The arts: general topics Books

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Book SynopsisThis volume is the first to chart the relationship between drawing and printmaking, bringing together more than 170 works on paper and highlighting issues of process, collaboration, and innovation.

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Book SynopsisImages in the Margins is the third in the popular Medieval Imagination series of small, affordable books drawing on manuscript illumination in the collections of the J. Paul Getty Museum and the British Library. Each volume focuses on a particular theme and provides an accessible, delightful introduction to the imagination of the medieval world.Trade Review"A truly unique and sublime visual study into medieval artistry - awe-inspiring in its detail and imagination." Harry Bliss, cover artist for the New Yorker; "One of a series of well-produced books that showcases the riches of the Getty's collections." Reference and Research Book News; "The reproductions are intricate and lovely puzzles for the grown-up eyeball/mind, so beauteously high-coloured and attractive that it is hard to stop looking." Lincoln County News (Damariscotta, Maine); "Strikes the perfect tone, focusing in each instance on the role of marginalia within its manuscript." Comitatus, A Journal of Medieval and Renaissance Studies

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Book SynopsisAn eminent theologian’s original and compelling study of how images of Jesus through history reveal each era’s temper and valuesTrade Review"An enlightening and often dramatic story. . . . As a succinct account of the image of Christ before faith began to falter, in the indubitably Christian centuries, it is as stimulating as it is informative."—John Gross, New York Times"Mr Pelikan, who is the Sterling Professor of History at Yale University, writes for a broad readership. What he offers us in Jesus Through the Centuries is a rich and expansive description of Jesus' impact on 'the general history of culture. . . . Jesus Through the Centuries seems to me unique among current publications in bridging scholarly and popular discourse on the prophet from Nazareth over the past 2,000 years. Believers and skeptics alike will find it a sweeping visual and conceptual panorama. Mr. Pelikan is particularly adept at discerning the political implications in various Jesus images."—John Koenig, front page, New York Times Book Review"Pelikan here draws on his commanding grasp of Christian history not to try his own hand at one more 'life' of Jesus, but to lay before us the principal images that have appeared, sometimes recurrently, from the 1st century to the 20th. Starting with 'The Rabbi' and moving with precision and balance through 18 well-crafted chapters, he uses stained glass and statuary, hymns and doggerel, creeds and exposes, to carry the reader finally to 'The Man Who Belongs to the World.' The final chapter demonstrates conclusively that if imaging Jesus ever was the monopoly of the 'Christian West,' it surely is no longer."—Harvey Cox, front page, Washington Post Book World"Celebratory study of Jesus' impact on Western art, thought and culture over the last 2,000 years."—New York Times Book Review"Writing for the general reader, eminent church historian Pelikan proposes that, while the figure of Jesus provides the chief continuity in the history of Christianity, each age has depicted him in accordance with its own character."—Library Journal"[Pelikan] offers an elegantly written and handsomely illustrated account of the changing ways in which, over the last 19 centuries, men and women have seen Jesus, and worshipped him as 'the Christ.'"—Peter Fuller, New Society"Jaroslav Pelikan is encyclopedic in learning and universal in sympathy. . . . To read this study of Jesus is to receive a humane education, and few will fail to make some new discoveries about the richly varied story of reactions to him."—J.L. Houlden, Theology"This book, from one of the foremost historians of Christian culture, is a delight to read."—ChurchmanWinner of the 1986 Logos Bookstores Award given by the Association of Logos Bookstores"Jaroslav Pelikan has one of the most seminal minds in this generation. Nowhere is this more evident than in his most recent volume, Jesus Through the Centuries. It is not a doctrinal study nor a volume on the life of Christ but, rather, an analysis of some eighteen images of Jesus as he has been perceived through the centuries, images running from the Rabbi to the man who belongs to the world. Pelikan shows the enormous influence of Jesus on human culture, illustrating this through history, literature, philosophy, and art. It is a book that could only have been written by a mature scholar, but it can be read with profit and joy by anyone interested in the place of Jesus in the formation and development of culture from the first century until today. It is highly recommended."