Art & Photography Books

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Book SynopsisLearn how to draw stylish manga characters with this fun workbook geared toward budding artists. Start out by tracing the sample illustrations, then practice drawing using the provided guidelines. Once you master the basics, you'll be freehanding your own awesome manga girls in no time!

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Book SynopsisFollow Jenni Smith as she's granted rare access to the Liberty design studio and historic archives, and celebrate the iconic designs that have made Liberty London one of the world's most iconic fabric manufacturers. Liberty London opened in 1875 and has been producing exquisite fabrics and designs for over 140 years. In this book there are 15 projects with a complete fabric design history of Liberty as well as a full colour reference index for every fabric used. Featuring beautiful details of the classic fabric designs produced over the years, each quilt will inspire readers to finally cut into those precious bits of fabric and begin enjoying them in pieced projects of their very own. The hardback book comes in a gorgeous hardcover textured linen slipcase in beautiful Liberty fabric. It's an ideal gift for anyone who is a fan of Liberty or British design. This is the first quilting book to be an official partnership with Liberty.Trade ReviewThis book is a ‘celebration of my passion for Liberty Fabrics,’ with their ‘iconic prints’ and ‘soft texture’ writes the author Jenni Smith, they are ‘cherished friends’. Indeed, Liberty fabrics have been inspiring sewers to create everything from high fashion to household textiles for the last 140 years. I myself have a nostalgia for the scraps of past Liberty prints that I keep in my fabric stash, far too precious to cut into. Included in the book is a chapter detailing the history of liberty fabrics and what makes their design unique. The Liberty company has an archive of 50,000 prints, and it is these that its team of designers use as their source of inspiration when they begin their initial drawings and paintings for a new collection of fabric. Liberty are specialists in printing onto fabric, beginning as they did, when the company was founded, with block printing and later moving on to screen printing and digital printing, as technology evolved. They are world renowned for their print quality and attention to detail, especially given the size, intricacy and delicacy of some of their floral patterns. The small section in the book explaining about the base cloth, details the difference between the famous Tana Lawn fabric with its soft texture and Lasenby fabric, a more substantial 100% cotton, which is perfect for patchwork and quilting. It also explains the name origins of these two fabrics and gives an insight into why stroking Tana Lawn, is a favourite pastime amongst fans of this material. Subsequent chapters are devoted to the 15 patchwork and quilting projects that readers can make. The designs utilize a variety of sewing techniques including appliqué, English Paper Piecing, Foundation Paper Piecing and sewing curves. Each project is accompanied by easy-to-follow instructions and diagrams which include material yardages, how to sew the individual quilt blocks, and how to assemble the blocks into the finished piece. The projects are mostly designed to be machine sewn but hand piecing is an option, and 2 projects are designed to be hand sewn and portable. However, what makes this book unique is its adherence to the exclusive use of Liberty Fabrics, for the design and execution of each of the 15 projects. For me, the inclusion of an index of swatches of the Liberty Fabrics used, including a close-up photograph of the design, and details of its unique name and code, was a complete delight. From the very beginning, my own patchwork and quilting story was nurtured by my love for these wonderful fabrics and with this book I have been inspired to revisit them. -- Lis Tate * The Quilter's Guild *Celebrating 145 years of gorgeous floral prints, author Jenni Smith delves into the history behind the iconic designs that have made Liberty London such a household name. You'll be walked through one decade at a time, with 15 luxurious quilt projects showcasing differe3nt trends and styles from across the years. There is also a full colour reference for all the fabrics used, so you can recreate the projects that inspire you most. * Sew magazine - December 2020 *Liberty, the iconic department store located behind London's Regent Street, has an extensive archive of about 50,000 patterns and its in-house design studio, founded in 1952, continues to create iconic textile designs today, all printed on the finest cloth. Smith was granted rare access to both the studio and archives, and the result is 15 projects with a complete fabric design history of Liberty, as well as a full colour reference index for every fabric used. Reflecting the brand's pedigree, the book is a special object in its own right too, arriving in its own linen slipcase and illustrated throughout with beautiful photography. * Embroidery Magazine *

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Book SynopsisColin Rowe is acknowledged to be the most influential figure in architectural theory in the last half of the 20th century. Although his contribution to the discipline and practice of urban design is equally important, there is no single text which specifically focuses on his work in this sphere. This book intends to address this omission by critically examining Rowe''s urban design theory and its evolution, which began at the Cornell University Urban Design program in 1963 and continued until his death in 1999. The text features a score of previously unpublished essays by prominent scholars, educators and practitioners, many of whom were his students or close collaborators. The Urban Design Legacy of Colin Rowe provides a window to explore past, present and future themes central to the discipline of urban design as seen through the critical lens of Colin Rowe and those who continue to define their creative work in relationship to that extraordinary intellect.

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Book SynopsisQuintessa Matranga (New York, USA)Turtle FurPublished on the occasion ofPrinted Matter's LA Art Book Fairat The Geffen Contemporary at MOCAFebruary 24 26, 2017Black & White PhotocopyEdition of 120

