Om den amerikanske maler Mark Tansey f.1949.

A rich exploration of the possibilities of representation after Modernism, Mark Taylor's new study charts the logic and continuity of Mark Tansey's painting by considering the philosophical ideas behind Tansey's art. Taylor examines how Tansey uses structuralist and poststructuralist thought as well as catastrophe, chaos, and complexity theory to create paintings that please the eye while provoking the mind. Taylor's clear accounts of thinkers ranging from Plato, Kant, and Hegel to Merleau-Ponty, Derrida, and de Man will be an invaluable contribution to students and teachers of art.

Mark Tansey's paintings show that these formalist dogmas criple painting by taking away its ability to articulate thought and feeling about our world. It dogmas construct an incumbering chamber of gates, walls, and shackels. Mark Tansey's wit and humor, brings metaphor and discourse back into the art of painting.

Food is a massive industry and the many key players involved have very different interests. In wealthy nations those interests can range from corporate survival and maintaining profitability in a market with limited demand, to promoting a healthy diet and ensuring food safety. For the poor, the emphasis is all too often on simply getting enough to eat. As information technology and biotechnology are set to revolutionize the food system, it is essential to understand the broad context in which the different actors operate, so that all the world's people can enjoy a safe, secure, sufficient and sustainable food supply. This text provides an overview of today's dominant food system - one developed in and controlled by northern industrialized countries, and one that is becoming increasingly globalized.

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.

'Art Practice as Research' presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practice, and contexts of artistic inquiry and positions them within the discourse of research.