CURATED MICRO-COLLECTIONS: ARTSY FARTSY

This book is about science in its broadest human context, how science and civilization grew up together. It is the story of our long journey of discovery and the forces and individuals who helped to shape modern science, including Democritus, Hypatia, Kepler, Newton, Huygens, Champollion, Lowell and Humason. The book also explores spacecraft missions of discovery of the nearby planets, the research in the Library of ancient Alexandria, the human brain, Egyptian hieroglyphics, the origin of life, the death of the Sun, the evolution of galaxies and the origins of matter, suns and worlds. The author retraces the fifteen billion years of cosmic evolution that have transformed matter into life and consciousness, enabling the cosmos to wonder about itself. He considers the latest findings on life elsewhere and how we might communicate with the beings of other worlds.

For centuries, an eclectic group of plants have captivated the world and propelled explorers to extraordinary lengths to collect them. The botanical treasury brings together centuries of botanical adventures and discoveries. It features a full-color exploration of our most important and interesting plants; facsimiles of rarely seen letters, maps, and journals from the Royal Botanic Gardens, Kew; and forty beautifully reproduced prints. Equally extraordinary are the stories associated with the discovery of these plants, revealing the lengths to which collectors and growers would go to find them.

There they rest, inert, impertinent, in gallery space--those book forms either imitated or mutilated, replicas of reading matter or its vestiges. Strange, after its long and robust career, for the book to take early retirement in a museum, not as rare manuscript but as functionless sculpture. Readymade or constructed, such book shapes are canceled as text when deposited as gallery objects, shut off from their normal reading when not, in some yet more drastic way, dismembered or reassembled." So begins Bookwork, which follows our passion for books to its logical extreme in artists who employ found or simulated books as a sculptural medium. Investigating the conceptual labor behind this proliferating international art practice, Garrett Stewart looks at hundreds of book-like objects, alone or as part of gallery installations, in this original account of works that force attention upon a book's material identity and cultural resonance. Less an inquiry into the artist's book than an exploration of the book form's contemporary objecthood, Stewart's interdisciplinary approach traces the lineage of these aggressive artifacts from the 1919 Unhappy Readymade of Marcel Duchamp down to the current crisis of paper-based media in the digital era. Bookwork surveys and illustrates a stunning variety of appropriated and fabricated books alike, ranging from hacksawed discards to the giant lead folios of Anselm Kiefer. The unreadable books Stewart engages with in this timely study are found, again and again, to generate graphic metaphors for the textual experience they preclude, becoming in this sense legible after all.

What does it mean to make art in Africa? In 'Making Art in Africa', 60 of the continent's leading artists give very different answers to this question through a series of extraordinary first-hand commentaries relating to specific works.