February 6, 2010
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February 6, 2010
Eric Beltz
<!--Couldn't selectively extract content, Imported Full Body :( May need to used a more carefully tuned import template.--> <p><strong><em>Drawing and Painting</em></strong></p> <p class="text5_s"><br /> <img src="/sites/default/files/imported/people/lecturers/images/beltz1.jpg" border="0" alt="" width="180" /></p> <p class="text5">Playfully macabre and fiercely humorous, Eric Beltz¹s hypnotically detailed drawings recast stories and characters from colonial American history in a grayscale psychedelia. His current series "American Visions" combines quotes from the Old Testament, Revolutionary era texts, the Egyptian Book of the Dead, Medieval herbals as well as other sources with narrative imagery to present historical data as mystical origin myth. Beltz is represented by Acuña-Hansen Gallery in Los Angeles, CA. He received his MFA in 2004 from UC Santa Barbara. His work has been featured in Flaunt Magazine and in several group shows in Los Angeles, New York, and England.<br /> <br /> <a href="https://ericbeltz.com/">https://www.ericbeltz.com/</a><br /> <strong class="text5_s">contact eab at ericbeltz dot com</strong></p> <p><img src="/sites/default/files/imported/people/lecturers/images/beltz2.jpg" alt="" /> <img src="/sites/default/files/imported/people/lecturers/images/eric2.jpg" alt="" /></p>
February 6, 2010
Graduates 2010
<!--Couldn't selectively extract content, Imported Full Body :( May need to used a more carefully tuned import template.--> <p>Laura Krifka</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img src="/sites/default/files/imported/people/graduate/images/krifka_image_2.jpg" alt="" height="161" /></p> <p class="text5">My practice explores and dissects psychological fantasies of power and identity. In particular, I am interested in the ways in which Western Society constructs a history and a basic identity for a mass culture, as well as the way those ideas have seeped into the private perceptions of the self. In my work I create a world in which the fantasies and clichés of the western world can combine and breed, creating a hyperbolic landscape peopled with a society lost in their own myth.<br /> <br /> <br /> <a href="https://www.laurakrifka.com">https://www.laurakrifka.com</a><br /> <img src="/sites/default/files/imported/people/graduate/images/krifka.jpg" alt="" /></p> <p> </p> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /><p> </p> <p class="textbold">Masha Lifshin</p> <p class="text5_s"><em>Digital Art, Iconographic Kitsch</em></p> <p><img src="/sites/default/files/imported/people/graduate/images/lifshin_image.jpg" alt="" height="161" /></p> <p class="text5">My work explores alternative materials and modes of distribution in order to offer incisive commentary on our common cultural milieu. This shared conceptual foundation unifies the variety of media and visual styles within my body of work. Working in digital media and online has tremendous power to reach broad audiences outside of art institutions. Graffiti holds the same promise for a completely different kind of audience, while also uplifting and reclaiming derelict sites. Comic books, illustration, and other forms of sequential art are accessible and readily reproducible media free from connotations of high art exclusivity. Styrofoam Halloween decorations, garden gnomes, tawdry underwear, and airline safety information cards are mainstream vehicles of cultural meaning and irresistible candidates for the détournement that underlies my entire art practice.<br /> <br /> <br /> <img src="/sites/default/files/imported/people/graduate/images/mlifshin.jpg" alt="" /></p> <p> </p> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /><p> </p> <p class="textbold">Lauren Norby</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img src="/sites/default/files/imported/people/graduate/images/norby_image.jpg" alt="" /></p> <p class="text5">The artistic practice of Lauren Norby spans genres and media, but continually revisits themes of humor, entertainment, and narrative, while posing critical questions about the nature of art and art-making.<br /> <br /> <br /> <img src="/sites/default/files/imported/people/graduate/images/laurennorby.jpg" alt="" /></p> <p> </p> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /><p> </p> <p class="textbold">Karen Spector</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img src="/sites/default/files/imported/people/graduate/images/spector_image.jpg" alt="" /></p> <p class="text5"><!