—James I McCord, Chancellor, Center of Theological Inquiry, Princeton"Like a master jeweler working with hard but valuable material, Jaroslav Pelikan has given distinctive shape to a great subject. He has chiseled eighteen surfaces, each with a different image of Jesus Christ affecting human culture. The result is an often glittering intellectual history that illuminates important chapters of human sensibility with flashes of light and color from Eastern as well as Western Christianity. Jesus Through the Centuries invites us to go beyond narrow scholarship in our study of that historical record and to reexamine what we are in the light of what Jesus was."—James H. Billington, author of Icon and the Axe and Fire in the Minds of Men"With learned insight and readable style, Pelikan traces the cultural incarnations of Jesus through nineteen centuries. . . .He concludes that Jesus now belongs to the whole of humanity, far beyond the reach of the organized Church and ecclesial theology. And I agree."—Rev. Theodore M. Hesburgh, C.S.C., President, University of Notre Dame"Jesus Through the Centuries reflects the deep faith and spirituality of the noted historian and theologian Jaroslav Pelikan expressed with Apostolic simplicity and clarity. It expresses sound scriptural doctrine and profound cultural history of the last 2,000 years which can also serve as a blueprint for examining the images of Jesus through the study of politics, society, and economic events in history. Through its contents, the book evinces a profound understanding between tradition and innovation through each particular age marked by intellectual vigor, theological substance, humanity and warmth. Even more, Professor Pelikan emits an historical faith that is unabashedly Christocentric, straightforward and poetic, which will make the book appeal to a wide audience because of its rich humanism, and its informed use of references to writers and philosophers from St. Gregory of Nyssa to Albert Schweitzer. His book should be read by not only historians and theologians, but by all Christians who wish to seek ways of coming closer to one another through an understanding of Christ down through the ages."—His Eminence Archbishop Iakovos, Primate of the Greek Orthodox Church of North and South America

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Book SynopsisWig Making and Styling: A Complete Guide for Theatre and Film, Second Edition is the one-stop shop for the knowledge and skills you need to create and style wigs. Covering the basics, from styling tools to creating beards, it ramps up to advanced techniques for making, measuring, coloring, and cutting wigs from any time period. Whether youâre a student or a professional, youâll find yourself prepared for a career as a skilled wig designer with tips on altering existing wigs, multiple approaches to solving wig-making problems, and industry best practices. Table of ContentsChapter 1: Wig-Making Terms, Tools, and Techniques Glossary of Wig and Hair Terms Wig-Making Tool Kit Wig Styling Tool Kit Hairpins and Clips Rollers/Curlers A Well-Equipped Wig Area Handling a Wig Blocking a Wig Blocking Hard-Front Wigs Blocking Lace-Front Wigs Basic Hand Sewing Stitches Chapter 2: Wig Application and Removal Hair Prep Long Hair Nylon Wig Caps vs Fishnet Wig Caps Short Hair Prepping for Film How to Hold and Put on a Lace-Front Wig Applying Hard-Front Wigs and Falls Removing Wigs After a Performance A Word About Quick Changes and Tap Dancing Chapter 3: Care and Maintenance of Wigs Cleaning Wig Laces Cleaning Facial Hair Touching up a Wig Washing Wigs A Note About Hair Washing ProductsWashing the Wig off the Block Washing the Wig on the Block Storing Your Wigs Storage Systems Chapter 4: Wig-Making Basics: Learning to Ventilate Ventilating Needles and Holders Loading Your Needle Wig-Making Laces and Nets Fronting Laces Back/Foundation Laces Stretch Laces Other Wig-Making Materials The Direction and Stretch of the Lace Types of Hair Basic Wig-Knotting/Ventilating Technique Double Knotting Ventilating Positions Hair Density and Ventilating Patterns Ventilating Direction Untying Knots Color Blending Sewing with Invisible ThreadHair Punching Chapter 5: Taking Accurate Measurements Proper Head Measurements Transferring Head Measurements to a Block Plastic-Wrap Head Tracings Padding Out a Block with a Plastic Tracing Chapter 6: Facial Hair