wish-fulfilment, and that the instigation of a dream is always to be found in the events of the day preceding the dream. In the case of very young children, Freud claimed, this can be easily seen, as small children dream quite straightforwardly of the fulfilment of wishes that were aroused in them the previous day (the 'dream day'). In adults, however, the situation is more complicated -- since in Freud's submission, the dreams of adults have been subjected to distortion, with the dream's so-called 'latent content' being a heavily disguised derivative of the 'manifest' dream-thoughts present in the unconscious. As a result of this distortion and disguise, the dream's real significance is concealed: the dreamer is no more capable of recognising the actual meaning of their dream than the hysteric is able to understand the connection and significance of their neurotic symptoms.
In Freud's original formulation the latent dream-thought was described as having been subject to an intra-psychic force referred to as 'the censor'; in the more refined terminology of his later years, however, discussion was in terms of the super-ego and 'the work of the ego's forces of defence'. In waking life, he asserted, these so-called 'resistances' altogether prevented the repressed wishes of the unconscious from entering consciousness; and though these wishes were to some extent able to emerge during the lowered state of sleep, the resistances were still strong enough to produce 'a veil of disguise' sufficient to hide their true nature. Freud's view was that dreams are compromises which ensure that sleep is not interrupted: as 'a disguised fulfilment of repressed wishes', they succeed in representing wishes as fulfilled which might otherwise disturb and waken the dreamer.
Freud's 'classic' early dream analysis is that of 'Irma's injection':
Freud described the actual technique of psychoanalytic dream-analysis in the following terms:
“
You entirely disregard the apparent connections between the elements in the manifest dream and collect the ideas that occur to you in connection with each separate element of the dream by free association according to the psychoanalytic rule of procedure. From this material you arrive at the latent dream-thoughts, just as you arrived at the patient's hidden complexes from his associations to his symptoms and memories...The true meaning of the dream, which has now replaced the manifest content, is always clearly intelligible.
”
Freud listed the distorting operations that he claimed were applied to repressed wishes in forming the dream as recollected: it is because of these distortions (the so-called 'dream-work') that the manifest content of the dream differs so greatly from the latent dream thought reached through analysis -- and it is by reversing these distortions that the latent content is approached.
The operations included:
Condensation — one dream object stands for several associations and ideas; thus "dreams are brief, meagre and laconic in comparison with the range and wealth of the dream-thoughts".
Displacement — a dream object's emotional significance is separated from its real object or content and attached to an entirely different one that does not raise the censor's suspicions.
Representation — a thought is translated to visual images.
Symbolism — a symbol replaces an action, person, or idea.
To these might be added 'secondary elaboration' -- the outcome of the dreamer's natural tendency to make some sort of 'sense' or 'story' out of the various elements of the manifest content as recollected. (Freud, in fact, was wont to stress that it was not merely futile but actually misleading to attempt to 'explain' one part of the manifest content with reference to another part as if the manifest dream somehow constituted some unified or coherent conception).
Freud considered that the experience of anxiety dreams and nightmares was the result of failures in the dream-work: rather than contradicting the 'wish-fulfilment' theory, such phenomena demonstrated how the ego reacted to the awareness of repressed wishes that were too powerful and insufficiently disguised. Traumatic dreams (where the dream merely repeats the traumatic experience) were eventually admitted as exceptions to the theory.
Freud famously described psychoanalytic dream-interpretation as "the royal road to a knowledge of the unconscious"; he was, however, capable of expressing regret and dissatisfaction at the way his ideas on the subject were misrepresented or simply not understood:
“
The assertion that all dreams require a sexual interpretation, against which critics rage so incessantly, occurs nowhere in my Interpretation of Dreams...and is in obvious contradiction to other views expressed in it.
”
On another occasion, he suggested that the individual capable of recognising the distinction between latent and manifest content "will probably have gone further in understanding dreams than most readers of my Interpretation of Dreams".