--text here ========================================--> <br /> <br /> <br /> <a href="https://www.karenspector.com">https://www.karenspector.com</a><br /> <img src="/sites/default/files/imported/people/graduate/images/spector.jpg" alt="" /></p> <p> </p> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /><p> </p> <p class="textbold">Shane Tolbert</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img src="/sites/default/files/imported/people/graduate/images/tolbert_image.jpg" alt="" /></p> <p class="text5">From McMansions to cul-de-sacs, my paintings investigate the eerie aspects of suburban culture starting with the home. The homes in my paintings act as metaphors for stability. Portraits of people whose stories are sometimes harmless and playful while others evolve into something more sinister. My paintings engage in an ongoing dialogue between abstraction and representation where the landscapes invert the suburban home, leaving the viewer a shameless voyeur in the world of each painting.<br /> <br /> <br /> <a href="https://www.shanetolbert.com">https://www.shanetolbert.com</a><br /> <img src="/sites/default/files/imported/people/graduate/images/tolbert.jpg" alt="" /></p> <p> </p> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /><p class="textbold">Raymond Uhlir</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img src="/sites/default/files/imported/people/graduate/images/uhlir_image.jpg" alt="" /></p> <p class="text5">Raymond Uhlir regurgitates the cartoons and art historical influences of his youth, hoping to create a context for his work that allows it to communicate to those of us who experienced our first tastes of visual culture in Technicolor motion.<br /> <br /> <br /> <a href="https://www.raymonduhlir.com">https://www.raymonduhlir.com</a><br /> <img src="/sites/default/files/imported/people/graduate/images/raymonduhlir.jpg" alt="" /></p> <p> </p> <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /><p> </p> <p class="textbold">Stephanie Washburn</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img class="imgp_img" src="/sites/default/files/imagepicker/3/washburnfortroy.jpg" alt="Image" /></p> <p class="text5"><!-- text =======================================--> <br /> <br /> https://www.swashburn.com/<br /> <img src="/sites/default/files/imported/people/graduate/images/swashburn.jpg" alt="" /></p>
February 6, 2010
Graduates 2011
<!--Couldn't selectively extract content, Imported Full Body :( May need to used a more carefully tuned import template.--> <p>Daniela Campins</p> <p class="text5_s"><em>Fine Arts</em></p> <p class="text5"><img class="imgp_img" src="/sites/default/files/imagepicker/3/img_0458a.jpg" alt="Image" width="257" height="320" /><br /> <br /> <a href="https://danielacampins.blogspot.com">www.danielacampins.com</a><br /> <img src="/sites/default/files/imported/people/graduate/images/campins.jpg" alt="" /></p> <p> </p> <hr size="1" noshade="noshade" /><p> </p> <p class="textbold">Desiree D'Alessandro</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img src="/sites/default/files/imported/people/graduate/images/desiree.jpg" alt="" height="161" /></p> <p class="text5">My interdisciplinary works often encourage interactivity and collaboration while exploring the elusive properties that are inherent to art, memory, and experience. Viewers are invited to explore and contemplate elusion in their engagement with my artworks and by extension, their engagement with life. Communication is essential to the process and product of the work as I invite the public to participate in provoked dialogue and critical inquiry with other viewers, participants, contributors and/or collaborators. This dynamic relationship between the individual and the social reflects how I approach Art as a subject of study—as a comprehensive sphere of activity that is integral to questioning, exploring, and understanding the world.<br /> <br /> <a href="https://www.desiree-dalessandro.com">https://www.desiree-dalessandro.com</a><br /> <img src="/sites/default/files/imported/people/graduate/images/dalessandro.jpg" alt="" /></p> <p> </p> <hr size="1" noshade="noshade" /><p> </p> <p class="textbold">Elcin Joyner</p> <p class="text5_s"><em>Site Specific Installation</em></p> <p><img class="imgp_img" src="/sites/default/files/imagepicker/3/10800-007-1.jpg" alt="Image" /></p> <p class="text5"><!