Creating the Pattern for the Facial Hair Piece Tracing method, free hand method, & stock paper patternsAdding Texture to the Hair Individual Hairpiece Characteristics Eyebrows Mustaches Sideburns Beards and Goatees Cutting and Styling the Facial Hair Applying the Facial Hair Removing the Facial Hair Direct Application Techniques Hair Laid On Facial Hair Floating Beards Historical Timeline of Facial Hair Styles Gallery of Natural Facial Hair Chapter 7: Working with and Adapting Commercial Wigs and WeftCleaning Old WigsBringing Back the Shine of an Old WigDulling the Shine of a New Synthetic WigRemoving WeftThinning a Wig with Thinning ShearsSewing Weft to the Underside of a WigAdding Weft to WigsSewing Weft to a Pre-Made FoundationPiecing Together WigsFull Bottom WigPiecing Together Wigs to Increase SizeStyling Tricks to Conceal the Front Edge of a WigUsing the Performer’s Own Hair to Conceal the Front Edge of the WigChapter 8: Fronting WigsFronting and Other Adaptations of Commercial Wigs Types of Fronts The Human Hairline Changing the Hairline Building the Fronts Variation 1 Variation 2 Variation 3 Truing the Hairline Lace Direction and Hair Growth Direction Quick Front: A Step-by-Step Example Standard Front Deep Fronts Deep Front Variation 1 Variation 2 Variation 3 Mini Fronts Silk Blenders Nape Lace Chapter 9: Building a Wig From ScratchTypes of Foundations Building a Circumference-Band Foundation Vegetable Net & Caul Net/Circumference Band/Right-Side-Out/Hand Sewn Variations on Circumference Band Foundations Variations on Nape-Piece Foundations Variations on One-Piece Foundations Notes About Adding Hair Parts, Crown Swirls, and Cowlicks Miscellaneous Foundations Balding Wigs Fringes Sewing Weft to a Pre-Made Foundation Summary Chapter 10: Partial Wigs, Toupees, and HairpiecesToupee Graying Temple Pieces Pull-Throughs Falls Type 1 Type 2 Type 3 Type 4 Switches Kabuki-Inspired Lion Wig Making Custom Weft Using Weft to Make Clip-In Extensions Chapter 11: Wig Styling TechniquesElements of a Hairstyle Straight Hair Wetting and Drying Flat-Ironing and Roller Setting Steaming the Hair Wavy Hair Finger Waves/Water Waves Marcel Waves Pin curls Waving and Crimping Irons Curly Hair Roller Setting Roller Setting: Ringlets/Sausage Curls Roller Setting: Spiral Rolling Techniques Spiral Curls/Medusa Set Braids The Standard Basic Braid French Braids Reverse French Braid Rope Braids Herringbone Braids Dreadlocks Chapter 12: Creating a Hairstyle Break the Hairstyle Down into Sections Understand the Hairstyle Interpreting Research Draw Your Setting Pattern Set Your Wig Comb Out the Set Teasing and Stuffing Wire Frames Styling Men’s Wigs Wig Setting and Styling Tips From Set to Style: Examples Example 1: Cosette in Les Miserables Example 2: 1930s Hollywood Movie-Star Look Gallery of Historical Hairstyles Chapter 13: Choosing, Cutting, Coloring, and Perming the Hair Dyeing Wigs and Wig Fibers Universal Hair Color Systems American Cosmetology Hair Level System Types of Hair Color Products Dyeing Protein Fibers Using Fabric Dyes Preparing Hair Bundles for Dye Dyeing Synthetic Fibers Perming Wigs and Wig Fibers Cutting Wigs Chapter 14: Hair that Isn’t Hair: Wigs Made from Other Materials Bases and Foundations Fosshape™ Bases Buckram and Felt Bases Other Types of Bases Covering the Cap Building a Structural Support Frame Combining Hair and Non-Hair Materials Working with Jumbo Braid Example of the Step-by-Step Process of Creating an Unusually Shaped Wig Gallery of Non-Hair/Fantasy Wigs Chapter 15: The Business Of Wigs and Hair Analyzing and Understanding the Play Forms of Drama Basic Plot Structure Scene Breakdowns Organizing Your Production Bible Character Design Group Relationships Designing an Overall Look for a Production Budgeting for a Production During the Production Wig Jobs and How to Get Them A Note About Unions, Licenses, and CertificationsCharging for Your Work Appendix 1: Wig Resource/Supply ListAppendix 2: Blank Forms for Shop UseIndex