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Book SynopsisToday, weather extremes brought about by anthropogenic climate change pose relentless cognitive and imaginative challenges. Beyond news media, what are the cultural registers of this phenomenon? How can artistic and literary engagements with destabilizing natural patterns summon new planetary imaginaries—reorienting perspectives on humanity’s position within the environment?A Year Without a Winter brings together science fiction, history, visual art, and exploration. Inspired by the literary ‘dare’ that would give birth to Mary Shelley’s Frankenstein amidst the aftermath of a massive volcanic eruption, and today, by the utopian architecture of Paolo Soleri and the Arizona desert, expeditions to Antarctica and Indonesia, this collection reframes the relationship among climate, crisis, and creation. The 1815 eruption of Mount Tambora, on the Indonesian island of Sumbawa, enveloped the globe in a cloud of ash, causing a climate crisis. By 1816, remembered as the ‘year without a summer,’ the northern hemisphere was plunged into cold and darkness. Amidst unseasonal frosts, violent thunderstorms, and a general atmosphere of horror, Shelley began a work of science fiction that continues to shape attitudes to emerging science, technology, and environmental futures. Two hundred years later, in 2016, the hottest year on historical record, four renowned science fiction authors were invited to the experimental town of Arcosanti, Paolo Soleri’s prototype for arcology, to respond to our present crisis. A Year Without a Winter presents their stories alongside critical essays, extracts from Shelley’s masterpiece, and dispatches from expeditions to extreme geographies. Broad and ambitious in scope, this book is a collective thought experiment retracing an inverted path through narrative extremes.A Year Without a Winter is edited by Dehlia Hannah in collaboration with science fiction editors Brenda Cooper, Joey Eschrich, and Cynthia Selin. The book includes a suite of commissioned stories by Tobias Buckell, Nancy Kress, Nnedi Okorafor, and Vandana Singh; essays by Dehlia Hannah, Gillen D’Arcy Wood, James Graham, Hilairy Hartnett, David Higgins, Nadim Samman, and Pablo Suarez; artwork by Julian Charrière and Karolina Sobecka; and literary excerpts by Mary Shelley and Lord Byron.Trade ReviewNamed a New York Times Critics' Top Art Books of 2019. * New York Times *Absolutely engrossing. -- Jason Farago * New York Times *A fascinating collection. -- Melinda Baldwin and Cynthia Cummings * Physics Today *A well-timed, gathered-together treatise. -- Conrad Scott * The Goose *

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Book SynopsisThis volume offers a comprehensive look at the career of Mika Rottenberg (born 1976). Each chapter is devoted to one of the major videos/installations for which Rottenberg has become known, with an abundance of installation views, video stills, planning diagrams and source materials. Additional illumination is provided through texts by Rottenberg herself that accompany each project. The book also includes drawing and photography, significant bodies of work by Rottenberg not previously explored in book form. Also included is a major new text by award-winning poet, novelist, humorist and cultural critic Wayne Koestenbaum, as well as texts on the artist by Rose Art Museum director Christopher Bedford, and author and theorist Julia Bryan-Wilson. The book also contains a thorough biography and bibliography of the artist to date, making this a comprehensive resource on Rottenberg.Trade ReviewMika Rottenberg’s videos and installations are marked by a highly distinctive, unforgettable narrative style. One would not expect three-dimensional work that is also time-based to be well-conveyed in print, but this catalog to an exhibition at the Rose Art Museum does a remarkable job. -- Andrea Kirsh * The Art Blog *

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Book SynopsisA new focus on the sublime landscapes in Lisa Yuskavage’s voluptuous figure paintings Though she is arguably best known for the voluptuous female nudes that populate her paintings, Lisa Yuskavage’s work is just as focused on the ethereal settings in which these subjects appear. Yuskavage creates finely detailed landscapes that blur the line between the fantastical and the familiar, melding abstraction with realism to depict self-contained worlds. These outdoor scenes defy conventions of landscape painting with surreal color palettes of lush greens and delicate pinks, cast in a gauzy light quality that highlights the almost magical nature of her paintings. Published in conjunction with a joint exhibition between the Aspen Art Museum in Colorado and the Baltimore Museum of Art in Maryland, this volume includes color reproductions of Yuskavage’s paintings and watercolors from the early 1990s to the present, as well as an interview between Yuskavage and fellow artist Mary Weatherford.Based in New York City, American artist Lisa Yuskavage (born 1962) received her MFA from the Yale School of Art in 1986. In the years since, her signature style of figure painting has developed something of a cult following for its attention to art historical tradition and a decidedly contemporary, pop culture-based approach to the representation of the female form. Her work has been in solo exhibitions around the world. Yuskavage is represented by David Zwirner.Trade ReviewYuskavage creates finely detailed landscapes that blur the line between the fantastical and the familiar, melding abstraction with realism to depict self-contained worlds. These outdoor scenes defy conventions of landscape painting with surreal color palettes of lush greens and delicate pinks, cast in a gauzy light quality that highlights the almost magical nature of her paintings. -- James Cox * Midwest Book Review *Having developed a strong visual identity linked to exploring female anatomy, Yuskavage’s paintings leave little room for feelings of indifference. They are challenging and uncomfortably explicit, yet there is a mysterious aura that captures the viewer. Voluptuous female figures with impossibly huge breasts, perfect peach skin and child-like complexion play around immersed in idyllic landscapes. -- Augustina Mistretta * Aspen Daily News *...[P]ay attention to what Yuskavage has been doing in the background. There, you’ll find groundbreaking landscapes ranging from the romantic to the apocalyptic. It’s a journey from Eden to hell and back. -- Andrew Travers * Aspen Times *Yuskavage, a masterful colorist, makes lush, luminous, intentionally — and delightfully — gauche paintings that unsettle facile notions of misogyny, femininity and the female gaze. -- Julia Felsenthal * New York Times: Style *Lisa Yuskavage is perhaps best known for her paintings of voluptuous sexualized female figures in romantic, dramatically lit environments [...] Yuskavage ascribes an otherworldly transcendence to her portraits, eschewing pictorial conventions to lend a sense of seductivity to the everyday. -- Ryan Waddoups * Surface *[W]idely recognized for her distinct use of color and form to subvert pictorial depictions, establishing a world of her own with its own myths and fantastical conventions [...] the boundary-pushing painter...introduc[ed] her sexualized female subjects across pictorial paintings. -- Keith Estiler * Hypebeast *For over three decades, Yuskavage’s magical, provocative paintings of nude women (and to a lesser extent, men) have raised the eyebrows of the more conservative ilk for their perceived carnality [...] Make no mistake—Yuskavage isn’t trying to portray these women as particularly sexual, she’s simply allowing the women in her paintings to just “be”. -- Ann Binlot * Document Journal *

