In this first critical account of Matta-Clark's work, Pamela M. Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs. Although highly regarded during his short life—and honored by artists and architects today—the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as "building cuts." Sculptural transformations of architecture produced through direct cuts into buildings scheduled for demolition, these works now exist only as sculptural fragments, photographs, and film and video documentations. Matta-Clark is also remembered as a catalytic force in the creation of SoHo in the early 1970s. Through loft activities, site projects at the exhibition space 112 Greene Street, and his work at the restaurant Food, he participated in the production of a new social and artistic space. Have art historians written so little about Matta-Clark's work because of its ephemerality, or, as Pamela M. Lee argues, because of its historiographic, political, and social dimensions? What did the activity of carving up a building-in anticipation of its destruction—suggest about the conditions of art making, architecture, and urbanism in the 1970s? What was one to make of the paradox attendant on its making—that the production of the object was contingent upon its ruination? How do these projects address the very writing of history, a history that imagines itself building toward an ideal work in the service of progress? In this first critical account of Matta-Clark's work, Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs.

The first history of Brunel’s lost works, by acknowledged Brunel expert.

In each, Williams took as the basic element, or constituent sections, of these two large-scale literary structures the tacit lyrical sequences that had constituted his originally separate volumes of verse, also added new groupings as he made changes to the old, and fashioned them all into a unique series of lyrical sequence (a lyrical super-sequence) that gave unified lyrical definition and compelling lyrical immediacy to the whole of his poetic development.

Will Destroy the Galaxy for Cash is the follow up tale to Will Save the Galaxy for Food from the mind of writer Yahtzee Croshaw (Mogworld, Jam, Differently Morphous). With the age of heroic star pilots and galactic villains completely killed by quantum teleportation, the ex-star pilot currently named Dashford Pierce is struggling to find his identity in a changing universe. Then, a face from his past returns and makes him an offer he can't refuse: take part in just one small, slightly illegal, heist, and not only will he have the means to start the new life he craves, but also save his childhood hero from certain death. What could go wrong? If you need to ask--you don't know Dashford Pierce. Before long, Pierce is surrounded by peril, and forced to partner with the very same supervillains he'd spent his heroic career thwarting. But when he's confronted by the uncomfortable truth that star pilots might not have been the force for good, they had intended to be, he begins to wonder if the villains hadn't had the right idea all along...

Clarence Glacken wrote one of the most important books on environmental issues published in the twentieth century. His magnum opus, Traces on the Rhodian Shore, first published in 1967, details the ways in which perceptions of the natural environment have profoundly influenced human enterprise over the centuries while, conversely, permitting humans to radically alter the Earth. Although Glacken did not publish a comparable book before his death in 1989, he did write a follow-up collection of essays—lost works now compiled at last in Genealogies of Environmentalism. This new volume comprises all of Glacken's unpublished writings to follow Traces and covers a broad temporal and geographic canvas, spanning the globe from the mid-eighteenth to the mid-twentieth centuries. Each essay offers a brief intellectual biography of an important environmental thinker and addresses questions such as how many people the Earth can hold, what resources can sustain such populations, and where land for growth is located. This collection—carefully edited and annotated, and organized chronologically—will prove both a classic text and a springboard for further discussions on the history of environmental thought.