--text goes here===============================--> <br /> <br /></p> <p> </p> <hr size="1" noshade="noshade" /><p> </p> <p class="textbold">Nikki Leone</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img class="imgp_img" src="/sites/default/files/imagepicker/3/bisonandme.jpg" alt="Image" /></p> <p class="text5"><em>"Man the machine--man the impersonal engine. Whatsoever a man is, is due to his MAKE, and to the INFLUENCES brought to bear upon it by his heredities, his habitat, his associations. He is moved, directed, COMMANDED, by EXTERIOR influences--SOLELY. He ORIGINATES nothing, not even a thought". Mark Twain</em><br /> <br /> After receiving her BFA in Sculpture & Extended Media from Virginia Commonwealth University, she finally found her niche and muse in the material studies and the exploration of an instinctual way of producing her work. She does not want to insult the viewers' intelligence and force feed them something, whether it be a political, religious, social injustice or environmental statement. This work is a product of arbitrary yet prominent images that she has absorbed throughout her life and are recreated in an honest and physical form.<br /> <br /> <br /> <a href="https://www.nikkileone.carbonmade.com">https://www.theinvisiblecow.com/</a><br /> <br /></p> <p> </p> <hr size="1" noshade="noshade" /><p> </p> <p class="textbold"><a name="pat"></a>Patrick Melroy</p> <p class="text5_s"><em>Fine Arts</em></p> <p><img src="/sites/default/files/imported/people/graduate/images/patrick.jpg" alt="" /></p> <p class="text5">A community made me. I look for opportunities to turn my art making and the experiences it generates back over to my or any community. From pennies stamped with the word "lucky" dropped in common spaces, to small golden wishing wells set at the entrance and exits of major freeways, I encourage a playful engagement with life and the people you share it with. I hope you find me sometime out and about making art and you decide to be a part of it.<br /> <br /> <br /></p>
February 6, 2010
Dick Hebdige
<p><strong>Professor, Interdisciplinary/Experimental Studies, (50% Art, 50% Film and Media Studies)</strong></p> <p class="text5"><br /> <img src="/sites/default/files/imported/people/faculty/images/dick1.jpg" alt="" /></p> <p class="text5">Professor Hebdige has published extensively on popular culture, media and critical theory and contemporary art, music and design. He has recently published long-form essays in the following: catalog for MOCA Murakami retrospective (New York. Rizzoli, 2007), Bullet-Proof I wish I was: The Lighting and Stage Design of Andi Watson (San Francisco. Chronicle Books, 2011); catalog for PST exhibition at Palm Springs Art Museum, Backyard Oasis: The Swimming Pool in Southern California Photography, 1945-1982 (New York & London. Prestel Publishing, 2012) ; and in Two Cabins by James Benning (New York. A.R.T. Press, 2012). He lectured at the following institutions: Cranbook Academy of Art, University of East London, Metropolitan University, University of Malmo, University of Toronto, University of Austin, TX, Vienna Academy of Fine Arts, Rietveld Academy, Stedelijk Museum, and Wits University, Johannesburg. Hebdige also inaugurated the interdisciplinary Desert Studies Program through University of California Institute for Research in the Arts and has been the Director of the Interdisciplinary Humanities Center.<br /> <br /> <!--a href="https://www.redsushi.com">https://www.redsushi.com</a> <br--> <img src="/sites/default/files/imported/people/faculty/images/hebdige.jpg" alt="" /></p> <p> </p>
February 6, 2010
Kim Yasuda
<p class="text5"><strong><em>Professor</em></strong><em><br />Spatial Arts, Sculpture , (100% Art)</em><br /> <br /> <img src="/sites/default/files/imported/people/faculty/images/kim2.jpg" alt="" /></p> <p class="text5">Professor Yasuda's site-specific installations incorporate a range of media to activate both interior exhibition and outdoor public space. Her three-dimensional works investigate the relationship between identity and location within the modern landscape. Yasuda's current investigations center on ways in which creative practices influence social transformation. Her work has been presented in exhibitions at the Art Gallery of Ontario (Toronto, Canada) Camerawork Gallery (London); the New Museum of Contemporary Art (New York); The Whitney Museum of American Art (Connecticut) and MIT List Gallery (Boston). She has been the recipient of visual arts fellowships from the National Endowment for the Arts, US/Japan Foundation, Howard Foundation, Joan Mitchell Foundation in Sculpture and Anonymous was a Woman Foundation. Most recently, Yasuda has worked with students and faculty from across campus as part of the "Friday Academy", a project-based curricular initiative that enlists a cross-disciplinary team