Jung (wiki)

Although not dismissing Freud's model of dream interpretation wholesale, Carl Jung believed Freud's notion of dreams as representations of unfulfilled wishes to be simplistic and naive (Freud returned the favor by publicly opining that Jung was fine for those who were looking for a prophet [Freud, "Introductory Lecutures"]). Jung was convinced that the scope of dream interpretation was larger, reflecting the richness and complexity of the entire unconscious, both personal and collective. Jung believed the psyche to be a self-regulating organism in which conscious attitudes were likely to be compensated for unconsciously (within the dream) by their opposites.[1]
Jung believed that archetypes such as the animus, the anima, the shadow and others manifested themselves in dreams, as dream symbols or figures. Such figures could take the form of an old man, a young maiden or a giant spider as the case may be. Each represents an unconscious attitude that is largely hidden to the conscious mind. Although an integral part of the dreamer's psyche, these manifestations were largely autonomous and were perceived by the dreamer to be external personages. Acquaintance with the archetypes as manifested by these symbols serve to increase one's awareness of unconscious attitudes, integrating seemingly disparate parts of the psyche and contributing to the process of holistic self understanding he considered paramount.[2]
Jung believed that material repressed by the conscious mind, postulated by Freud to comprise the unconscious, was similar to his own concept of the shadow, which in itself is only a small part of the unconscious.
He cautioned against blindly ascribing meaning to dream symbols without a clear understanding of the client's personal situation. Although he acknowledged the universality of archetypal symbols, he contrasted this with the concept of a sign — images having a one to one connotation with their meaning. His approach was to recognise the dynamism and fluidity that existed between symbols and their ascribed meaning. Symbols must be explored for their personal significance to the patient, instead of having the dream conform to some predetermined idea. This prevents dream analysis from devolving into a theoretical and dogmatic exercise that is far removed from the patient's own psychological state. In the service of this idea, he stressed the importance of "sticking to the image" — exploring in depth a client's association with a particular image. This may be contrasted with Freud's free associating which he believed was a deviation from the salience of the image. He describes for example the image "deal table". One would expect the dreamer to have some associations with this image, and the professed lack of any perceived significance or familiarity whatsoever should make one suspicious. Jung would ask a patient to imagine the image as vividly as possible and to explain it to him as if he had no idea as to what a "deal table" was. Jung stressed the importance of context in dream analysis.
Jung stressed that the dream was not merely a devious puzzle invented by the unconscious to be deciphered, so that the 'true' causal factors behind it may be elicited. Dreams were not to serve as lie detectors, with which to reveal the insincerity behind conscious thought processes. Dreams, like the unconscious, had their own language. As representations of the unconscious, dream images have their own primacy and logic.
Jung believed that dreams may contain ineluctable truths, philosophical pronouncements, illusions, wild fantasies, memories, plans, irrational experiences and even telepathic visions.[3] Just as the psyche has a diurnal side which we experience as conscious life, it has an unconscious nocturnal side which we apprehend as dreamlike fantasy. Jung would argue that just as we do not doubt the importance of our conscious experience, then we ought not to second guess the value of our unconscious lives.

[edit] Hall
In 1953, Calvin S. Hall developed a theory of dreams in which dreaming is considered to be a cognitive process.[4] Hall argued that a dream was simply a thought or sequence of thoughts that occurred during sleep, and that dream images are visual representations of personal conceptions. For example, if one dreams of being attacked by friends, this may be a manifestation of fear of friendship; a more complicated example, which requires a cultural metaphor, is that a cat within a dream symbolizes a need to use one's intuition. For English speakers, it may suggest that the dreamer must recognise that there is "more than one way to skin a cat", or in other words, more than one way to do something.

[edit] Faraday, et al.
In the 1970s, Ann Faraday and others helped bring dream interpretation into the mainstream by publishing books on do-it-yourself dream interpretation and forming groups to share and analyze dreams. Faraday focused on the application of dreams to situations occurring in one's life. For instance, some dreams are warnings of something about to happen – e.g. a dream of failing an examination, if one is a student, may be a literal warning of unpreparedness. Outside of such context, it could relate to failing some other kind of test. Or it could even have a "punny" nature, e.g. that one has failed to examine some aspect of his life adequately.
Faraday noted that "one finding has emerged pretty firmly from modern research, namely that the majority of dreams seem in some way to reflect things that have preoccupied our minds during the previous day or two."[5]

Un Chien Andalou (self)

2009-05-25T19:29:00.000-07:00

The film has no plot, in the conventional sense of the word. The chronology of the film is disjointed, jumping from the initial "once upon a time" to "eight years later" without the events or characters changing very much. It uses dream logic in narrative flow that can be described in terms of then-popular Freudian free association, presenting a series of tenuously related scenes.