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Book SynopsisStars as minimalist and maximalist motif in the art of Frank Stella, from his earliest paintings to his most recent sculptures As a painter, sculptor and printmaker, Frank Stella (born 1936) has always paid great attention to geometric lines and patterns in his work, creating pieces that are arrestingly kaleidoscopic in both their form and content with bold lines and shaped canvases. This catalog, published for his 2020 exhibition at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, focuses in particular on the enduring use of star shapes in Stella’s oeuvre. Stella’s depictions of stars range from the minimalism of his early career, with lithograph prints of brightly colored polygonal patterns, to the maximalism of his more recent work seen in his towering angular sculptures made from stainless steel. Although he is well aware that his last name is the Latin word for star, Stella maintains that his fixation on the shape is inspired by its form and the endless possibilities that accompany the star, rather than its etymology. Both instantly recognizable and infinitely abstract, stars seem like an obvious choice for an artist who has dedicated his life to experimenting with form. In addition to a plates section of the 60 pieces included in the Aldrich show, this book presents installation shots throughout the museum’s interiors and outdoor gardens, and photographs of the artist’s studio. The curators of the exhibition, Richard Klein and Amy Smith-Stewart, worked closely with Stella on the exhibition installation and contribute major essays that add new dimensions to our understanding of a widely celebrated and influential artist.Trade ReviewFrank Stella’s name means star in Italian, and for decades that was the problem, the reason he stopped making them... But then, computer design technology came along, and 3-D printing. Suddenly the star had possibilities. -- Sara Kugel * CBS: News *Frank Stella’s Stars is a testimony to an artist, now 84, in perpetual evolution. Its focus on the star motif ends up reaffirming the restlessness of this painter’s progress and his underappreciated engagement with new technologies of design, fabrication and display. -- Jason Farago * New York Times *

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Book SynopsisSensual and psychedelic sculpture affirming the primacy of the handmade object, from a leading New York sculptor The vibrant, small-scale wooden sculptures of New York–based artist Matthew Ronay (born 1976) cull from the vocabularies of organic things—flora and fauna from land and sea, human anatomy, and water systems. Fantastical architectures find form, too—gateways and towers—in the artist’s technicolor array of soft-curved and intricately honed formations. Melding vocabularies of modernist abstraction and ritualistic objects, Ronay's sculptures and enigmatic installations express the primacy of the handmade object. His inspirations constitute a zigzagging thread of artists and scientists from the 18th century to the present whose works reflect natural phenomena consciously or unconsciously. Ronay also proposes the possibility that inherited memories of the genesis and evolution of life recapitulate themselves in abstract works of sculpture and painting. Produced in conjunction with the artist’s exhibition at the Nasher Sculpture Center, this monograph presents Ronay's sensual and psychedelic sculptures in extensive detail through photographs and installation views.

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Book SynopsisA sweeping survey of hip hop’s resounding impact on contemporary art and culture across the past 20-plus years Accompanying a groundbreaking exhibition originating at the Baltimore Museum of Art, this book captures the extraordinary influence of hip hop, which has driven innovations in music, visual and performing arts, fashion, and technology and grown into a global phenomenon since its emergence in the 1970s. It features approximately 70 objects by both established and emerging artists, design houses, streetwear icons and musicians working in a wide range of mediums to demonstrate hip hop’s proliferation from the street to the runway, the studio to the museum gallery, and countless sites in between. The exhibition also explores how hip hop has and continues to challenge structures of power, dominant cultural narratives, and political and social systems of oppression. This fully illustrated monograph documents the exhibition and contains texts and interviews from more than 30 artists and scholars. Artists include: Nina Chanel Abney, Dionne Alexander, Maxwell Alexandre, Devin Allen, Alvaro Barrington, Jean-Michel Basquiat, Grace Wales Bonner, Mark Bradford, Jordan Casteel, Willy Chavarria, Caitlin Cherry, Troy Chew II, William Cordova, Carl Jones, Stan Douglas, John Edmonds, Gajin Fujita, Monica Ikegwu, Shabez Jamal, Kahlil Joseph, Nia June, LA II, Deana Lawson, Eric N. Mack, Emmanuel Massillon, Julie Mehretu, Murjoni Merriweather, Jayson Musson, Rashaad Newsome, Yvonne Osei, Zéh Palito, Gordon Parks, Adam Pendleton, Robert Pruitt, Rammellzee, Sheila Rashid, Rozeal, Joyce J. Scott, Tschabalala Self, Tariku Shiferaw, Devan Shimoyama, Hank Willis Thomas, Carrie Mae Weems, Vivienne Westwood and Malcolm McLaren, Abbey Williams, Pharrell Williams and Wilmer Wilson IV. Authors include: Ebony Haynes, Todd Boyd, Lester Spence, Jordana Moore Saggese, Greg Tate, Misa Hylton, Elena Romero, Ekow Eshun, Devin Allen, Michael Holman, Simone White, Salome Asega, Alphonse Pierre, David A.M. Goldberg and Tahir Hemphill, Jacolby Satterwhite, Wendel Patrick, Simon Reynolds, Seph Rodney, Jesse McCarthy, Danez Smith, Noriko Manabe, Lindsay Knight and Charity Marsh, Shaheem Sanchez, Jeffrey Q. McCune, Jr., Sekou Cooke, Jessica N. Pabón-Colón, Martha Cooper, Skeme, Alex de Mora and Lawrence Burney.Trade ReviewContains significant personal and communal resonance for those steeped in hip-hop culture, while providing a crash course into the explosive impact of the genre over the past two decades for those less versed. -- Okla Jones * Essence *One of the show’s biggest strengths lies in its easy-to-follow examples of the genre’s seismic impact. -- Jenna Adrian-Diaz * Surface *The show captures the pan-disciplinary phenomenon of hip hop; its ability to traverse high and low culture, and how it preempted a contemporary landscape in which creative fields continue to blur and overlap. -- Harriet Lloyd-Smith * *Wallpaper *

