{"product_id":"108112","title":"Living as an artist ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jX2tqYWJyefJYQeiCyf44TSzJjCpn.png?v=1765106448\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Living as an artist \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/154308816\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdl\u003e\n\u003cdt\u003e A word from MD\u003c\/dt\u003e\n\u003cdd\u003e\n\u003cdiv\u003e The gaze of a contemporary artist\u003c\/div\u003e\n\u003cdiv\u003e A representative book by Michael Craig Martin, a master of modern art. \u003cbr\u003eIt honestly and humorously explores the artist's identity, struggles with creation, and the institutions of the art market.\u003cbr\u003e You can see the conversation between an artist who does not stay still and contemplates and the times.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e \u003cspan\u003eOctober 17, 2025.\u003c\/span\u003e \u003cspan\u003eArt PD Ahn Hyun-jae\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e Michael Craig-Martin, a master of modern art, has finally published his representative work, On Being an Artist, in Korean.\u003cbr\u003e This publication will be an important opportunity to vividly convey the meaning and concerns of 'living as an artist' through the eyes of a contemporary artist.\u003cbr\u003e\u003cbr\u003e The book honestly and humorously explores ▲the artist's identity and attitude ▲the creative process and difficulties ▲education and mentorship ▲survival strategies within the art market and system. \u003cbr\u003eThrough this, readers can experience that the life of an artist is not simply about creating works, but is a dialogue with the entire attitude and network of relationships and the times.\u003cbr\u003e\u003cbr\u003e The publication of this Korean edition will not only serve as a catalyst for introducing contemporary art discourse to Korea, but will also serve as a valuable guide for creators, art students, cultural planners, and others contemplating artistic life.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Prologue 9\u003cbr\u003e\u003cbr\u003e I, Michael Craig-Martin, 13\u003cbr\u003e\u003cbr\u003e Art Criticism 14\u003cbr\u003e\u003cbr\u003e Artist: The Weakest and Most Powerful Being 16\u003cbr\u003e\u003cbr\u003e Childhood 17\u003cbr\u003e\u003cbr\u003e Opening Your Eyes to Art 22\u003cbr\u003e\u003cbr\u003e Art Book 25\u003cbr\u003e\u003cbr\u003e My friend, Richard 27\u003cbr\u003e\u003cbr\u003e Mentor 30\u003cbr\u003e\u003cbr\u003e Decision to Become an Artist 32\u003cbr\u003e\u003cbr\u003e Ingmar Bergman 35\u003cbr\u003e\u003cbr\u003e Bohemian Summer in Paris 37\u003cbr\u003e\u003cbr\u003e Drawing Lesson 39\u003cbr\u003e\u003cbr\u003e First Class at Art College 41\u003cbr\u003e\u003cbr\u003e Yale University Art Student 43\u003cbr\u003e\u003cbr\u003e Yale University non-major student 45\u003cbr\u003e\u003cbr\u003e Artists and Freedom 46\u003cbr\u003e\u003cbr\u003e Josef Albers 49\u003cbr\u003e \u003cbr\u003eAlbers's Influence on Modern American Art 57\u003cbr\u003e\u003cbr\u003e Albers's Color Theory 60\u003cbr\u003e\u003cbr\u003e Albus's Influence on Me 62\u003cbr\u003e\u003cbr\u003e Immortal Artist 65\u003cbr\u003e\u003cbr\u003e Marcel Duchamp 67\u003cbr\u003e\u003cbr\u003e Avant-garde Artist 73\u003cbr\u003e\u003cbr\u003e The Rise of Pop Art 74\u003cbr\u003e\u003cbr\u003e Philippe Guston 76\u003cbr\u003e\u003cbr\u003e Explosion of New Art 77\u003cbr\u003e\u003cbr\u003e Filming 79\u003cbr\u003e\u003cbr\u003e Marriage 81\u003cbr\u003e\u003cbr\u003e Summer Vacation with Christine Keeler 83\u003cbr\u003e\u003cbr\u003e Again, Yale University 89\u003cbr\u003e\u003cbr\u003e Minimalism 91\u003cbr\u003e\u003cbr\u003e Distinguishing between minimalists and 96\u003cbr\u003e\u003cbr\u003e Form and Usefulness 97\u003cbr\u003e\u003cbr\u003e Taking risks 98\u003cbr\u003e\u003cbr\u003e Migration