History of art Books

Book SynopsisA Lens on Liberation: Photography as Resistance will be the thirdand final volume in Mark Sealy's best-selling trilogy on race and photographyfor Lawrence Wishart, which includes the seminal Decolonising the Camera.

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Book SynopsisThe Richter Interviews collects together a series of conversations between Hans Ulrich Obrist and Gerhard Richter over the course of more than two decades of discussion and collaboration. Subjects range from Richter's place within art history to artists books, architecture, religion, unrealised projects and his advice for young artists. The collection also includes a previously unpublished interview focused on Richter's much-lauded window for Cologne Cathedral, unveiled in 2007. Obrist's vast knowledge and interrogating mind coupled with his longstanding friendship with Richter make him a unique interlocutor for an artist whose work spans more than 60 years and ranges from painting to photography, glass to printmaking, watercolours to books. Obrist deftly guides the reader through a dazzling array of topics and offers an invaluable historical perspective on Richter s place within the art world of the 20th and 21st centuries. Illustrations of discussed artworks by Richter feature thro

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Book SynopsisFrom essays on gender in the work of Louise Bourgeois to a review of Art Spiegelman's comix memoir Maus, Writings on Art is expertly curated from his prolific output and illustrated with 175 images to accompany the texts. Written with Storr's signature intellect and wit, the book is the definitive collection of his multi-faceted writing and features the best of Storr's criticism, reviews, essays, and other writings from the 1980s to the mid 2000s. A must read for curators, students, artists, exhibition-goers and all those interested in the art and culture of today.

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Book SynopsisAnton van Dalen: Community of Many chronicles the historic artist Anton van Dalen’s lifelong visual investigation informed by the influences of war, religion and migration, his devotion to nature, and his dedication to documenting the technological and cultural evolutions within our society across a variety of mediums, from drawing and sculpture to collage and painting. Born in the Netherlands in 1938 to a conservative Calvinist family, Anton witnessed first-hand the terrors of both technological and human destruction during the Second World War. Since he immigrated to New York in 1966 and settled in the East Village, Anton has served as witness, storyteller and documentarian of the dramatic cultural shifts in the neighbourhood through his masterfully honed and singular iconography. Featuring critical essays by John Yau and Tiernan Morgan, this heavily illustrated publication is the first comprehensive monograph on Anton van Dalen’s work that provides a language by which to discuss the consequences of human brutality towards nature and our entanglement with technology. Anton has been included in group exhibitions at notable institutions including the Whitney Museum of American Art, New York; New Museum, New York; Contemporary Art Center, Cincinnati; and the New-York Historical Society. He has also been the subject of solo exhibitions at Temple Contemporary, Tyler School of Art and Architecture, Temple University, Philadelphia; University Museum of Contemporary Art, University of Massachusetts, Amherst; and Exit Art, New York. His  Avenue A Cut-Out Theatre  has toured since 1995 both nationally and internationally and has been shown at numerous institutions including The Drawing Center, the Museum of Modern Art, and The New-York Historical Society.

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Book SynopsisRecently discovered documents show that Giambologna, the great sculptor at the court of the Medici whose bronzes delighted all Europe, made six large garden sculptures for King Henri IV of France, otherwise unknown. This book describes the garden project and discusses three bronzes identified as from the project, in particular a hitherto unknown Venus.Ferdinando I de’ Medici, Grand Duke of Florence, built up his relationship with the French crown with numerous diplomatic gifts, including the creation of new gardens at St-German-en-Laye laid out for the King of France by the engineer and designer Tommaso Francini, who had designed and built Ferdinando’s own Pratolino gardens, and sculptures by Giambologna that would adorn them. This was in the years 1597–1600, and preparatory to the marriage of his daughter Maria to Henri IV in 1600 in the most spectacular wedding celebrations ever seen in Europe.Blanca Troyols describes the nature of Henri IV’s beauitiful gardens – in the latest Mannerist style, using a host of materials (stone, shell, crystal) and rare plants, the extravagant water features in which Francini was a specialist, and an array of statuary. She places this important garden in context and also discusses the diplomatic manoeuvring between the respectively larger and poorer and smaller and richer states of France and Tuscany.Alexander Rudigier examines the surviving works by Giambologna associated with the gardens, including a hitherto unknown Venus in a private collection that has been the object of some controversy. He compares this to the Mercury in the Louvre and the Triton in the Metropolitan Museum in New York also originally for the gardens, as well as with Giambologna’s work as a whole. He shows that probably Giambologna’s pupil Hans Reichle was his major assistant, and traces the career of the German founder, Gerhard Meyer, working in Florence, who signed the Venus. This leads to an important discussion of Gimabologna’s late work in general.Lars Olof Larson provides a technical report on the new Venus. The distinguished bronze specialist Bertrand Jestaz provides an introduction and overview.