of faculty, students and community professionals to work on off-site community programming. Through the FriAc, Yasuda and her students have worked on a public art program for farm-worker housing in Oxnard, CA, the repurposing of shipping containers into affordable housing, a storefront renovation and streetscape banner redesign for downtown Isla Vista, CA. Most recently, Yasuda is developing a post-graduate community arts incubator to support recently-degreed graduates in creating sustainable models for their work. Yasuda currently serves on the national advisory board as executive vice chair for the academic consortium, Imagining America, a network of 95 colleges and universities committed to publicly engaged scholarship through the arts, design and humanities, developing policy and advocacy platforms that impact the arts and higher education.<br /> <br /> <a href="https://www.arts.ucsb.edu/faculty/yasuda/">https://www.arts.ucsb.edu/faculty/yasuda/</a><br /> <img src="/sites/default/files/imported/people/faculty/images/yasuda.jpg" alt="" /></p> <p><img src="/sites/default/files/imported/people/faculty/images/kim3.jpg" alt="" /> <br /> <br /></p>
February 6, 2010
Lisa Jevbratt
<p class="text5"><strong>Professor</strong><br /><em>Network, Interdisciplinary, Interactive Art, (100% Art)</em><br /> <br /> <img src="/sites/default/files/imported/people/faculty/images/lisa1.jpg" alt="" width="180" /></p> <p class="text5">Professor Jevbratt's work - ranging from internet visualization software to biofeedback and interspecies collaboration - is concerned with collectives and systems, the languages and conditions that generate them, and the exchanges within them. The projects explore alternative, distributed and unintentional collaborations and expressions of these collectives. Her projects have been exhibited internationally, in venues such as The Walker Art Center (Minneapolis), Banff Centre for the Arts (Canada), The New Museum (New York), The Swedish National Public Art Council (Stockholm, Sweden), and the Biennial at the Whitney Museum of American Art (New York). Her work is discussed in numerous books, for example, in Internet Art by Rachel Greene and Digital Art by Christiane Paul (Thames and Hudson). Jevbratt also publishes texts on topics related to her work and research, for example in the anthology Network Art - Practices and Positions (Routledge).<br /> <br /> <a href="/people/../faculty/jevbratt/">https://www.arts.ucsb.edu/faculty/jevbratt/</a><br /> <img src="/sites/default/files/imported/people/faculty/images/jevbratt.jpg" alt="" /></p> <p><img src="/sites/default/files/imported/people/faculty/images/lisa2.jpg" alt="" width="180" /></p>
February 6, 2010
Marcos Novak
<!--Couldn't selectively extract content, Imported Full Body :( May need to used a more carefully tuned import template.--><p><strong>Professor</strong></p> <p class="text5"><em>Transarchitecture, Interactive Media, (25% Art, 75% MAT)</em><br /> <br /> <img src="/sites/default/files/imported/people/faculty/images/marcos1.jpg" alt="" /></p> <p class="text5">Marcos Novak holds a joint appointment in the Department of Art and the Media Art and Technology graduate program. He is a pioneer in the field of virtual architecture. His articles on virtual reality and the time-space digital continuum have been translated into numerous languages (Japanese, French, Italian, German, Portuguese, etc.). Prior to UCSB he taught at UCLA, University of Texas, Austin, Ohio State University and lectured internationally. He is the founder of the "TransArchitectures" events (conferences and exhibitions). He represented Greece at the Venice Biennale 2000 and has exhibited his work in numerous digital media exhibitions.</p><p class="text5"><br /> <a href="https://www.centrifuge.org">https://www.centrifuge.org</a><br /> <img src="/sites/default/files/imported/people/faculty/images/marcos.jpg" alt="" /></p>
February 6, 2010
Colin Gardner