to the UK 99\u003cbr\u003e\u003cbr\u003e Instructor Activities 101 at Cosham\u003cbr\u003e\u003cbr\u003e Fairness 104\u003cbr\u003e\u003cbr\u003e Britain in Turmoil 105\u003cbr\u003e\u003cbr\u003e Life in Cosham 108\u003cbr\u003e\u003cbr\u003e Austerity Policy 109\u003cbr\u003e\u003cbr\u003e Special Lecture 110\u003cbr\u003e\u003cbr\u003e London 112\u003cbr\u003e\u003cbr\u003e Mark Lancaster 114\u003cbr\u003e\u003cbr\u003e Surviving as a British Artist 116\u003cbr\u003e\u003cbr\u003e Four identical boxes with their lids turned over 118\u003cbr\u003e\u003cbr\u003e The Life of Writers and Their Work 122\u003cbr\u003e\u003cbr\u003e Living as a Foreigner 123\u003cbr\u003e\u003cbr\u003e King's College Art Residency 124\u003cbr\u003e\u003cbr\u003e Perspectives on Art and Science 133\u003cbr\u003e\u003cbr\u003e Max Gordon 135\u003cbr\u003e\u003cbr\u003e Andy Warhol's Opening Party 137\u003cbr\u003e\u003cbr\u003e Conceptual Art 138\u003cbr\u003e\u003cbr\u003e Conceptualist Work 140\u003cbr\u003e\u003cbr\u003e Early Work 141\u003cbr\u003e\u003cbr\u003e An Oak Tree 143\u003cbr\u003e \u003cbr\u003eArt and Metaphor 148\u003cbr\u003e\u003cbr\u003e The Autonomy of Art 149\u003cbr\u003e\u003cbr\u003e Trilogy 150: The Evolution of 20th-Century Art\u003cbr\u003e\u003cbr\u003e London in the 1970s: The Lost Decade 155\u003cbr\u003e\u003cbr\u003e Goldsmiths College 156\u003cbr\u003e\u003cbr\u003e First Photo Project 162\u003cbr\u003e\u003cbr\u003e Public Art Project 166\u003cbr\u003e\u003cbr\u003e Teachers of the YBA Artists 168\u003cbr\u003e\u003cbr\u003e Learning the Art Scene 170\u003cbr\u003e\u003cbr\u003e Coming Out 173\u003cbr\u003e\u003cbr\u003e James Lee Byers' Perfect 175\u003cbr\u003e\u003cbr\u003e Humor 178\u003cbr\u003e\u003cbr\u003e Importing Oak Trees to Australia 179\u003cbr\u003e\u003cbr\u003e John Cage 180\u003cbr\u003e\u003cbr\u003e John Cage's Lecture: \"Nothing\" 182\u003cbr\u003e\u003cbr\u003e Thinking in Pictures 183\u003cbr\u003e\u003cbr\u003e Drawing 185\u003cbr\u003e\u003cbr\u003e Accepting Objects as Pictures 186\u003cbr\u003e\u003cbr\u003e Mural work 189\u003cbr\u003e\u003cbr\u003e Directness 195\u003cbr\u003e\u003cbr\u003e Line Drawing 196\u003cbr\u003e\u003cbr\u003e Moment of Things 197\u003cbr\u003e\u003cbr\u003e Controversy 200\u003cbr\u003e\u003cbr\u003e Art is 200\u003cbr\u003e\u003cbr\u003e Becoming Your Own Best Advocate 202\u003cbr\u003e\u003cbr\u003e Art Outsider 203\u003cbr\u003e\u003cbr\u003e Art Knowledge 204\u003cbr\u003e\u003cbr\u003e 205 You Don't Have to Like It\u003cbr\u003e\u003cbr\u003e Discovering Good Art 206\u003cbr\u003e\u003cbr\u003e Conversations with Past Art 209\u003cbr\u003e\u003cbr\u003e Renaissance 211\u003cbr\u003e\u003cbr\u003e Artist's Studio 214\u003cbr\u003e\u003cbr\u003e My Studio 215\u003cbr\u003e\u003cbr\u003e Turning Point 218\u003cbr\u003e\u003cbr\u003e Andrew Flaud 220\u003cbr\u003e\u003cbr\u003e The Front Line of Art 222\u003cbr\u003e\u003cbr\u003e Keeping Promises 223\u003cbr\u003e\u003cbr\u003e Becoming an Artist 224\u003cbr\u003e \u003cbr\u003eThe Difference Between Art and Academics 225\u003cbr\u003e\u003cbr\u003e Providing tutorials 226\u003cbr\u003e\u003cbr\u003e John Thompson and Me 228\u003cbr\u003e\u003cbr\u003e Teaching students individually 229\u003cbr\u003e\u003cbr\u003e Learning How to Learn 231\u003cbr\u003e\u003cbr\u003e The impact of arts education on self-confidence\u003cbr\u003e\u003cbr\u003e Positive Influence 232\u003cbr\u003e\u003cbr\u003e Mentoring 233\u003cbr\u003e\u003cbr\u003e Permission 234\u003cbr\u003e\u003cbr\u003e First Encounter with Luxury 236\u003cbr\u003e\u003cbr\u003e Artist Community 238\u003cbr\u003e\u003cbr\u003e Passion over Talent 240\u003cbr\u003e\u003cbr\u003e Student Damien Hirst 241\u003cbr\u003e\u003cbr\u003e Life as a Teacher 245\u003cbr\u003e\u003cbr\u003e The Damage to British Art Education 248\u003cbr\u003e\u003cbr\u003e Opportunity