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Book SynopsisThis stunning catalogue presents an exceptional collection of rare Burmese silver. Accompanied by detailed photographs and explanatory texts, this ground-breaking book proposes a new way of looking at Burmese silver. Names, dates, places, and stories – identifying the who, when, where, and what of Burmese silver has been the focus of publications on the topic. Are these questions the best way to understand silver, however? Alexandra Green argues that they are not. Too few pieces provide reliable information about silversmiths, production locations, and dates to allow for a comprehensive understanding of the subject. Instead, a close examination of silver patterns reveals strong links with Burmese art history reaching as far back as the Bagan period (11th- to 13th-centuries), connections with contemporary artistic trends, and participation within the wider world of silversmithing. The first European to write about Burmese silver was H. L. Tilly, a colonial official from the late 19th- into the early 20th-century. Tasked with collecting objects for various fairs and exhibitions, he took an interest in Burmese art, publishing articles and books from the 1880s onwards. While much of what he wrote was factually inaccurate and coloured by the prejudices and stereotypes common at the time, his two volumes on Burmese silver published in 1902 and 1904 contain pictures of pieces from the early to mid 19th-century. These enable a reconstruction of how silver designs evolved as the country was absorbed into the Indian Raj, and British and other Westerners became consumers of local silver products. Tilly was also correct in his interest in silver designs. Green uses the visual information from his books to describe the continuities and innovations of designs found on silver from the mid 19th through the mid 20th-century, and she places these trends within local, regional, and global flows of ideas. Many studies of Burmese silver have been plagued by a lack of understanding of the Burmese context. In contrast, Green examines silver from a local perspective, drawing on Burmese texts and information that allows for a nuanced view of the motifs, designs, and patterns that appear repetitively on silver pieces. Using Graham Honeybill's collection, formed over many years, as a basis, she explores how designs and patterns circulated around the country and were innovatively combined and recombined on pieces by silversmiths producing objects for Burmese, Western, and commercial clients.

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Book SynopsisThis fascinating and beautifully illustrated book presents for the first time the rediscovered frescoes painted by Andrea Sacchi (1599–1661) for the loggia of Cardinal del Monte’s Roman palace near via di Ripetta, Rome. Considered lost by generations of scholars, Andrea Sacchi’s fresco cycle has survived in a private apartment in Rome. Largely unpublished and rarely mentioned in recent literature, the frescoes underwent a revelatory restoration in 2010–11. For the past three years, the author was granted exclusive access to study them thoroughly – resulting in this monograph. Accompanied by beautiful and full photographic documentation, this study compares the painted images with the detailed description given by the biographer Giovan Pietro Bellori; it sheds light on the iconography and style, above all with respect to the sources used; and integrates this key commission within Sacchi’s early career. The cycle’s iconography is explored with careful verification of early sources that now allows us to resolve some particularly complex problems of interpretation – above all those relating to alchemy. Cardinal del Monte’s Palazzo di Ripetta housed a fully equipped pharmacological laboratory. Research on this cycle of frescoes has also made it possible to discover new archival evidence regarding Sacchi’s date and place of birth.

