Celebrate nature’s beauty with this lovely memo cube featuring a stunning, vintage illustration of underwater life. Filled with 600 square sheets of paper, this memo pad is perfect for jotting down your thoughts, ideas, and reminders. GREAT FOR DESK NOTES: A compact 3.5-inch size, this memo cube is perfect for your desktop, whether you’re a student or a professional. PLENTY OF PAGES: Featuring high-quality paper, this memo cube has 600 pages for you to collect your thoughts or jot down notes and reminders. PERFECT FOR ALL AGES: Ideal for kids, students, and adults alike, this memo cube is great for all lovers of the sea and nature.

Celebrate nature’s beauty with this stunning weekly planner notepad featuring stunning, vintage illustrations of underwater life. ORGANIZE YOUR YEAR: This 8.5” x 11” planner is the perfect size for your workspace, with 52 pages to help you keep track of deadlines, appointments, and reminders for every week of the year. BEAUTIFUL DESIGN: Featuring beautiful full-color illustrations that celebrate the beauty of the sea. PERFECT FOR ALL AGES: Ideal for kids, students, and adults alike, this weekly planner is great for all lovers of the sea and nature.

These essays explicitly confront a particular crisis in postwar art, seeking to examine the assumptions on which the modern commercial and museum gallery was based.

Let the art of nature inspire your writing with this beautiful set of linen-textured notebooks. Each notebook includes sixty-four ruled pages and features a different vintage botanical illustration.

A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

This title documents the burgeoning eco art movement from A to Z, presenting a panorama of artistic responses to environmental concerns, from Ant Farms anti-consumer antics in the 1970s to Marina Zurkows 2007 animation that anticipates the havoc wreaked upon the planet by global warming.