Doesn't Wait 251\u003cbr\u003e\u003cbr\u003e Having Two Jobs 252\u003cbr\u003e\u003cbr\u003e Attitudes Toward Contemporary British Art 253\u003cbr\u003e\u003cbr\u003e Art Trend 256\u003cbr\u003e\u003cbr\u003e The Death of Conversation 258\u003cbr\u003e\u003cbr\u003e The turning point of conversation 262\u003cbr\u003e\u003cbr\u003e Color 264\u003cbr\u003e\u003cbr\u003e Color as Material 267\u003cbr\u003e\u003cbr\u003e Living as an Artist 269\u003cbr\u003e\u003cbr\u003e Sculptor 270\u003cbr\u003e\u003cbr\u003e Irish maternal grandfather 272\u003cbr\u003e\u003cbr\u003e Catholic Religion 273\u003cbr\u003e\u003cbr\u003e My daughter Jessica 274\u003cbr\u003e\u003cbr\u003e Thinking Conceptually 275\u003cbr\u003e\u003cbr\u003e Author: Maker 276\u003cbr\u003e\u003cbr\u003e Computers and Digital Work 277\u003cbr\u003e\u003cbr\u003e The Uncertainty of Art 281\u003cbr\u003e\u003cbr\u003e Relationship with work 282\u003cbr\u003e\u003cbr\u003e Works and Ideas 284\u003cbr\u003e\u003cbr\u003e About your own work\u003cbr\u003e\u003cbr\u003e Becoming an Expert 286\u003cbr\u003e\u003cbr\u003e Thinking About Your Audience 287\u003cbr\u003e \u003cbr\u003eBecoming an Abstract Artist 288\u003cbr\u003e\u003cbr\u003e The Language of Contemporary Art 289\u003cbr\u003e\u003cbr\u003e American Accent 290\u003cbr\u003e\u003cbr\u003e Outsider 291\u003cbr\u003e\u003cbr\u003e Tate Modern Architecture 292\u003cbr\u003e\u003cbr\u003e Working with Architects 300\u003cbr\u003e\u003cbr\u003e Living with Art 302\u003cbr\u003e\u003cbr\u003e After the artist's death 304\u003cbr\u003e\u003cbr\u003e The Subjectivity of Criticism 305\u003cbr\u003e\u003cbr\u003e Frustration 306\u003cbr\u003e\u003cbr\u003e Criticism of Me by Some Media 307\u003cbr\u003e\u003cbr\u003e Criticism of my work in some media outlets 309\u003cbr\u003e\u003cbr\u003e Status and Power in the Art World 311\u003cbr\u003e\u003cbr\u003e Networking 314\u003cbr\u003e\u003cbr\u003e Commercial Gallery 316\u003cbr\u003e\u003cbr\u003e My Dealers 318\u003cbr\u003e\u003cbr\u003e Unknown Masterpiece 321\u003cbr\u003e\u003cbr\u003e Change (but keep the essence the same) 322\u003cbr\u003e\u003cbr\u003e Growing Old 325\u003cbr\u003e\u003cbr\u003e Continuing 327\u003cbr\u003e\u003cbr\u003e Advice for Aspiring Artists 328\u003cbr\u003e\u003cbr\u003e Acknowledgements 330\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Even when I was accepted to Yale, I didn't realize that the school I was attending was one of the most important art schools in the United States.\u003cbr\u003e Moreover, when I entered, it was the golden age of Yale University's School of Art.\u003cbr\u003e \u003cbr\u003eThere I realized that all my artistic views and values ​​were wrong.\u003cbr\u003e There was a marked difference between the clichéd art I'd encountered in high school and evening drawing classes and the elevated art that Yale University art students envisioned. Their approach to art, their values, and their creative methods were all different.\u003cbr\u003e\u003cbr\u003e I realized that creating art requires much more than simply 'good intentions'.\u003cbr\u003e Art is made up of a keen sense, a pursuit of immaterial values, an exploration of the artist's self, and remarkable talent.\u003cbr\u003e --- p.43, from “Yale University Art Students”\u003cbr\u003e\u003cbr\u003e Describing something in detail is like expressing a drawing in words.\u003cbr\u003e When we first encounter a work of art, especially if it is unfamiliar and we don't know how to approach it, we start to describe it to ourselves. \u003cbr\u003eDescription is the simplest 'way of seeing'.\u003cbr\u003e By describing my work, I try to answer simple but important questions.\u003cbr\u003e\u003cbr\u003e Ask questions like: what is there, what does it look like, how big is it, what is it made of, what does it not do, what other works of art are similar to it, etc.