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Book SynopsisTrade ReviewSeth Godin may be the ultimate entrepreneur for the information age * BusinessWeek *It's easy to see why people pay to hear what he has to say * Time *Godin...is uniquely respected for his understanding of the Internet, and his essays and opinions are widely read and quoted on and off * Forbes *If Seth Godin didn't exist we'd need to invent him * Alan Webber, founder, Fast Company *If your idea, or issue, or candidate, or product isn't catching on, you haven't been reading Seth Godin * Micah Sifry, cofounder, Personal Democracy Forum *Thousands of authors write business books every year, but only a handful reach star status and the A-list lecture circuit. Fewer still-one, to be exact-can boast his own action figure. . . . Godin delivers his combination of counterintuitive thinking and a great sense of fun * BusinessWeek *This is the book I need right now. It's an extraordinary and electrifying call to action for writers, artists and creators in every walk of life. I re-read passages and felt as if my own secret creed was being explained back to me, in words I hadn't yet found * Rosanne Cash, Grammy-winning singer-songwriter *The Practice is a user's manual for finding your calling and an alchemist's handbook for pursuing your dream * Steven Pressfield, author of The War of Art *Seth's book is a skeleton key specially molded to unlock the most creative version of you. Read it, and find yourself free to be who you know you really are * Brian Koppelman, co-producer and co-creator of Billions *With surgical precision, The Practice attacks our predictable misconceptions about the creative process and replaces them with better ideas, one by one. This book will inspire you to make things, hone your craft, and nudge you to ship things you are proud of. Read it * Tobi Lutke, CEO, Shopify *The Practice explains that what looks like a barrier is often a catalyst in disguise. Magic may not come from what we can see on the stage but from behind it, where the wood chopping happens * Peter Gabriel, Musician *

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Book SynopsisChiura Obata (1885-1975) was one of the most significant Japanese American artists working on the West Coast in the last century. Born in Okayama, Japan, Obata emigrated to the United States in 1903 and embarked on a seven-decade career that saw the enactment of anti-immigration laws and the mass incarceration of Japanese Americans during World War II. But Obata emerged as a leading figure in the Northern California artistic communities, serving not only as an influential art professor at UC Berkeley for nearly twenty years, but also as a founding director of art schools in the internment camps. With a prodigious and expansive oeuvre, Obata's seemingly effortless mastery of, and productive engagement with, diverse techniques, styles, and traditions defy the dichotomous categorizations of American/European and Japanese/Asian art. His faith in the power of art, his devotion to preserving the myriad grandeur of what he called Great Nature, and his compelling personal story as an immigrant and an American are all as relevant to our contemporary moment as ever. This catalogue is the first book surveying Chiura Obata's rich and varied body of work that include over 100 beautiful images, many of which have never been published. It also showcases a selection of Obata's writings and a rare 1965 interview with the artist. The scholarly essays by ShiPu Wang and the other contributors illuminate the intense and productive cross-cultural negotiations that Obata's life and work exemplify, in the context of both American modernism and the early twentieth-century U.S. racio-ethnic relations-a still-understudied area in American art historical scholarship. Published in association with the Art, Design and Architecture Museum, UC Santa Barbara. Exhibition dates: Art, Design and Architecture Museum, UC Santa Barbara: January 13-April 29, 2018 Utah Museum of Fine Arts, Salt Lake City: May 25-September 2, 2018 Okayama Prefectural Museum of Art, Okayama, Japan: January 18-March 10, 2019 Crocker Art Museum, Sacramento: June 23-September 29, 2019Trade Review“The exhibition catalog fairly glows with transcendent images, many of which are nominally landscapes that are less descriptive than visionary reactions to the natural world.” -- Charles Desmarais, * San Francisco Chronicle *"Obata’s work, a marvel of invention, nuance and emotional resilience, is the subject of a SmithsonianAmerican Art Museum exhibition . . . it’s worth looking up his work online or purchasing the catalogue for the exhibition, and reveling in the poetic economy of Obata’s painting, and his deft distillation of this country’s natural and urban wonders into masterful watercolors and pen and ink drawings." * Washington Post *"...a quietly revolutionary exhibition . . . . Chiura Obata’s massive body of work is rarely exhibited and, until now, has never had a major retrospective. . . . the opportunity to consider Obata as a major artist within the canon of American art, and more widely within the dominant canon of Western art and art history, and therefore deserving of a traditional retrospective, is what makes this exhibition revolutionary." * Panorama: Journal of the Association of Historians of American Art *"The