<p style="text-align: left;"><strong>Professor</strong></p><p class="text5"> </p><p class="p1">Integrative Studies/Critical Theory, (100% Art)</p><p> </p><p class="text5" style="text-align: center;"><em><img id="imgp_img" title="loseycover.jpg" src="https://artsite.arts.ucsb.edu/sites/default/files/imagepicker/11/browser/loseycover.jpg" alt="" width="126" height="192" /><img src="https://www.palgrave.com/products/ShowJacket.asp?ISBN=9781137014351&width=385&height=625" alt="" width="135" height="192" /><span style="background-color: #888888;"><span style="background-color: #888888;"><span style="background-color: #888888;"><span style="background-color: #888888;"><img id="imgp_img" title="reiszcover.jpg" src="https://artsite.arts.ucsb.edu/sites/default/files/imagepicker/11/browser/reiszcover.jpg" alt="" width="128" height="192" /></span></span></span></span></em></p><hr /><p> </p><p><span style="background-color: #ffffff; font-size: small;">Working at the intersection of film-philosophy, Deleuze studies and interdisciplinary media theory, Colin Gardner received his B.A. and M.A. in History from St. John's College, Cambridge and Ph.D. in Cinema Studies at UCLA before becoming Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara, where he teaches in the Departments of Art, Film & Media Studies, Comparative Literature, and the History of Art and Architecture. He is also developing a course on transversality and popular media for the College of Creative Studies to be offered Fall 2013.</span> </p><p class="text5"><span style="font-size: small;"><span style="background-color: #ffffff;">His most recent book is </span><em>Beckett, Deleuze and the Televisual Event: Peephole Art </em>(Palgrave Macmillan, 2012), a critical study of Samuel Beckett's experimental work for film and television and its connection to Gilles Deleuze's ontology of the image in <em>Cinema 1</em> and <em>Cinema 2</em>. Excerpts have appeared in <em>Deleuze Studies </em>Journal (2012) and Continuum Books' <em>Gilles Deleuze: Image and Te</em>xt (2009). Gardner contributed the chapter on Roland Barthes to Felicity Colman's <em>Film, Theory & Philosophy: The Key Thinkers </em>(Acumen, 2009) and is currently collaborating with Dr. Colman on a Three Volume <em>Encyclopedia of Film-Philosophy</em>, due to be published in 2015, which attempts to bridge the gap between continental and analytic approaches.</span><span style="font-size: small;"> </span></p><p><span style="background-color: #ffffff;">Gardner has also published two books in Manchester University Press’s “British Film Makers” series: a critical study of the blacklisted American film director, Joseph Losey (2004), and a monograph on the Czech-born, British filmmaker and critic, Karel Reisz (2006). The latter study led to his being a featured interviewee in <em>Karel Reisz: This Filming Life</em>, <span style="font-family: Helvetica;"><span style="color: #000000;">a 2012 Czech documentary film produced by Jarmila Hoznauerová and directed by Petra Všelichová (a Co-Production of Czech Television – Ostrava Telvision Studio). Related research on Losey has also appeared in Trudy Bolter</span></span></span><span style="background-color: #ffffff;">’s <em>Le politique éclaté </em>(Paris: L’Harmattan); the Franco-American film journal, <em>Iris</em>; the Parisian web-based theoretical journal, <em>Critical Secret </em>No. 6 (2001), <em>Interdisciplinary Humanities </em>(2002), <em>Media History </em>(2006), and Lo Sguardo dei Maestri's <em>Joseph Losey: Senza Re, Senza Patria </em>(Milan: Il Castoro, 2010). Gardner is also the author of critical essays on Bob Rafelson’s <em>Five Easy Pieces </em>(for Creation Books' <em>Jack Nicholson: Movie Top Ten, </em>edited by Mikita Brottman); as well as a theoretical study of Diana Thater’s video installations in <em>Space, Site, Intervention: Situating Installation Art </em>(Erika Suderberg, ed.) for the University of Minnesota Press.</span> </p><p><span style="font-size: small;">His extensive list of catalog monographs includes essays on Mike Kelley for the Whitney Museum of American Art, John Baldessari for the Graphische Sammlung, Albertina in Vienna, Wallace Berman for Amsterdam's Institute of Contemporary Art, video artist Rachel Khedoori for the Kunsthalle in Basel and Mike Bouchet's film works for Sternberg Press in Berlin. On a local level, Gardner has worked extensively with the Santa Barbara Museum of Art (as blogger, panelist and lecturer) and the Contemporary Arts Forum (CAF), including catalog essays for Sandow Birk's “Prisonation” series, Linda Stark's “Runaway Love” retrospective, and the 2001 group exhibition, “Diabolical Beauty,” co-curated with UCSB Professor, Jane Callister. Gardner was also co-curator and co-editor of <em>Damaged Romanticism: A Mirror of Modern Emotion</em>, an exhibition and accompanying book that was initiated by the Blaffer Gallery in Houston in 2008 and subsequently traveled to the Grey Gallery at NYU and the Parrish Museum on Long Island.