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Book SynopsisThe Austrian artist Oskar Kokoschka (1886-1980) achieved world fame with his intense expressionistic portraits and landscapes. In this detailed biography, Rudiger Goerner masterfully depicts the multifaceted artist's life and long career. He traces Kokoschka's path from being the bugbear of the bourgeoisie and a 'hunger artist' to becoming a wealthy and cosmopolitan political and critical artist who went on to shape the European art scene of the 20th century and beyond. The great painter's works as a playwright, essayist and poet bear witness to his remarkable literary quality. Music played a central role in his work, and his passion for teaching led him to establish in 1953 the School of Seeing, an unconventional art school conceived by Kokoschka as an attempt to revive humanist ideals in the horrific aftermath of war. The life and work of Oskar Kokoschka are a reaction against the monochrome monotony of existence; Goerner's biography portrays the artist in all his fascinating and contradictory complexity.Trade Review'Goerner narrates [...] in a compelling way' - Frankfurter Allgemeine Zeitung; 'With appropriately rhapsodic descriptions, Goerner shows how incredibly [...] worldly this petty bourgeois from Poechlarn has been' - Die Welt; ‘An unconventional but long-awaited approach to Kokoschka’s rich oeuvre. Rüdiger Görner does not restrict his considerations to the painter and his formal characteristics but rather sets Kokoschka’s singular character against a social, literary and political background in a century of European turmoil. [...] Görner sheds light on how contemporaries such as Thomas Mann and Karl Kraus viewed Kokoschka’s oeuvre. This new biography is a holistic reflection on Kokoschka as a person, with his paintings and writings, his enemies and lovers, his agonies and his hopes’ Catherine Hug Kunsthaus Zürichs; ‘Rüidger Görner does not separate Kokoschka’s art from his life. The artist was driven, always trying to cross boundaries, be they moral, political or social. The veracity of his art was the result of these frictions never being hidden. Görner works along the same principles, creating a convincing book and presenting the entire Oskar Kokoschka, perhaps for the first time, and leaves the reader with an unforgettable impression’ Johann Konrad Eberlein, former director of the Institute of Art History at University of GrazTable of ContentsThe Austrian artist Oskar Kokoschka achieved world fame with his intense expressionistic portraits and landscapes. In this first English-language biography, Ru¨diger Görner depicts the artist in all his fascinating and contradictory complexity. He traces Kokoschka’s path from bête noire of the bourgeoisie and a so-called ‘hunger artist’ to a wealthy and cosmopolitan political and critical artist who played a major role in shaping the European art scene of the twentieth century and whose relevance is undiminished to this day. Kokoschka’s achievements as a playwright, essayist and poet bear witness to his remarkable literary talent. Music, too, played a central role in his work, and his passion for teaching led him to establish in 1953 the School of Seeing, an unconventional art school conceived to revive humanist ideals in the horrific aftermath of war.

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Book SynopsisMary Gillick, née Tutin (1881-1965), is probably best remembered for the portrait of Queen Elizabeth II that appeared on UK coins from the beginning of her reign until decimalisation in 1971. This book focuses on her career as a sculptor and medallist - a career that had begun at Nottingham School of Art and the Royal College of Art and had already spanned more than fifty years when she experienced the sudden burst of national fame that came with the royal commission. Gillick’s work combines the influence of early Italian Renaissance medals with an appreciation of modernism and shows a readiness to adapt as she responded to changes in the art market. Her experience also adds to the debate on the impact on women of marriages between artists (she was married to sculptor Ernest Gillick from 1905, until his death in 1951) and the choices open to women sculptors of her time. This is the very first study of such an iconic British artist to be published, and is sure to attract the attention of both numismatists and anyone interested in the history of British art alike.

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Book Synopsis'Over the last twenty five years, almost single-handedly, Peter Lord has transformed a collection of poorly understood evidence of art created in Wales, and lazy theoretical assumptions about it, into a discipline in its own right, equipped with analytical frameworks and supported by an accumulating body of knowledge.' -Andrew Green, Wales Arts Review (on The Tradition) The six sequential essays in this collection provide a narrative of a century and a half of Welsh painting, written with an emphasis on issues of social class and national identity. Through his earlier writing, Peter Lord has contributed to the establishment of an historical tradition of Welsh painting, but because it does not feature in the wider story of western art history as presently told, the work revealed continues to be perceived as marginal, existing in isolation from ideas and movements in other countries. These essays break new ground by discussing the concerns of Welsh painters not only in domestic terms but also in the context of the ways in which artists in other parts of Europe and in the United States reacted to the common underlying causes of those concerns. The author challenges the idea that the work of Welsh painters is relevant only to the evolution of their own communities and, through confident and detailed analysis, validates their pictures also in terms of the arts of other western cultures.