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Book SynopsisThere are many myths about the artist Edgar Degas—from Degas the misanthrope to Degas the deviant, to Degas the obsessive. But there is no single text that better stokes the fire than Degas and His Model, a short memoir published by Alice Michel, who purportedly modeled for Degas.Never before translated into English, the text’s original publication in Mercure de France in 1919, shortly after the artist’s death, has been treated as an important account of the master sculptor at work. We know that Alice was writing under a pseudonym, but who the real person behind this account was remains a mystery—to this day nothing is known about her. Yet, the descriptions seem too accurate to be ignored, the anecdotes too spot-on to discount; even the dialogue captures the artist’s tone and mannerisms.  What is found in these pages is at times a woman’s flirtatious recollection of a bizarre “artistic type” and at others a moving attempt to connect with a great, often tragic man. The descriptions are limpid, unburdened; the dialogue is lively and intimate, not unlike reading the very best kind of gossip, with world-historical significance. Here in these dusty studios, Degas is alive, running hands over clay, complaining about his eyes, denigrating the other artists around him, and whispering salaciously to his model. And during his mood swings, we see reflected the model’s innocence and confusion, her pain at being misunderstood and finally rejected. It is an intimate portrait of a moment in a great artist’s life, a sort of Bildungsroman in which his model (whoever she may be) does not emerge unscathed.

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Book SynopsisA *New* Program for Graphic Design is the first Communication Design textbook expressly of and for the 21st century. Synthesizing the pragmatic with the experimental, this volume builds upon mid- to late-20th-century pedagogical models to convey advanced principles of contemporary design in an understandable form for students of all levels. David Reinfurt, a graphic designer, writer, educator and one half of design collaboration Dexter Sinister, has developed a graphic design curriculum at Princeton University in which three courses provide a broad and comprehensive introduction to the field for undergraduate students coming from a range of other disciplines. These courses Typography, Gestalt and Interface are the foundation of this book. Through a series of in-depth historical case studies (from Benjamin Franklin to the Macintosh computer) and assignments that progressively build in complexity, A *New* Program for Graphic Design serves as a practical guide for designers looking to understand and shape the increasingly networked world of information and design. As a cofounder of O-R-G inc. (2000), Dexter Sinister (2006) and The Serving Library (2012), graphic designer and teacher David Reinfurt (born 1971) has been involved in several studios and collectives that have reimagined graphic design, publishing and archiving in the 21st century. His work is included in the collections of the Walker Art Center, the Whitney Museum of American Art, the Cooper Hewitt National Design Museum and the Museum of Modern Art, but can also be accessed on a daily basis: he was the lead designer for the New York City MTA Metrocard vending machine interface, still in use today. Reinfurt teaches at Princeton University.Trade ReviewNot your typical textbook, A *New* Program for Graphic Design is a sleek, no-frills volume designed like a stack of notes from the course you never took (but should have) and written in casual, everyday language. -- Maya P Lim * Creative Pro *...In viewing design as a liberal art — as a discipline that bridges disciplines, as skills that can help anyone, designer or not, make sense of this increasingly visual world — Reinfurt shows the value of design is not simply in the crafting of images, but in helping us see and read them." -- Jarrett Fuller * Jarret Fuller *David Reinfurt‘s new book provides … in depth access to a historical analysis, exquisite close-focus portraits of multi-talented creative makers past and present, alongside his own research and examples of his class assignments. This intelligent book contains new insights regarding graphic design history, thought, and practice. This book is a reminder of Walt Whitman’s call for "a force infusion of intellect" to confront the future. -- Sheila Levrant De Bretteville * Director, Yale University Graduate Program in Graphic Design *At a moment of tremendous technological and cultural change, David Reinfurt makes the case that graphic design is not merely a craft, but a fundamental way to understand and engage with the world. Discursive, expansive, and inspiring, this book redefines its subject and provides an indispensable guide to how it might be practiced. -- Michael Bierut * Partner, Pentagram New York *

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Book SynopsisA collective history of the 1980s anti-imperialist campaign In the early 1980s, a group of artists, writers and activists came together in New York City to form Artists Call Against US Intervention in Central America, a creative campaign that mobilized nationwide in an effort to bring attention to the US government’s violent involvement in Latin American nations such as Nicaragua and El Salvador. Together the group staged over 200 exhibitions, concerts and other public events in a single year, raising awareness and funds for those disenfranchised by such political crises. Art for the Future illuminates the history of Artists Call with archival pieces and newly commissioned work in the spirit of the group’s message. In Spanish and English, a wide selection of artists and organizers examine the group’s history as well as the issues that were as urgent to Artists Call in 1984 as they are now: decolonization, Indigeneity, collectivity, human rights and self-determination. Artists include: Antena Aire, Benvenuto Chavajay, Leon Golub, Hans Haacke, Fredman Barahona & Christian Dietkus Lord, Sandra Monterroso, Carlos Motta, Claes Oldenburg, Gregory Sholette and Coosje van Bruggen, Maria Thereza Alves, Sabra Moore, Jerri Allyn, Dona Ann McAdams, Rudolf Baranik, Susan Meiselas, Alfredo Jaar, Martha Rosler, Jesús Romeo Galdámez and Jimmie Durham.

