Often overlooked, the importance of space design to the overall experience of an event or exhibition cannot be overstated. An environment must be created that takes into account all of the integral parts, which make up a good display. When Space Meets Art / When Art Meets Space showcases some of the best recent designs for museums, galleries, retail shops and other public venues. The first section will examine the role of structures and graphics to the success of a given event. The second part will focus on the customization and use of graphic displays and the use of decorations, backgrounds and promotional items to create a cohesive design. This book is a must for curators, gallerists, and event planners alike.

Art interprets the visible world. Physics charts its unseen workings. The two realms seem completely opposed. But consider that both strive to reveal truths for which there are no words––with physicists using the language of mathematics and artists using visual images. In Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From the classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, artists have foreshadowed the discoveries of scientists, such as when Monet and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of physicists on so many occasions throughout history. Provicative and original, Art & Physics is a seamless integration of the romance of art and the drama of science––and an exhilarating history of ideas.

Installation art has modified our relationship to art for over fifty years by soliciting the whole body, demonstrating its sensitivity to space, surroundings, and the living beings with which it is constantly interacting. This book analyses this modification of perception through phenomenological approaches convoking Husserl, Heidegger, Merleau-Ponty, as well as Levinas, Depraz, and the neuroscientist Varela. This theoretical framework is implicit in the various case studies which revisit works that have become classic or emblematic by Carl Andre, Bruce Nauman, Dan Graham; inaugural experiments that remain available only through photographic and written archives by Jean-Michel Sanejouand, Philippe Parreno, as well as the influence of the mode in the realm of music. The book also examines the transference of this Western form to Asia, revealing how it resonates with ancient Asian representations and practices—often associated with the spiritual. The distinct chapters underpin the role of space as a metaframe, the common ground of the various installations. While the nature and agency of space varies—from social, historical space, leisurely or political space, inner psychological space, to shared empty space—these installations reveal the chiasm between the individual body and the outside space. The chapters bear testimony of the process in which the physical journey of the spectator’s body within a material—at times invisible—space and its structural components takes place in time, as a succession of micro-experiences. ‘Installation art as experience of self, in space and time’ adds to the existing literature of art history a level of theoretical, experiential and transcultural analysis that will make this inquiry relevant to both university students and independent researchers in the academic fields of philosophy, psychology, aesthetics, art theory and history, religious and Asian studies.

This highly stimulating study observes many historical interrelationships between art and mathematics. It explores ancient and Renaissance painting and sculpture, the development of perspective, and advances in projective geometry.

This book examines public art outside the normal confines of art criticism and places it within broader contexts of public space and gender by exploring both the aesthetic and political aspects of the medium.

Like most fields called "creative," interior design has been fraught with mystery. People are led to believe that there's something magical about it, something that's simply beyond the comprehension of mere mortals. You've been led to believe that "only the professionals," "the high priests and priestesses" of creativity are qualified to tackle the ancient mysteries of design. Well, that's a myth, and many in the design industry are major promoters of the myth. The last thing a lot of designers want is for you to get a "look behind the curtain." Mary Cook is a nationally recognized interior designer. Her Chicago-based firm, Mary Cook Associates, has been delivering award-winning interior design for commercial and residential clients for more than 25 years. In the midst of her company's growth, something happened. Mary Cook Associates began to get more and more calls to "fix" interiors that had just been completed by someone else, but somehow didn't "feel right" to the clients or the people using them. In analyzing the problems, somewhere after the twentieth fix, Mary had the epiphany that led to her revolutionary synthesis of the principles of interior design. She managed to distill all successful interior design into the seven fundamentals that are now collectively known as "The Art of Space." In her new book, "The Art of Space," each of the seven fundamentals is explained and also demonstrated in scores of beautiful, enlightening and inspiring photographs that illustrate exactly how the elements really work. This book will not miraculously transform you into a professional designer. But, it will help you develop the abilities you have so you can grow, participate and enjoy the process and the benefits of successful interior design. There is something magical about interior design. But now, Mary Cook has demystified the process, making it accessible and understandable to everyone from the serious student of design to the adventurous homeowner. Thanks to "The Art of Space," you get to "look behind the curtain" and experience the magic yourself. Learn more at http://www.artofspace.us

Public art is produced and ‘lived’ within multiple, interlaced and contested political, economic, social and cultural-symbolic spheres. This lively collection is a mix of academic and practice-based writings that scrutinise conventional claims on the inclusiveness of public art practice. Contributions examine how various social differences, across class, ethnicity, age, gender, religion, ability and literacy, shape encounters with public art within the ambits of the design, regeneration and everyday experiences of public spaces. The chapters richly draw on case studies from the Global North and South, providing comprehensive insights into the experiences of encountering public art via a variety of scales and realms. This book advances critical insights of how socially practised public arts articulate and cultivate geographies of social difference through the themes of power (the politics of encountering), affect (the embodied ways of encountering), and diversity (the inclusiveness of encountering). It will appeal to scholars, students and practitioners of cultural geography, the visual arts, urban studies, political studies and anthropology.