catalogue is the first book to survey Chiura Obata's rich and varied works from his seven-decade career, and includes more than 100 images, many of which have never been published before." * ArtDaily.org *"The exhibition mixes beautiful images with documentary history, iconic American landscapes with incredible American failure. It highlights immigrants’ important contributions while not shying away from the realities of the experience. And it contests the notion of the American canon of art even as it seeks to broaden it." * The Washington Diplomat *"Looking at this retrospective exhibit, it’s hard to believe it all came from the same artist. Obata’s skillset was vast, as were his subjects. Traditional Japanese ink paintings rest along innovative woodblock pieces and large paintings of Yosemite National Park. Obata also combined these techniques in ways that are equal parts inspiring and confounding. It’s made Obata a difficult artist to classify. It’s also what made him so good." * Deseret News *"An American Modern has a lot of firsts. It’s the first touring exhibition of Obata’s work that includes work from all decades of his working life. It’s also the first time his works have been presented as a collective retrospective in Japan, since they’ve only shown in fragments before and not always translated. But perhaps most importantly, one of the next stops for this exhibition will be the Smithsonian, which marks Obata as an American Modernist in the larger artistic canon, a place he has every right to be, recognition long overdue." * Slug Magazine *

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Book SynopsisIn this new edition, discover how to achieve commercial-grade recordings, even in the smallest studios, by applying power-user techniques from the world's most successful producers.Recording Secrets for the Small Studio is based on the backroom strategies of more than 250 famous names. This thorough and down-to-earth guide leads you through a logical sequence of practical tasks to build your live-room skills progressively from the ground up, with user-friendly explanations that introduce technical concepts on a strictly need-to-know basis. On the way, you'll unravel the mysteries of many specialist studio tactics and gain the confidence to tackle a full range of real-world recording situations.Specifically designed for small-studio enthusiasts, this book provides an intensive training course for those who want a fast track to releasing quality results, while the chapter summaries, assignments, and extensive online resources are perfect for school aTrade Review'A perfectly targeted and very readable mine of technical information, practical advice and real-world home-studio experience [...] it’s a book that I’d be very happy to recommend unreservedly to enthusiasts, students and experienced practitioners alike.'Hugh Robjohns, Sound on SoundTable of ContentsPart 1: One Source, No Mics 1. Recording a Machine 2. The Human Element 3. Instruments with Pickups Part 2: One Source, One Mic 4. Basic Vocal Recording 5. Beyond Vanilla Vocals 6. Single-Mic Instrument Recording Part 3: One Source, Multiple Mics 7. Multimiking in Mono 8. Multimiking in Stereo Part 4: Multiple Sources, Multiple Mics 9. Ensemble Recording with a Dominant Array 10. Adding Spot Arrays 11. Ensemble Recording with Peer Arrays 12. Going Freestyle 13. Conclusion

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Book SynopsisIn this book, you will find a true expression of creativity and a celebration of women. Join 14 impressive embroiderers and their journey to creating exquisite art. In this innovative look at their experiences and creations, you will learn about their inspirations, lifestyles, and stories. With illuminating and in-depth interviews about how to get started with embroidery to how to combine textures and colours, it's an absolute pleasure to enjoy the work of these artists in print. Inspiration comes in all shapes and sizes from these masterful embroiderers, including: . Nature . Femininity . The human form . Lettering And so much more! This definitive and motivating book makes the perfect gift for a loved one or for you to keep for yourself -- A true work of art that you can hold and consult whenever needed. AUTHOR: Eva Minguet is a creative based in Barcelona and author of several books including the popular Women's Club, Wes Anderson Tribute, Murals, Kawaii Manga.Lovely !, Twin Peaks. Since 2012, she has leaded the production department of Monsa Publishing House, seeking inspiration for the different books in which she works, preparing the layout, the selection of material, and organizing the editorial schedule.