</span> </p><p class="text5"><span style="font-size: small;">Most recently Dr. Gardner has expanded his research into the area of Media Geography (he was adjunct faculty in Geography at San Diego State University from 2011-12). This has taken the form of conference papers as well as a chapter on Tomas Gutierrez Alea's seminal Cuban film, "Memories of Underdevelopment" in James Craine, Giorgio Curti and Stuart Aitken's collection, <em>The Fight To Stay Put: Social Lessons Through Media Imaginings of Urban Transformation and Change </em>(Franz Steiner Verlag, 2013). He is currently developing an essay on Stan Douglas for James Craine's forthcoming Ashgate collection, <em>A Companion to Media Geography: Place/Space/Media. </em></span> </p><p class="text5"><span style="font-size: small;">Apart from regular attendance at Francophone, Deleuze Studies and Film-Philosophy conferences throughout Europe and the US, Gardner's public lectures include a keynote address for Loyola Marymount University's Operation STEAMroller interdisciplinary conference in 2012; discussions of Stan Douglas’s video work at Cal Arts and the Museum of Contemporary Art, Los Angeles; Diana Thater’s “Knots + Surfaces” projected DVD installation for New York’s Dia Center for Arts’ Robert Lehman Lecture Series (published in 2006); “Decentered Spectatorship: Constructing a Hybrid Scopic Space in Recent Art Film and Video,” at Louisville’s Speed Art Museum; and an analysis of cinema and the brain for Warren Neidich’s “The Mutated Observer: Neurological Structures, Perception and Visual Culture” at UC Riverside’s California Museum of Photography. </span></p><p> </p><p class="text5"><span style="font-size: small;"><a href="https://www.colingardner.net/">https://www.colingardner.net/</a></span><br /><span style="font-size: small;"><img src="/sites/default/files/imported/people/faculty/images/colinrgardner.jpg" alt="" /></span></p><p> </p><p> </p><p><span style="font-size: small;"> </span><br /><span style="font-size: small;"><span style="background-color: #888888;"><img src="/sites/default/files/imported/people/faculty/images/colin2.jpg" border="1" alt="" width="120" height="182" /></span><img src="/sites/default/files/imported/people/faculty/images/colin3.jpg" border="1" alt="" width="127" height="182" /><a href="/sites/default/files/imagepicker/11/Jack_2.jpg" target="_blank" rel="noopener noreferrer"><img style="width: 132px; height: 179px;" src="/sites/default/files/imagepicker/11/Jack_2.jpg" alt="Image" /></a><img src="/sites/default/files/imported/people/faculty/images/colin6.jpg" border="1" alt="" width="124" height="179" /><img src="/sites/default/files/imported/people/faculty/images/colin5.jpg" alt="" width="144" height="179" /></span></p><p style="text-align: left;"><span style="font-size: small;"> </span></p><p style="text-align: left;"><span style="font-size: small;"><span style="background-color: #888888;"><span style="background-color: #888888;"><a href="/sites/default/files/imagepicker/11/Colman_3.jpg" target="_blank" rel="noopener noreferrer"><img style="float: left;" src="/sites/default/files/imagepicker/11/Colman_3.jpg" alt="Image" width="130" height="180" /></a></span><span style="background-color: #888888;"><span style="background-color: #888888;"><span style="background-color: #888888;"><span style="background-color: #888888;"><img style="float: left;" src="/sites/default/files/imagepicker/11/Deleuze.jpg" alt="Image" width="122" height="179" /></span></span></span></span><a href="/sites/default/files/imagepicker/11/Losey_2.jpg" target="_blank" rel="noopener noreferrer"><img src="/sites/default/files/imagepicker/11/Losey_2.jpg" alt="Image" width="129" height="179" /></a></span><a href="/sites/default/files/imagepicker/11/Losey_2.jpg" target="_blank" rel="noopener noreferrer"><img class="cover" src="https://coverart.oclc.org/ImageWebSvc/oclc/+-+041758289_140.jpg?SearchOrder=+-+OT,OS,FA,GO" border="0" alt="Mike Bouchet : selected works 1989-2009" width="140" /></a><img id="summary-frontcover" title="Front Cover" src="https://bks2.books.google.com/books?id=1JZIAQAAIAAJ&printsec=frontcover&img=1&zoom=1&imgtk=AFLRE73jeY5mrsazoCG8sFbxV_L7zLc8u0GozEgH6bvCU9jKW41IArDY75GlCLPST3qrZz7Er_OXqGM6-0frbgPVpk-nedAQSpEGt7OnKkva_b-_caM6JiMhkSPJr6vPciVL90FC5z96" border="1" alt="Front Cover" width="128" height="179" /></span></p><p><span style="font-size: small;"><a href="https://www.amazon.com/gp/product/images/9080096830/ref=dp_image_0?ie=UTF8&n=283155&s=books" target="AmazonHelp" rel="noopener noreferrer"></a><a href="https://www.amazon.com/gp/product/images/0874270871/ref=dp_image_0?ie=UTF8&n=283155&s=books" target="AmazonHelp" rel="noopener noreferrer"></a></span></p><p> </p><p style="text-align: center;"> </p><p style="text-align: left;"><span style="font-size: small;"> </span></p><hr />
February 6, 2010