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Book SynopsisCountless dollars of art are stolen or looted every year, yet governments often consider art theft a luxury problem. With limited public law enforcement, what prevents thieves, looters and organised criminal gangs from flooding the market with stolen art? How can theft victims get justice – even decades after their loss? What happens if the legal definition of a good title is at odds with what is morally right? Enter the Art Loss Register, a private database dedicated to tracking down stolen artworks. Blocking the sale of disputed artworks creates a space for private resolutions – often amicable and sometimes entertainingly adversarial. This book is based on ten cases from the Art Loss Register’s archive, showing how restitutions were negotiated, how priceless objects were retrieved from the economic underworld and how thieves and fences end up in court and behind bars. A fascinating guide to the dark side of the global art market.

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Book SynopsisThere is surprisingly little, and certainly nothing comprehensive, written about the contemporary Russian scene now. What appear in the West are mostly reports about so-called ‘dissidents’, not about what is happening in this vast culture, taken as a whole. Too often, these reports seem to be primarily inspired by a desire to demonstrate Western cultural and political superiority. The aim of Russian Art in the New Millennium is not to support any one cause, but to look at the situation as it now exists objectively and to give as wide and truthful a view as possible. Russian art during the period under review – the last two decades – has been evolving rapidly and in many directions. Hence there are sections on digital art, landscape paintings, graffiti, religious art and others. Furthermore, in addition to the continuing influence of the traditional centres for art – Moscow and St Petersburg – a number of provincial Russian cities have developed distinctive art worlds of their own. Russian Art in the New Millennium attempts to discover this terra incognita and to encompass this extremely various, but also intensely national art scene in Russia in one volume.

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Book SynopsisHousehold Names is all about the iconic Russell Hobbs automatic kettles of the 1950s and 60s and the people who invented, designed and made them, set in the wider context of the British economy and culture in the second half of the twentieth century. Russell Hobbs (founded in 1952) was the brainchild of Bill Russell and Peter Hobbs. They had started out at Morphy Richards before parting company and setting up on their own, with Bill on design and engineering and Peter on marketing and sales. Their story demonstrates the significance of invention and design for successful manufacturing, often neglected by British firms, especially during the latter part of the 20th century, and provides object lessons in how successful product manufacturing might still be done. Russell Hobbs was an independent firm for only a decade but in that short time established an international reputation for design quality. Brexit and the Coronavirus will almost certainly force British industry to pay more attention to local manufacturing again and this is a timely look at the origins of this famous brand by Nicholas Russell the son of Bill Russell.

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Book SynopsisThis important publication accompanies a major exhibition at The Courtauld Gallery, London, of paintings by Edvard Munch, one of the world’s greatest modern artists. The exhibition and catalogue showcase 18 major works from the collection of KODE Art Museums in Bergen. The works span the most significant part of Munch’s artistic development and have never before been shown as a group outside of Scandinavia. KODE houses one of the most important collections of paintings by Edvard Munch (1863–1944) in the world. The collection was assembled at the beginning of the 20th century by the Norwegian industrialist, mill owner and philanthropist Rasmus Meyer (1858–1916), who was one of the first significant early collectors of Munch’s work. Meyer knew Munch personally and was astute in acquiring major canvases by the artist that chart his artistic development.Edvard Munch: Masterpieces from Bergen explores this group of remarkable works in detail and considers the important role of Rasmus Meyer as a collector. The exhibition and publication include seminal paintings from Munch’s early ‘realist’ phase of the 1880s, such as Morning (1884), which was made when the artist was just twenty years old, and Summer Night (1889), a pivotal work that shows the artist’s move towards the expressive and psychologically charged work for which he became famous. These paintings launched Munch’s career and set the stage for his renowned, highly expressive paintings of the 1890s when his compositions became powerful projections of his emotions and imaginative states. Such works are a major feature of the exhibition that includes remarkable canvases from Munch’s famous ‘Frieze of Life’ series, such as Evening on Karl Johan (1892), Melancholy (1894-96) and At the Death Bed (1895). Through his ‘Frieze of Life’ works, Munch intended to address profound themes of human existence, from love to death. The artist used his own experiences as source material to make visceral depictions of the human psyche, which he hoped would help others understand their own life. Munch’s powerful use of colour and form to convey his subjects marked him out as one of the most radical painters at the turn of the 20th century.This fully illustrated publication includes a catalogue of the works, with contributions by leading experts in their fi eld from KODE and The Courtauld.