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Book SynopsisThe first monograph on the exuberant, polymorphous art of Teddy Sandoval, whose work explored community, queerness and Chicano identity Accompanying the artist’s first retrospective, Teddy Sandoval and the Butch Gardens School of Art examines the work of the inventive yet overlooked Los Angeles–based artist Teddy Sandoval (1949–95). A central figure in Los Angeles’s queer and Chicanx artistic circles, Sandoval was an active participant in international avant-garde movements. For 25 years, he produced subversive and playful artworks in a range of mediums—including ceramics, mail art, painting, printmaking, performance, photography, window displays and xerography—that explored the codes of gender and sexuality, particularly transforming conceptions of masculinity. This expansive publication surveys Sandoval’s work alongside other queer, Latinx and Latin American artists whose practices profoundly resonate. The expansive catalog features essays by C. Ondine Chavoya, David Evans Frantz, Raquel Gutiérrez and Mari Rodriguez Binnie, as well as biographical entries on additional artists featured in the exhibition, among them, Félix Ángel, Myrna Báez, Álvaro Barrios, Ester Hernández, Hudinilson Jr., Antonio Lopez, María Martínez-Cañas, Marisol and Joey Terrill.

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Book SynopsisConsidering intergenerational and cultural inheritance through the prisms of intimacy and infrastructureDesigned as both a reader and an exhibition catalog, Intimate confession is a project explores the intersection between intimacy and infrastructure with a particular focus on the social landscape of Houston, where the corresponding exhibition took place. The 10 featured artists use multimedia works to think through infrastructure as an intimate holding cell, capable of great emotional power. Intended as a scholarly contribution to cross-disciplinary exchange between the visual arts and the humanities, the book includes essays by Ara Wilson, Kai Bosworth and Lara Mimosa Montes, as well as poetry by Juliana Sphar and Roberto Tejada.Artists include: Gwenneth Boelens, Benvenuto Chavajay, ektor garcia, Lonnie Holley, Anna Mayer, Na Mira, Kate Newby, Josie Ann Teets, Chiffon Thomas, Iris Touliatou, Clémence de La Tour du Pin.

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Book SynopsisThe first publication in English on the career of Czech graphic designer and typographer Clara IstlerováClara Istlerová (born 1944) was one of few female designers in the male-dominated field of Czech typography. Born into an artistic family, she studied under František Muzika at the Academy of Arts, Architecture and Design in Prague. Working entirely in analog processes, she created the design for one of the most influential books on Czech architecture, Švácha, Rostislav: From Modernity to Functionalism (1985). Offering a vivid portrayal of an era where design was a tangible, labor-intensive endeavor carried out in close collaboration with typesetters and printers, A Life Among Letters unveils the artistic landscape of former Czechoslovakia through the lens of a trailblazing designer. It features an intimate interview with Istlerová conducted by Anežka Minaríková, accompanied by work from Istlerová's personal archive and a description of her creative process in her own words.

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Book SynopsisA first of its kind exploration of early modern European culinary history.Staging the Table in Europe represents the first book-length study of sixteenth- and seventeenth-century illustrated handbooks for cooking and dining that provided instruction for nearly every element of the dining experience, from expertly carving meats and fruits to folding napkins into animal forms, performing tableside magic tricks, and creating tablescapes for courtly banquets. Deborah L. Krohn opens a window into a world of culinary spectacle and sheds light on what became a pan-European culture of elaborate performance surrounding the preparation and presentation of food. Krohn shows that the rise of instructional manuals followed the decline of formalized, in-person modes of craft education, such as guilds and familial instruction. More broadly, she demonstrates how these manuals illuminate the material and social worlds of their readers. Beautifully illustrated, Staging the Table in Europe reveals the rich material culture that accompanied lavish banquets and state events as well as everyday dining, enabling readers to imagine the tastes, smells, and sights of Europe’s early modern culinary world. Trade Review"Deborah Krohn’s meticulous parsing of European table literature through the three centuries covered by this study makes her an eloquent and trustworthy guide. The book has been beautifully produced, with a rich hoard of visual materials gracing virtually every page." * The World of Fine Wine *"Referencing 16th and 17th century cookery manuals and artifacts, Staging the Table focuses on the highly respected skill of carving and explores how what was once reserved for the privileged became accessible to the masses, thanks to the broader publication of these manuals and the information within . . . Like its source material, Staging the Table in Europe is a collection of culinary resources, a thoughtfully documented compendium in and of itself, that can exist independently from its original purpose." * Culinary Historians of Canada *

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Book SynopsisCultivation is just another word for commitment. You think you are just pulling weeds, but what you are really doing is writing a love letter to your patch of earth. Thomas RainierThis quote opens Bedrock: The Making of a Public Garden, a book that is a love letter from a woman to the garden she spent 40 years creating. Jill Nooney, a psychotherapist and graduate of the Radcliffe Seminars Program in Landscape Design, and her husband Bob Munger, a physician, developed their 30 acres in Lee, New Hampshire into an unforgettable garden. Featuring more than 300 photographs of the garden and Jill's artful sculptures, water features, and built structures that provide places throughout Bedrock Garden from which to contemplate the complete landscape, the book takes us from the garden's origins as a private space to its present life as a public garden. The garden has slowly evolved through its creators' deep love for the land and an indominable urge to experiment. Rich with entertaining anecdotes of realizing improbable, visionary concepts that involved moving boulders, carrying trees and rocks on planes, ferreting out rare plant material, operating all manner of equipment, and managing thousands of visitors, this is a story of love, loss and generosity. The book takes the reader into a landscape that is green and wild, but also filled with a deep sense of peace. Just like visitors to the garden, readers will fall in love with Bedrock.