\u003cbr\u003e All works of art are like this.\u003cbr\u003e That is, it is the answer to the question, 'What is this?'\u003cbr\u003e --- p.63, from \"Josef Albers\"\u003cbr\u003e\u003cbr\u003e The artists I most admire are those who have developed a unique and consistent aesthetic, sensibility, approach, attitude, and way of looking at the world.\u003cbr\u003e This is more fundamental than simply an identifiable visual style, and is evident not only in the artist's work but also in his writing, curating, collecting, and other activities beyond art. \u003cbr\u003eArtists, thinking and working in their own unique way, seek to embrace as much of the human experience as possible and attempt to reconstruct the entire world from their own perspective.\u003cbr\u003e --- p.\u003cbr\u003e 65, from \"The Immortal Artist\"\u003cbr\u003e\u003cbr\u003e When I was a student, Philip Guston visited Yale.\u003cbr\u003e He conducted large group critiques attended by most teachers and students.\u003cbr\u003e He was calm and generous with our work.\u003cbr\u003e The teachers, most of whom were second-generation abstract expressionist artists, encouraged their students to work in the same style.\u003cbr\u003e At the time, some saw the emerging pop art as undermining not only the fundamental principles of expressionism but also the fundamental principles of art itself.\u003cbr\u003e An enthusiastic student asked Guston the following question:\u003cbr\u003e\u003cbr\u003e “How can we save sublime art from pop art?”\u003cbr\u003e\u003cbr\u003e Gustung replied as follows:\u003cbr\u003e \u003cbr\u003e“Beware of those who see ‘true’ art as threatened and plan to save it.\u003cbr\u003e And don't worry, art saves itself.”\u003cbr\u003e --- p.76, from “Philippe Guston”\u003cbr\u003e \u003cbr\u003eDetachment; irony; the use of everyday and commonplace objects and images; the use of secondary images, repeated units, mechanical processes; linguistic and conceptual concerns; an interest in the psychology of perception and the role of the viewer; a fascination with reductionism and the work of Duchamp; an acceptance of the meanings inherent in a variety of materials and production processes; an openness to the use of all materials; a blurring of the line between high and low culture; a blurred distinction between abstraction and representation; a rejection of class; a rejection of absolute values; a commitment to a radicalism born of a constant questioning of fundamental premises or assumptions; a primacy of simplicity, clarity, directness, and immediacy; an insistence on the physical over the metaphysical or metaphorical—these characteristics are present in the key art of the 1960s: Pop Art, Minimalism, and Conceptual art. \u003cbr\u003eTo borrow McLuhan's term, the 1950s marked the end of 'hot art' and the beginning of 'cool art.'\u003cbr\u003e --- p.92, from “Minimalism”\u003cbr\u003e\u003cbr\u003e One of the lesser-known facts about Conceptualism is that it brought the focus back to the forefront of contemporary art through philosophical inquiry, a shift from pure art, which had traditionally focused on form, materials, and process for decades.\u003cbr\u003e Conceptualism expanded the realm of modern art by addressing entirely new topics, from the detailed observation of everyday life to bold philosophical and linguistic speculations, from socio-political issues to the emerging concerns of feminism and sexual politics.\u003cbr\u003e In this new order, works can take any form the artist deems appropriate to their subject matter, and can be made of any material.\u003cbr\u003e --- p.138, from “Conceptual Art”\u003cbr\u003e\u003cbr\u003e Art is metaphor? It is poetry, not prose. \u003cbr\u003eArt presents truth through devices.\u003cbr\u003e The greatest crisis today is the reliance on principle everywhere.\u003cbr\u003e Principleism fails to understand and appreciate poetry and its meaning.