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Book SynopsisThis is a revised second edition of the best-selling book which incorporates new and additional material on the majority of the objects as well as an expanded glossary which will be of interest to both collector and scholar. The first edition was long-listed for the R.L. Shep Award by the Textile Society of America and chosen as one of the twelve best books of the year by the Crafts Council of the UK, both in 2020.

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Book SynopsisThe latest addition to the 'Lives of the Artists' series: highly readable short biographies of the world's greatest artistsDavid Hockney is the most famous living British artist. And he is arguably one of the more famous American artists as well. Emerging from the north of England in the 1960s, he made quite a splash in Swinging London as a portaitist, and went on to make a even bigger splash in Los Angeles when he moved there in the 1970s. His figurative paintings of the 1970s and 1980s captured the zeitgeist of West Coast living, while he also explored new avenues by constructing mosaics out of polaroids. By the beginning of the millennium, he returned to his Yorkshire roots, embarking on a new period of painting. This came to an end with the death by misadventure in his home of a young studio assistant in 2013. He went 'home' to LA and has in the intervening years begun a new period of contemplative portraiture.

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Book SynopsisContemporary Chinese art has played a significant role in contributing to art globalisation; meanwhile, the trajectory of modernisation of art in China has not been rendered explicitly. This book aims to explore the context of Chinese art from the 20th to the 21st century, from three aspects: society, the individual and art forms. It is hoped to inject new vitality into the current obscure art historiography. The complicated issue regarding how to position globalisation and national identity is well discussed throughout the book, addressing the hardcore research questions in the field. This research selects the nine most representative artists: Lin Fengmian, Wu Dayu, Sanyu, Zao Wou-ki, Wu Guanzhong, Su Tianci, Wang Jieyin, Zhang Enli and Chen Yujun.

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Book SynopsisVisual culture has long been a vital component in the creation and dissemination of this prevalent national brand. The Art of Music describes the visualisation of Welsh music and musicians both in the context of the evolution of the self-image of the Welsh people, and of its influence on outside perceptions of Welshness within Britain and the wider world.

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Book SynopsisThe Fashion Icons McQueen is magnificently adorned with some of Lee Alexander McQueen's most riveting designs, and the narrative illuminates the personal and professional struggles of a man who dared to defy accepted norms in the cavernous halls of fashion and give the world a new sense of the grandeur of which human creativity is capable.

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Book SynopsisHow do we medicate ourselves, and why can't we cure the people we love?In Body High, encounters with lurid bodily sculptures from the '60s offer remedies to the author's own illness and malaise.

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Book SynopsisHenry Moore's humanist sculpture changed the course of art in the twentieth-century and raised the status of British sculpture internationally. Friendships and Legacies explores Moore's relationships with collectors Robert and Lisa Sainsbury and photographer John Hedgecoe and how they had impact on the public presentation of Moore and his work, who became one of the most prominent sculptors of the twentieth century. Moore became friends with Robert and Lisa Sainsbury after their first purchase of his work in 1933. They formed a close friendship and went on to acquire 22 important works by the artist. The Sainsburys gifted their personal collection to the University of East Anglia where Moore's works now form a key part of the displays both inside and outside the Sainsbury Centre. Henry Moore and John Hedgecoe had a close friendship spanning almost forty years. Hedgecoe took many photographs of Moore, producing four books about the artist and his work. Many of these photographs have become iconic, contributing to the public perception of Moore. Friendships and Legacies also includes 24 extended catalogue texts about each of the works by Moore in the Sainsbury Centre collection. The book is richly illustrated with archive images and new photography.