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Book SynopsisTake care of yourself. How many times a week do we hear or say these words? If we all took the time to care for ourselves, how much stronger will we be? More importantly how much stronger will our communities be? In Take Care of Your Self, Iraqi artist and curator Sundus Abdul Hadi turns a critical and inventive eye on the notion of self-care, rejecting the idea that self-care means buying stuff and recasting it as a collective practice rooted in the liberation struggles of the oppressed. Throughout, Abdul Hadi explores the role of art in fostering healing for those affected by racism, war, and displacement, weaving in the artwork of twenty-seven artists of color from diverse backgrounds to identify the points where these struggles intersect. In centering the voices of those often relegated to the margins of the art world and emphasizing the imperative to create safe spaces for artists of color to explore their complicated reactions to oppression, Abdul Hadi casts self-care as a political act rooted in the impulse toward self-determination, empowerment, and healing that animates the work of artists of color across the world.Table of ContentsForeword, by Emily JacirPrefaceIntroduction Chapter 1: Knowledge of SelfRoots / Al-nafs / On Being Iraqi / New Word Order Chapter 2: Decolonizing CareOn Care / On Teachers / Approach with Caution / The Role of the Artist Chapter 3: Decolonizing the Art WorldWe Are The Medium / The Industry / Breaking Down the Walls / Interventions / Me, We, Muhammad Ali / Minister of Culture: Emory Douglas / Narratives 63 The Living Room:Images and Words by the Artists (w/ color plates) Poetry“Ode To Myself” // Soukayna“Women Pt. 1” // Jessica Powless“Untitled” // Teeanna Munro Chapter 4: Curating CareCare-full Curation / Curating as Artist-Curator / Intentionality / Ceremony / The Stories in Between / Shim El Yasmine [Smell the Jasmine] / Poetry / “Taking Care of Us”: The Workshop Chapter 5: SpaceSafe(r) Space? / The Challenges We Face / Behind the Scenes / Take Space, Make Space ConclusionEpilogue: Care and the PandemicAppendix: #Arabs4BlackPower Statement / Take Care of Your Self CuratorialStatementAcknowledgementsBibliographyGlossaryIndexAbout the ArtistsAbout the AuthorAbout We Are The Medium

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Book SynopsisDesigning Peace asks, how might we collectively put our creative forces together to envision a future we want to live in and take action to create it now? This book is an intersectional snapshot of the actions—culturally diverse and wide-ranging in scale—that are currently in play around the world. Offering perspectives on peace through essays, interviews, critical maps, project profiles, data visualizations, and art, this book conveys the momentum that design can gain in effecting a peace-filled future. From activists, scholars, and architects to policymakers, graphic, game, and landcape designers, Desiging Peace flips the conversation: peace is not simply a passive state signifying the absence of war, it is a dynamic concept that requires effort, expertise, and multi-dimensional solutions to address its complexity. Designers engage with individuals, communities, and organizations to create a more sustainable peace—from creative confrontations that challenge existing structures, to designs that demand embracing justice and truth in a search for reconciliation. This publication aims to expand the discourse on what is possible if society were to design for peace.Table of ContentsIntroduction: Cynthia E. Smith, Cooper Hewitt, Smithsonian Design Museum I. How might design support a more humane security and peace? “An Architecture of Peace: Scaling the Intimate, Containing the Infinite,” Michael Murphy, MASS Design Group “The Business of Peace: Designs for Peace-Positive Technology,” Jason Miklian, University of Oslo, and Kristian Hoelscher, Peace Research Institute, Oslo “Borders and Boundaries,” Beth Simmons, Michael Kenwick, and Dillon Horwitz, University of Pennsylvania “In Transit: Urban Mobility and Migration,” Tone Selmer-Olsen and Håvard Breivik, Institute of Urbanism and Landscape, Oslo School of Architecture and Design (AHO) “Imagine the Just City,” Toni L. Griffin, Just City Lab, Graduate School of Design, Harvard University Projects: The Adventures of Daly graphic novels (Tunisia) Body Mapping (Democratic Republic of the Congo) Island Tracker (East and South China Seas) Oceanix City (Global) Papers, Please (Virtual) Startblok Elzenhagen (The Netherlands) Social Emergency Response Center (Canada, Serbia, United States) “Borderwall as Architecture,” Ronald Rael and Virginia San Fratello, University of California, Berkeley Teeter-Totter Wall (Mexico, United States) II. How can design help advance peace by addressing the root causes of armed conflict? “The United Nations Security Council Negotiation Process from an Architect’s Point of View,” Michael Adlerstein, United Nations “New World Summit,” Jonas Staal, artist and organizer Projects: CONIFA (Global) Hate Speech Lexicons (Africa, Middle East) Regreening Africa (Africa) Peace Pavilion (India) House of Peace (Denmark) Positive Peace Index (Global) Stalled! (United States) Universal Declaration of Human Rights Posters (United States) Rare Earthenware (China) Astropolitics (Earth and Moon) New World Summit – Rojava (West Kurdistan) III. What ways can creative confrontation challenge existing structures and the status quo? “Beautiful Trouble Toolbox,” Nadine Bloch and Andrew Boyd, Beautiful Trouble: A Toolbox for Revolution “Glyphs, Inc.: The Quest for Universality through Visual Symbols,” Lee Davis, Maryland Institute of Art and Design “Objects, People, and Peace,” Caroline O'Connell, Cooper Hewitt, Smithsonian Design Museum Projects: Art the Arms Fair (United Kingdom) Extinction Symbol (Global) World Peace Symbol (Uruguay) Maps (bullet rug) series (Colombia, Guatemala, Lebanon, Mexico, Spain, United States) Black Lives Matter Harlem street mural (United States) IV. How might design embrace truth and dignity in a search for peace and justice? “Designing the Kitchen,” Merve Bedir, Land+Civilization Compositions “The Global Legacy of Colonialism: Citizen-State, A Bottom-Up Reparation Model,” Everisto Benyera, University of South Africa, Pretoria “¿A quién pertenece la tierra? [Who Owns the Land?]” Pablo Ares and Julia Risler, Iconoclasistas Binalakshmi Nepram, Manipur Women Gun Survivors Network and Control Arms Foundation, India, with Cynthia E. Smith Projects: Conflict Kitchen (United States) Christmas Operations (Colombia) My Ancestors’ Garden (United States) Paper Monuments (United States) The Chronic (Global) The Murder of Halit Yozgat (Germany) V. What ways can design support/facilitate transitions from instability to sustainable peace? Chelina Odbert, Kounkuey Design Initiative for the World Bank/Gender Inclusive Urban Planning Projects: HarassMap (Canada, Egypt, Mexico, South Africa, Switzerland, Turkey) Recoding Post-war Syria (Syria) RefAID (Global) Korea Remade (North Korea, South Korea) Safe Passage Bags (Greece) Ideas Box (Global) Designing for Dignity (Norway) Stone Garden (Lebanon) BLUE: Architecture of UN Peacekeeping Missions (Mali, Libera) Casa Azul (South America, Central America, and the Caribbean) Jordan River Peace Park (Israel, Jordan, Palestine)