Freud (self)

2009-05-25T19:17:00.000-07:00

Freud 'typical teeth dreams'

Dreams in Films (self)

2009-05-25T18:49:00.000-07:00

Films are probably the closest medium we have to experiencing the inexplicable quality of the dream in our waking lives. Rich in symbol, metaphor, movement and mystery, films, like dreams, enable us to participate in another reality, and, through that participation, to be transformed. The films listed here all contain,depict, explore or revolve around dreams or dream imagery.

'Fire walk with me' - David Lynch

'Lost Highway' - David Lynch

Joseph Crigley (body as site)

2009-05-25T18:33:00.000-07:00

'White Noise'

A typical work by Joseph Grigely comprises bits of paper pinned to a wall, each one scribbled with a snatch of conversation. These scraps-napkins, envelopes, notebook pages-are presented in formal, snowflake-like arrangements, but their motley shapes and finishes suggest that they are incidental as objects; they simply came to hand while Grigely, who lost his hearing as a child, was scrawl-chatting with a friend. What counts is the sense of just-missed implication: the casual "tone" expressed by loopy or cramped handwriting; the cryptic phrases whose in-jokey resonance is kept though their sense is lost.

More soon

2009-05-23T14:29:00.000-07:00

Three people trapped in infinite politeness. One, Two, Three. (Video)

MORE SOON

2009-05-23T14:16:00.000-07:00

http://www.moresoon.org

Video work, the image doesn't do it any justice.

Dali (self)

2009-05-22T22:14:00.000-07:00

'One second before awakening'

Mona Hatoum (self)

2009-05-22T22:09:00.000-07:00

'Pull' interactive video/performance piece.

Sophie Calle (body as site)

2009-05-22T22:03:00.001-07:00

'The Shadow'

In April 1981, at my request, my mother went to a detetctive agency. She hired them to follow me, to report my daily activities, and to proviede photographic evidence of my existence.» (Sophie Calle. Double Game. With the Participation of Paul Auster, London 1999)In «The Shadow» she sets the detective's photographic account against her own observations: the observer becomes the observed. The viewer is the third witness. This search for her own identity fails to reveal a clear picture here, too. Sophie Calle's face does not appear in any of the pictures: her figure emerges like a shadow throughout the detective's photographs.

On Kawara (body as site)

2009-05-22T21:58:00.001-07:00

On Kawara (body as site)

2009-05-22T21:52:00.000-07:00

On Kawara (body as site)

2009-05-22T21:51:00.001-07:00

Horizontality and Perpendicularity documents the various places visited by Japanese artist On Kawara through his projects I GOT UP and I WENT, ongoing projects begun in 1968. I GOT UP consists of stamped postcards--stating time, venue, sender, and addressee--sent twice a day by Kawara from cities all over the world to friends and acquaintances. I WENT documents the distances covered daily by the artist, marked in photocopies of city maps. Horizontality and Perpendicularity covers both process-projects, combining a postcard and a city map for each day. French novelist and theorist Michel Butor contributes with an essay on Kawara's extremely systematic art--which recalls, in its way, Butor's experiments with the nouveau roman (or new novel) in the 1950s and 1960s. Beautiful and necessary, Horizontality and Perpendicularity is an impressive testament to Kawara's dismantling of the boundaries between art and life.

Barnaby Barford

2009-05-22T11:55:00.000-07:00

Proportion/Kerning

2009-05-22T08:17:00.001-07:00

http://en.wikipedia.org/wiki/Proportional_font#Proportional_font

Charlie Kaufman

2009-05-21T19:12:00.000-07:00

THE BIG SCREENING.