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Book SynopsisRhythm and Geometry: Constructivist art in Britain since 1951 celebrates the dynamic abstract and constructed art made and exhibited in Britain over a seventy-year period. Including constructed reliefs and sculpture, kinetic and participatory art, painting and printmaking, the publication explains the dialogue and collaboration between artists working in radical ways across the generations to continually reinvent Constructivist art.Rhythm and Geometry is drawn from the collection at the Sainsbury Centre, University of East Anglia.Featured artists include Robert Adams, Rana Begum, Charles Biederman, Lygia Clark, Natalie Dower, Stephen Gilbert, Adrian Heath, Anthony Hill, Kenneth Martin, Mary Martin, Victor Pasmore, Jean Spencer, Takis, Victor Vasarely, Mary Webb, Stephen Willats, Gillian Wise and Li Yuan-Chia.

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Book SynopsisThe study of bronzes and other metals from the Athenian Acropolis traditionally has been overshadowed by the emphasis given to the famous monuments of architecture and sculpture, in part due to the incomplete publication of the metal small finds from the site following the major excavation campaigns in the 19th century. Without attempting to be a comprehensive synthesis on this topic, this volume positions itself against this tradition by resuscitating discussion on the Acropolis bronzes. The introduction reflects on the history of the relevant scholarship vis-à-vis the life of the Acropolis bronzes in various museums and collections in Greece and elsewhere. The six essays provide overviews, reinterpretations, and critical discussions as well as new methodological approaches to various aspects of the existing corpus. Diane Harris-Cline employs Actor-Network theory to showcase the intricate web of social relationships behind each gesture that resulted in the deposition of bronzes on the Acropolis. Andronike Makres and Adele Scafuro reflect on methodological quandaries and detail their efforts to produce a new critical edition of the corpus of inscriptions on dedicatory and other bronzes that takes into account the materiality of this epigraphic record. Amy Sowder Koch reviews the corpus of hydriai from the Acropolis, taking into account newly published examples, and situates them within the larger context of bronze hydriai, seeking to understand Athens' role in bronze hydria production. Germano Sarcone revisits technical and social aspects of the impressively monumental and technically complex tripod-cauldrons from the Acropolis from the eighth century BCE onwards. Nassos Papalexandrou discusses the corpus of griffin cauldrons arguing that their original lavishness added to the prestige of the sanctuary during a formative period of Athenian society. Elena Karakitsou publishes a fascinating inscribed phiale retrieved from the southwestern entablature of the Parthenon along with the remains of a rare ritual deposit.Table of ContentsPreface Introduction: A Historiographic Essay Nassos Papalexandrou and Amy Sowder Koch The Social Life of Bronzes: Actor-Network Theory on the Entangled Acropolis Diane Harris Cline Archaic Inscribed Bronze Dedications on the Acropolis: Thoughts on a New Edition Andronike Makres and Adele C. Scafuro Hephaistos in Athens: Bronze Hydriai from the Akropolis and Beyond Amy Sowder Koch The Monumental Tripod-Cauldrons of the Acropolis of Athens between the Eighth and Seventh Centuries B.C.E. Germano Sarcone Monsters on the Athenian Acropolis: The Orientalizing Corpus of Griffin Cauldrons Nassos Papalexandrou A Bronze Vessel inside the Parthenon's West-Side Entablature Elena Karakitsou

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Book SynopsisWhat kind of artists put a mustache on the Mona Lisa? Enter a urinal in an art competition? Declare their own independent republic? Hijack a ship?Dadas!And what happens in such a movement? With Dada, many of the artists declared their own Pope and continued their journey (with no destination) into Surrealism, creating burning giraffes, amoebic dogs, and lobster telephones - some of the most imaginative and intense works of art of the 20th Century. In DADA & SURREALISM FOR BEGINNERS, you''ll get a colorful overview of these two movements, and develop a sense of the turbulent, wild, and unapologetically mad mood and tone of the Dada and Surrealist movements. Whether you''re an artist, would-be artist, or someone seeking the marvelous, you''ll find the courage andoriginality of the movements inspiring, and you''ll gain an understanding of their long-term (and current) influences on contemporary art and culture - everything from performance art to pop art to the abandoned train ticket you find in the street.