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Book Synopsis“Workers of the world… relax!” THE ABOLITION OF WORK, a well-know essay written by the anarchist Bob Black in 1985, appears now in a comics edition by Bruno Borges. His expressive cartoons reinforce the strength and pertinence of this groundbreaking text.Features a new introduction by Bob Black.

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Book SynopsisRalph Gibson's diptych portrayal of Israel, a land at once deeply modern and incredibly ancient The American photographer Ralph Gibson traveled throughout Israel and the surrounding region to create a portrait of a land where the past is vividly part of the present. He contrasts these in two-page spreads in which color and black-and-white images face one another: ancient language in a visual dialogue with contemporary human experience. As architect Moshe Safdie writes in his accompanying text: “This is the promise and paradox of Israel, a new country in an ancient land, modernity next to regression, with abundant and creative energy and cultural output. The high-tech world of invention next to Torah studies. It is still a young country, not even yet past its Centennial. With an optimistic eye, one sees the promise yet to be.” For this project, Gibson visited many of the well-known sites of the Holy Land, including the ancient city of Petra in Jordan as well as Masada and the Sea of Galilee flowing into the River Jordan. Sacred Land is a sumptuous study in the aesthetics of time. Ralph Gibson was born in Los Angeles in 1939. In 1956 he enlisted in the navy, where he began studying photography. Since he published his first photobook The Somnambulist in 1970, his work has been the subject of over 40 monographs. His work is widely exhibited and held in public collections around the world, such as the Stedelijk Museum, Amsterdam, and the Museum of Modern Art, New York. He lives and works in New York.

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Book SynopsisAn in-depth look at the many ways women around the world helped shape modern photography from the 1920s to the 1950s as they captured images of a radically changing world During the 1920s the New Woman was easy to recognize but hard to define. Hair bobbed and fashionably dressed, this iconic figure of modernity was everywhere, splashed across magazine pages or projected on the silver screen. A global phenomenon, she embodied an ideal of female empowerment based on real women making revolutionary changes in life and art—including photography. This groundbreaking, richly illustrated book looks at those “new women” who embraced the camera as a mode of expression and made a profound impact on the medium from the 1920s to the 1950s. Thematic chapters explore how women emerged as a driving force in modern photography, bringing their own perspective to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography and photojournalism. Featuring work by 120 photographers, this volume expands the history of photography by critically examining an international array of canonical and less well-known women photographers, from Berenice Abbott, Dorothea Lange and Lola Álvarez Bravo to Germaine Krull, Tsuneko Sasamoto and Homai Vyarawalla. Against the odds, these women produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.Trade ReviewUnearths quite a bit of buried treasure. -- Julia Curl * Hyperallergic *A quietly indignant survey of 20th-century female photographers around the globe. Ambitious but far from definitive, the show is an opening salvo in the effort to restore a history riddled with omissions. -- Ariella Budick * Financial Times *For centuries before they went New, women had been objectified and observed as few men were likely to be. Picking up the camera didn’t pull eyes away from a New Woman; it could put her all the more clearly on view. But thanks to photography, she could begin to look back, with power, at the world around her. -- Blake Gopnik * New York Times *Women photographers and their work celebrated in an alternate history of photography. * CBS: News *Despite their groundbreaking achievements in the 20th century, female architects still struggle to receive recognition in a male-dominated field. Spotlighting 36 contemporary women architects and some of their most impressive buildings, Women in Architecture, a new book from Hatje Cantz, shows the world what it may have missed. -- Julia Vitale * Air Mail *In the first half of the twentieth century, female photographers emerged as a powerful force[...]Pictures by some hundred and twenty photographers from more than twenty countries are on view. -- Andrea K. Scott * New Yorker *The overall landscape of this catalog with its global focus, large and plentiful photographs, and an index of short biographies of many, but not all, of the photographers in the exhibition, yields an excellent reference text. While monographs on several of these photographers exist, the cumulative approach of Nelson and the other authors’ research as instantiations of the New Woman phenomenon gives this subject the air of fresh territory. -- Beverly Mitchell * ARLIS/NA Reviews *[The New Woman Behind the Camera] poses important, and often nuanced, questions alongside some of the most influential and inspiring early works of female photographers. -- Dani Martin * Musee *This book looks at those diverse “new women” who embraced the camera as a mode of expression and made a profound impact on the medium from the 1920s to the 1950s. Thematic chapters explore how women emerged as a driving force in modern photography, bringing multiple perspectives to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography, and photojournalism. -- Editors * L'Oeil de la Photographie *This collection of photography illustrates the notion of the “New Woman”—with her hair bobbed and a desirable sartorial flair—and how she infiltrated the world of experimental picture making, studio portraiture, photojournalism, and other means of image making in the 1920s-50s. A bevy of female photographers are featured, both well-known and not. -- David Saric * S Magazine *