27 May - until we finish every one.

Synecdoche, New York (2008) (written by)
"Moral Orel" (1 episode, 2006) - Love (2006) TV episode (story)
Eternal Sunshine of the Spotless Mind (2004) (screenplay) (story)
Adaptation. (2002) (screenplay)
Confessions of a Dangerous Mind (2002) (screenplay) ... aka Geständnisse - Confessions of a dangerous Mind (Germany)
Human Nature (2001) (written by) ... aka Human Nature (France) (USA)
Being John Malkovich (1999) (written by)
"Ned and Stacey" (2 episodes, 1996-1997) - Where My Third Nepal Is Sheriff (1997) TV episode (writer) - Computer Dating (1996) TV episode (writer)
"The Dana Carvey Show" (6 episodes, 1996)... aka "The Dana Carvey Show Sponsored by Pepsi" (USA) ... aka "The Diet Mug Root Beer Dana Carvey Show" (USA) ... aka "The Mountain Dew Dana Carvey Show" (USA) ... aka "The Mug Root Beer Dana Carvey Show" (USA) ... aka "The Szechuan Dynasty Dana Carvey Show" (USA) ... aka "The Taco Bell Dana Carvey Show" (USA) - The Szechuan Dynasty Dana Carvey Show (1996) TV episode (writer) - The Pepsi Dana Carvey Show (1996) TV episode (writer) - The Diet Mug Root Beer Dana Carvey Show (1996) TV episode (writer) - The Mountain Dew Dana Carvey Show (1996) TV episode (writer) - The Mug Root Beer Dana Carvey Show (1996) TV episode (writer) (1 more)
"The Trouble with Larry" (1993) TV series (unknown episodes)
"The Edge" (1992) TV series (unknown episodes)
"Get a Life" (2 episodes, 1991-1992) - 1977 2000 (1992) TV episode (writer) - Prisoner of Love (1991) TV episode (writer)

La Antena

2009-05-21T19:07:00.001-07:00

Esteban Sapir.

For those who appreciate the intersection of silent cinema and social commentary, this is a unique film. Part homage to German expressionism, part allegory, the film is replete with visual symbolism and an artistic style that rivals anything seen since the 1920's. Moreover, the attention to period detail and the visual composition of the scenes as an instrument for advancing the story is stunning. Aside from this, the plot offers an interesting commentary on the role of the media in society and its effect on social voice, perception, and opinion. In truth, it's not so much the silence that permeates the film as it is the loss of voice and the loss of words to communicate and express thought that inevitably follows. In sum, this film is something not often seen and, as the producer of the film said in the Q&A that followed, will leave you thinking about its meaning well into the next day.

Eraserhead

2009-05-21T19:05:00.001-07:00

Ross M Brown

2009-05-21T18:58:00.001-07:00

'Between'
I always feel horrificly jealous, when I see these paintings. Well..this is only half a painting, I'm half jealous.

http://www.rossmbrown.co.uk/

Andy Curlowe

2009-05-21T18:40:00.000-07:00

2009-05-21T18:25:00.000-07:00

Assignment #70 Say goodbye.Darci Alexis Minneapolis, Minnesota USA
REPORTS:

Goodbye Brandon.

Goodbye John.

Goodbye Paul.

Goodbye Scott.

Goodbye Mike.

Goodbye Danny.

Goodbye Steve.

Goodbye David.

Goodbye Christian.

Goodbye Cooper.

Goodbye Max.

Goodbye Sam.

Goodbye Jim.

Goodbye Joe.

Goodbye Matt.

Goodbye Michael.

Goodbye John.

Goodbye Erik.

Goodbye Andy.

Goodbye Raj.

Goodbye Casey.

Goodbye Kevin.

Goodbye Jen.

Goodbye Nate.

Goodbye Matt.

Goodbye Javier.

Goodbye Rob.

Goodbye Greg.

Goodbye Jeff.

Goodbye Eric.

Goodbye Todd.

Goodbye Mike.

Goodbye Nick.

Goodbye Jason.

Goodbye Drew.

Goodbye Dan.

Goodbye Neal.

Goodbye Ferrel.

Goodbye Ryan.

Goodbye boy I can't remember the name of in Nashville.

Goodbye John.

Goodbye Noah.

I think that's it.

Fiona Banner

2009-05-21T18:12:00.001-07:00

Just look at her website, it's got a neat, interactive typewrite. http://www.fionabanner.com/works/index.htm

This piece is called 'every word unmade' 2007

with the neon alphabet, 'every word unmade' i was thinking about a kindof unmaking of language. as if you could make every word, or story imaginable,from these 26 letters. all the potential is there, but none of the words.the fragile wobberly letters, a byproduce of incrementally, inexpertly bendingthe glass-then the electrical circuit pumping the gas through, make it likeone big, constant stutter...words about to be made or unmade. because i haveno practical experience of working with glass, the neon is kindof crappily made.the final piece reflects the struggle to control the medium, the language,if you like, that in turn reflects the struggle to define the meaning.letters without words...

Christelle Bonnet

2009-05-21T18:05:00.000-07:00

Christelle Bonnet a french artist..there's no english explaniation but it's worth seeing.

http://www.christelle-bonnet.com/

The names, alphabetically.