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Book SynopsisA handsomely designed overview of Chan’s acclaimed Badlands imprint and his latest sculptural series exploring the metaphor of the “breather” This volume surveys Paul Chan’s publications and works made between 2010 and 2022 following his return to artmaking. The exhibition takes as its organizing principle the notion of the “breather,” a word that can signify a moment of rest or pause but can also reference a purposeful redirection toward other activities. Chan’s turn to publishing through the founding of his independent press Badlands Unlimited represented a type of “breather.” Badlands for Chan embodied a radical break that seeded new ideas and ways of working. The term is also what Chan titles a recent major body of work. Breathers is an ongoing series of pneumatic sculptures and installations that he considers a new genre of moving-image works. Tacitly and overtly, the metaphor of the “breather” underscores each of the works in the Walker Art Center exhibition, which, with the artist’s input, is conceived in four sections. The exhibition catalog includes scholarly contributions by Chan; Pavel Pys, Curator of Visual Arts at the Walker Art Center; and Vic Brooks, Senior Curator of Time-based Visual Art at Experimental Media and Performing Arts Center Rensselaer Polytechnic Institute (EMPAC). Paul Chan (born 1973) is an artist, writer and publisher who lives in New York. Chan is the winner of the Hugo Boss Prize in 2014, a biennial award honoring artists who have made visionary contributions to contemporary art. Chan founded the independent press Badlands Unlimited in 2010. Badlands has published over 50 books, including the works of Yvonne Rainer, Calvin Tomkins, Lynne Tillman, Hans Ulrich Obrist, Carroll Dunham, Claudia La Rocco, Dread Scott, Martine Syms, Craig Owens, Petra Cortright, Cauleen Smith, Ian Cheng, Rachel Rose, Aruna D’Souza and many others.Trade ReviewA book called breathers—a moment of pause and flow—starts with just such a moment, on the cover. * AIGA *