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Book SynopsisExplore the treasures of The Frick Collection through the eyes of a diverse group of contemporary writers, artists and other cultural figures, from George Condo, Lydia Davis and Julie Mehretu to Abbi Jacobson and Edmund White A cultural haven for museumgoers in New York and beyond, The Frick Collection holds masterpieces by some of the most celebrated artists in the Western tradition—among them Bellini, Gainsborough, Goya, Rembrandt, Vermeer and Whistler—installed in a Gilded Age mansion on Fifth Avenue. This book includes 61 reflections on the Frick’s preeminent collection, with the contributors writing about an artwork that has personal significance, sharing how it has moved, challenged, puzzled or inspired them. Each text is accompanied by an illustration of the artwork. For example, writer Jonathan Lethem tells how he started going to the Frick as a teenager, to gaze at Hans Holbein’s portraits of Thomas Cromwell and Sir Thomas More. Historian Simon Schama revels in Turner’s Mortlake Terrace: Early Summer Morning, which reminds him of his own childhood growing up next to the River Thames. This engaging anthology attests to the inspirational power of art and reminds us that there is no one way to look. Authors include: André Aciman, Ida Applebroog, Firelei Báez, Victoria Beckham, Tom Bianchi, Carter Brey, Rosanne Cash, Jerome Charyn, Roz Chast, George Condo, Gregory Crewdson, Joan K. Davidson, Lydia Davis, Edmund de Waal, Rineke Dijkstra, Mark Doty, Lena Dunham, Stephen Ellcock, Donald Fagen, Rachel Feinstein and John Currin, Teresita Fernández, Bryan Ferry, Michael Frank, Moeko Fujii, Adam Gopnik, Vivian Gornick, Agnes Gund, Carolina Herrera, Alexandra Horowitz, Abbi Jacobson, Bill T. Jones, Maira Kalman, Nina Katchadourian, Susanna Kaysen, Jonathan Lethem, Kate D. Levin, David Masello, Julie Mehretu, Daniel Mendelsohn, Rick Meyerowitz, Duane Michals, Susan Minot, Mark Morris, Nico Muhly, Vik Muniz, Wangechi Mutu, Catherine Opie, Jed Perl, Taylor M. Polites, Diana Rigg, Jenny Saville, Simon Schama, Lloyd Schwartz, Annabelle Selldorf, Arlene Shechet, Judith Thurman, Colm Tóibín, Chris Ware, Darren Waterston, Edmund White and Robert Wilson.Trade ReviewSatisfying, elegant, thoughtful, and respectful at every turn. -- Colin B. Bailey * New York Review of Books *Some of the most appealing contributions are from thunderstruck amateurs. This is a charm of the book. Though now a grizzled professional, I still identify with them in spirit. [...] The works may be old, but our experience of them is strictly up to date. More than one contributor to “The Sleeve Should Be Illegal” invokes a sensation of walking on air after a visit to the Frick, a payoff of renewed faith in the powers of art and a forgivable pride in our own perhaps untrained and underused capacities to comprehend the aesthetic and spiritual stakes of a timeless game. -- Peter Schjeldahl * New Yorker *This engaging anthology attests to the inspirational power of art and reminds us that there is no one way to look. -- James Cox * Midwest Book Review *Exclusive extracts ...bringing together texts by 62 cultural figures describing their preferred works in the Frick Collection -- Gareth Harris * Art Newspaper *

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Book SynopsisA definitive resource on California’s Light and Space and Finish Fetish movements of the 1960s and ’70s This volume explores the art of Light and Space and related “finish fetish” pieces with highly polished surfaces. In the 1960s and 1970s, various artists in Southern California began to create works that investigate perceptual phenomena: how we come to understand form, volume, presence and absence through light, whether seen directly through other materials, reflected, or refracted. Many artists used newly developed industrial materials—including sheet acrylic, fiberglass and polyester resin—in their work. Light, Space, Surface draws on the Los Angeles County Museum of Art’s deep holdings of this material, revealing the vibrancy and diversity of this slice of American art history. Artists include: Peter Alexander, Larry Bell, Billy Al Bengston, Judy Chicago, Gisela Colón, Ron Cooper, Mary Corse, Ronald Davis, Guy Dill, Laddie John Dill, Fred Eversley, Robert Irwin, Craig Kauffman, John McCracken, Bruce Nauman, Helen Pashgian, Roland Reiss, Roy Thurston, James Turrell, De Wain Valentine, Doug Wheeler and Norman Zammitt.

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book Synopsis

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisSimultaneous Soloists is an artist's book emerging from British installation Anthony McCall's (born1946) exhibition Solid Light Works, and is based on the accompanying performance series Four Simultaneous Soloists, organized by David Grubbs, which took place within the exhibition. The title refers to four soloist performers experienced individually or as an ensemble, alongside McCall's sculptural volumes of light. Simultaneous Soloists recounts these events through a dialogue between McCall and Grubbs discussing a decade of working together.Also included are interviews with the 16 musicians, writings by art historians Branden W. Joseph and Swagato Chakravorty, and images ranging from McCall's drawings and archival materials to photographs of the exhibition. It features interviews with Susan Alcorn, MV Carbon, Maria Chavez, Che Chen, Jules Gimbrone, David Grubbs, Sarah Hennies, Eli Keszler, Okkyung Lee, Miya Masaoka, Christopher McIntyre, Tomeka Reid, Ben Vida, Yoshi Wada, Nate Wooley and C. Spencer Yeh.

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