\u003cbr\u003e Because fundamentalists do not understand art, they instinctively fear it and always reject it.\u003cbr\u003e --- p.148, from “Art and Metaphor”\u003cbr\u003e\u003cbr\u003e One of the most exciting things about art is its diversity.\u003cbr\u003e People always make the mistake of trying to define 'what art is' and narrowing the definition to a limited scope.\u003cbr\u003e The diversity of art is its charm.\u003cbr\u003e Art is the sum total of all that goes by its name, a clear and easily identifiable category, yet an abstract concept that is very difficult to grasp.\u003cbr\u003e A work of art is an attempt and product of the artist to construct a form of expression of his or her personal world and experiences and convey it to others. \u003cbr\u003eEvery work of art reveals its own important values.\u003cbr\u003e Each work clearly states that these things are important above all else.\u003cbr\u003e Different works appear different because they suggest different values.\u003cbr\u003e Art continues to change as long as people perceive different values.\u003cbr\u003e --- p.201, from “What is Art”\u003cbr\u003e\u003cbr\u003e In the arts, talent is often confused with potential.\u003cbr\u003e But in my experience, people who have talent but lack passion have limitations.\u003cbr\u003e On the other hand, people who lack distinct talent compared to their passion have the potential to discover, develop, and invent something of their own.\u003cbr\u003e This is what we often call 'creativity'.\u003cbr\u003e People with passion are more likely to achieve greater success.\u003cbr\u003e --- p.240, from “Passion over Talent”\u003cbr\u003e\u003cbr\u003e Over the years, my work has been described by critics as:\u003cbr\u003e\u003cbr\u003e It was described as:\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Cold\u003cbr\u003e\u003cbr\u003e It's mechanical\u003cbr\u003e\u003cbr\u003e lacking emotions\u003cbr\u003e \u003cbr\u003eNot personal\u003cbr\u003e\u003cbr\u003e British look\u003cbr\u003e\u003cbr\u003e waste of space\u003cbr\u003e\u003cbr\u003e waste of money\u003cbr\u003e\u003cbr\u003e A waste of beautiful galleries\u003cbr\u003e\u003cbr\u003e Caulfield and Adami's blatant plagiarism\u003cbr\u003e\u003cbr\u003e Not particularly interesting to look at or think about\u003cbr\u003e\u003cbr\u003e boring\u003cbr\u003e\u003cbr\u003e unpleasant\u003cbr\u003e\u003cbr\u003e A dizzying cacophony of bright and intentional colors.\u003cbr\u003e\u003cbr\u003e vulgar\u003cbr\u003e\u003cbr\u003e decorative\u003cbr\u003e\u003cbr\u003e A confusing mix of didactic and commercial\u003cbr\u003e\u003cbr\u003e Spending too much money on something that doesn't happen\u003cbr\u003e\u003cbr\u003e eyewash\u003cbr\u003e\u003cbr\u003e Pretending to be attractive\u003cbr\u003e\u003cbr\u003e intellectual\u003cbr\u003e\u003cbr\u003e Too intelligent\u003cbr\u003e\u003cbr\u003e fake intellectual\u003cbr\u003e\u003cbr\u003e meaningless\u003cbr\u003e\u003cbr\u003e featureless\u003cbr\u003e\u003cbr\u003e threadbare\u003cbr\u003e\u003cbr\u003e half empty\u003cbr\u003e\u003cbr\u003e free\u003cbr\u003e\u003cbr\u003e dead\u003cbr\u003e\u003cbr\u003e Still old\u003c\/div\u003e\n\u003cdiv\u003e --- p.309-310, from “Some media criticism of my work” \u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e August 31, 2025\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 332 pages | 900g | 152*230*29mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791199432307\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 119943230X \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894756114474,"sku":"108112","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/df4f19c2098515f250cef8bcfbc64373.jpg?v=1765444875","url":"https:\/\/librairie.coreenne.fr\/en\/products\/108112","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}