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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 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 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 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 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 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 SynopsisCurtis Cuffie (19552002) was an artist who lived and worked in and around the East Village from the mid-1980s until his untimely death in the early 2000s. He moved to New York from Hartsville, South Carolina, as a teenager and lived unhoused for long stretches of his adult life. Cuffie found local notoriety for the way he adorned the streets of downtown New York, collecting what the city provided, often sifting trash to stage on-the-spot sculptures along the Bowery and Cooper Square. His arrangements took the form of impossibly balanced towers, delicate shrines, and unwieldy processions up to thirty-feet in length installed along the walls, fences, and sidewalks of the Lower East Side. Nearly without fail they were removed by the police, inclement weather, the department of sanitation, or the grounds team at Cooper Union, which would later employ him. An enduring presence in the East Village, Cuffie staged sprawling tableaux outside the Village Voice offices that were admired by students and venerable artists alike. He was profiled by scene reporters, political writers, and folk-art journalists, all the while exhibiting in the neighborhood's famed alternative art spaces. While few of his sculptures remain today, a trove of photographs from the 1990s taken by Cuffie and his companion Katy Abel preserve the work he made in the city. This photobook, the first publication about Cuffie, seeks to honor the artist by collecting the efforts of two of his partners: Carol Thompson, who lived with Cuffie from 1996 to 2001 and archived a great number of his 35mm photographs, and Abel, a Cooper Square resident who took hundreds of snapshots of his art. Curtis Cuffie is designed by Julie Peeters, edited by Scott Portnoy and Robert Snowden with Ciarán Finlayson, and additionally includes writing by the artist, Finlayson, and critic Alan Moore, and images taken by Tom Warren and Margaret Morton. CURTIS CUFFIE (19552002) was an artist based in New York City's East Village. Originally from Hartsville, South Carolina, he moved to Brooklyn at fifteen and eventually settled in Manhattan, first near Bryant Park and later around the Bowery. Homeless for long stretches of time, Cuffie became well-known in the 1990s for the sculptures he made using found materials, which he installed in public spaces downtown. Artforum, the New York Times, and the Village Voice all profiled and reviewed his work. and he held solo exhibitions at Flamingo East, Tribes, and 4th Street Photo Gallery, all in the Lower East Side. In his lifetime, Cuffie was featured in nearly a dozen group shows across the US at venues including Exit Art, American Primitive, and the Jamaica Art Center in New York, and the American Visionary Art Museum in Baltimore. Most recently his work was included in Souls Grown Diaspora, curated by Sam Gordon, at Apexart in 2020 and Greater New York at MoMA PS1 in 202122, both in New York. New York City's East Village. Originally from Hartsville, South Carolina, he moved to Brooklyn at fifteen and eventually settled in Manhattan, first near Bryant Park and later around the Bowery. Homeless for long stretches of time, Cuffie became well-known in the 1990s for the sculptures he made using found materials, which he installed in public spaces downtown. Artforum, the New York Times, and the Village Voice all profiled and reviewed his work. and he held solo exhibitions at Flamingo East, Tribes, and 4th Street Photo Gallery, all in the Lower East Side. In his lifetime, Cuffie was featured in nearly a dozen group shows across the US at venues including Exit Art, American Primitive, and the Jamaica Art Center in New York, and the American Visionary Art Museum in Baltimore. Most recently his work was included in Souls Grown Diaspora, curated by Sam Gordon, at Apexart in 2020 and Greater New York at MoMA PS1 in 202122, both in New York. KATY ABEL is a New York City native. She became friends with Curtis Cuffie in 1994 and photographed his artwork for the next several years. CIARA?N FINLAYSON is a writer and editor from Houston, Texas. He is the managing editor of Blank Forms Editions and his long-form essay Perpetual Slavery is forthcoming from Floating Opera Press. ALAN WILLARD MOORE lived in New York City for thirty years. He worked with the artists' groups Colab and the cultural center ABC No Rio, and ran the MWF Video Club distribution project. He received a PhD in art history from the City University of New York in 2000 and has lived in Madrid since 2009. Moore is the author of Art Gangs: Protest and Counterculture in New York City (Autonomedia, 2011), Occupation Culture: Art & Squatting in the City from Below (Minor Compositions/Autonomedia, 2015), and the memoir Art Worker: Doing Time in the New York Artworld (JoAAP, 2022), and a coeditor of Making Room: Cultural Production in Occupied Spaces (JoAAP/Other Forms, 2015). He blogs at Art Gangs and Occupations & Properties. MARGARET MORTON (19482020) was a professor of photography and design at the Cooper Union School of Art in New York. In 1989, she began to document the lives of homeless people in New York. Her photos are the subjects of multiple books including The Tunnel: The Underground Homeless of New York City (Yale University Press, 1995) and Fragile Dwelling (Aperture, 2000). CAROL THOMPSON is a Harlem-based curator and historian of the ancient and contemporary art of Africa and the African diaspora. She has authored numerous publications and taught at Vassar, City College in Harlem, New York University, the Fashion Institute of Technology, and other institutions. From 198796, she was an integral member of staff at New York's Center for African Art, and from 2001 to 2019 she served as the Fred and Rita Richman Curator of African Art at the High Museum in Atlanta. Since July of 2019 Thompson has been an art adviser to the executor and curator of the Thomas G. B. Wheelock Collection of Art of Burkina Faso. TOM WARREN is a photographer from Lakewood, Ohio, who has lived in New York City since 1979. In the 1980s he became a portraitist of the downtown art scene, known for his contributions to the East Village Eye and artistic interventions into the neighborhood's vacant spaces. Warren is the author of The 1980s Art Scene in New York (Hatje Cantz Verlag, 2022)

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Book SynopsisA record of the rise and fall of the BMC farm that foregrounds the voices of a new cast of characters Black Mountain College (BMC) was a wellspring of 20th-century creative unorthodoxy. From its founding in 1933 and over its celebrated 23-year history, the small liberal arts school in rural North Carolina attracted a remarkable number of famous and soon-to-be famous artists, writers and visionaries including Anni and Josef Albers, Ruth Asawa, John Cage, Merce Cunningham, Willem de Kooning, Buckminster Fuller, Ray Johnson, Charles Olson and M.C. Richards. The exploits of these BMC cultural luminaries have been recounted time and time again.David Silver's fascinating new book offers a very different perspective. The farm was vital to BMC. Throughout the Depression and World War II it provided vital sustenance, while serving as a testing ground for self-sufficiency, communal living and collaborationthe most precious and precarious ingredient at the college.<

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Book SynopsisThis second collection of gorgeously illustrated artworks highlights events fromvolumes 10 through 15 of the main story. The definitive edition also includesillustrations from volumes 1 through 3 of Sword Art Online: Progressive, as well as artfrom animated productions, games, and conventions. A must-have for SAO fans andabec fans alike!

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