2009-05-21T17:59:00.000-07:00

The Names (compiled by Wayne Daly)In which 20,000 spammer aliases, collected between2003 and 2008, are listed alphabetically (a possibleresource for writers and moonlighters).

http://www.forfurtherinformation.org/

Kate MccGwire

2009-05-21T17:55:00.000-07:00

Digital video animationTwo minutes, looped: 7 x 11

Kate's animations are concerned with time-based change, patterning, sequencing and the body's relentless development and miraculous growth.'Issue' charts the loss of a child's milk teeth and growth of their adult replacements over a 24-month period. Like much of Kate's work it both attracts and repels; eloquent of the passing from childhood to adulthood, the gaping, red orifice also acts as a physically monstrous reminder of man's mortality.

She has lots of other nice sculptural things with pigeon feathers:
http://www.katemccgwire.com/index.php?pid=1

Sorry I'm late

2009-05-21T17:52:00.000-07:00

A short film by Thomas Mankovsky:

http://www.sorry-im-late.com

Gordon Matta Clark

2009-05-21T17:50:00.000-07:00

Anselm Kiefer

2009-05-21T17:46:00.001-07:00

new website/blog: www.kirstinnorwood.com

Occupations (Bezetzung): Kiefer's controversial graduation piece, and the use of architecture

In 1969, Anselm Kiefer presented his graduation work at the Karlsruhe Academy of Fine Art, provoking an extraordinary scandal. The piece used photography to record a performance enacted during the summer and autumn of 1969: Anselm Kiefer is seen making a Nazi salute in a succession of European cities. Kiefer's professors disapproved strongly, judging the work unacceptable, and lacking in 'distance'. The only person to speak in Kiefer's defence was the painter Rainer Küchenmeister, himself a survivor of the concentration camps. The critics' response to the work supported his view. The piece was vilified by the public when it appeared in the avant-garde review Interfunktionen in 1975, but it had touched a raw nerve in the German conscience. Kiefer's individual initiative was soon followed by a collective move to explore the same issues. Interviewed by Steven Henry Madoff for the review Art News in October 1987, Kiefer explained that the photographs were a way of asking himself the question 'Am I a Fascist?' Anyone, he argued, might recognise themselves as authoritarian, competitive, with a sense of superiority – including himself. [LR: J'ai préfèré paraphrasé cet extrait, plutôt que d'essayer de chercher l'originel en anglais]. The series eventually drew unanimous critical praise for its courage in tackling the question of the collective guilt and behaviour of the German people, the posturing of totalitarianism, and its use of symbols

Christo 'Running Fence'

2009-05-21T17:36:00.000-07:00

Michael Wolf 100x100

2009-05-21T17:28:00.000-07:00

Thinking about: space space space.

100 x 100photographs of residents in their flats in hong kong's oldest public housing estate:100 rooms, each 100 square feet in size.

http://www.photomichaelwolf.com/100x100/

To move (Ours. Mine.)

2009-05-21T17:24:00.000-07:00

Kelly Sherman

To Move (Ours. Mine.)2007Photoetching in two states presented as a diptych20-1/4 x 4 inchesEdition of 60Publisher: Center Street Studio
Two moving lists printed from one copper plate ultimately portray the failure of a relationship.

Kelly Sherman

2009-05-21T17:09:00.000-07:00

Sherman's work is ultimatly some of the most interesting conceptual work, I've seen of late. Purely because she creates everything on her laptop - I suppose it could be considered quite bland. Yet, there is something very intriguing in each idea. Specifically, her piece 'the family house' which shows architectural plans of her family home, including furniture, indications of bedrooms etc. As her parents go through a divorce, objects within rooms also started to move apart. My favourite work of hers is the text piece beneath 'Dear Diagrams' were she reconstructs intimate love letters in only a few words.

http://www.kellysherman.net/index.htm

Dear Stefan: 15 words, September 20032004Inkjet print on paper, mounted to Plexiglas and Sintra11 x 17 inches
Each work in this ongoing series is made from a piece of personal correspondence, which is dismantled and then reorganized according to each word's grammatical category: verbs, nouns

H. 100 Abandoned Houses

2009-05-20T07:34:00.001-07:00

http://www.kevinbauman.com/100abandonedhouses/

C. How It Works..The Computer (ladybird books, 1978)

2009-05-17T03:56:00.000-07:00

Read the rest: http://http://gadgets.boingboing.net/2008/12/24/how-it-works-the-com.html