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Book SynopsisIn Anteaesthetics, Rizvana Bradley begins from the proposition that blackness cannot be represented in modernity's aesthetic regime, but is nevertheless foundational to every representation. Troubling the idea that the aesthetic is sheltered from the antiblack terror that lies just beyond its sanctuary, Bradley insists that blackness cannot make a home within the aesthetic, yet is held as its threshold and aporia. The book problematizes the phenomenological and ontological conceits that underwrite the visual, sensual, and abstract logics of modernity. Moving across multiple histories and geographies, artistic mediums and forms, from nineteenth-century painting and early cinema, to the contemporary text-based works, video installations, and digital art of Glenn Ligon, Mickalene Thomas, and Sondra Perry, Bradley inaugurates a new method for interpretation—an ante-formalism which demonstrates how black art engages in the recursive deconstruction of the aesthetic forms that remain foundational to modernity. Foregrounding the negativity of black art, Bradley shows how each of these artists disclose the racialized contours of the body, form, and medium, even interrogating the form that is the world itself. Drawing from black critical theory, Continental philosophy, film and media studies, art history, and black feminist thought, Bradley explores artistic practices that inhabit the negative underside of form. Ultimately, Anteaesthetics asks us to think philosophically with black art, and with the philosophical invention black art necessarily undertakes.Trade Review"Anteaesthetics is the study of black aesthetics I didn't know I sorely needed. Bradley offers a razor-sharp and sumptuous meditation on black aesthetics in, through, and vestibular to an anti-black world."—Alexander Ghedi Weheliye, Brown University"Rizvana Bradley's searching theory of black aesthesis traces black art's recursions through the violent origins of the aesthetic. Anteaesthetics opens a mode of reading for black art's non-instrumental exploration of abyssal descent. An incisive and energizing book through and through."—Rei Terada, University of California, Irvine"In this brilliantly conceived and exquisitely rendered study, Bradley offers a path-breaking analysis that will revolutionize how we approach, contest, and undo the Western visual field. Anteaesthetics offers an indispensable and undisciplined new frame for black feminist theorizing."—Huey Copeland, University of Pennsylvania"Incisive and compelling, Bradley's Anteaesthetics restores to thought and feeling a capacious sense of the aesthetic, revealing its tremendous and violent power as nothing less than foundational to a racially typified modern world."—Shane Denson, Stanford University"Anteaesthetics limns the depths of aesthetic and semiotic violence, refocusing our theoretical vision. This is an indispensable text—a tour de force."—Calvin Warren, Emory UniversityTable of ContentsIntroduction 1. Toward a Theory of Anteaesthetics 2. The Corporeal Division of the World, or Aesthetic Ruination 3. Before the Nude, or Exorbitant Figuration 4. The Black Residuum, or That Which Remains 5. Unworlding, or the Involution of Value

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Book SynopsisThe definitive collection of artist profiles by legendary journalist and New Yorker writer Calvin Tomkins, from the 1960s to todayTrade Review"Calvin Tomkins is one of our era's great documentarians. His insightful and probing profiles of some of the most innovative artists are guideposts to the last sixty years of visual culture. He is an archeologist of sorts, excavating and articulating those salient aspects of an artist's character lurking beneath the surface. Tomkins' work will stand as an important resource for future generations."—Marshall N. Price, Nancy A. Nasher and David J. Haemisegger Curator of Modern and Contemporary Art Nasher Museum of Art at Duke University"The Lives of Artists promises endless hours of pleasurable and enlightening reading and re-reading. More than that, it will deliver a world of new friends into your life. While the six-volume set is imposing in total, each Profile remains a wondrously intimate portrayal of its subject."—Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, Museum of Modern Art"Generous and insightful, Calvin Tomkins tells the story of the things we call art, and the colorful spirits called artists who make them."—Paul Chan"Over his long career, he has published masterly profiles of visual artists and creative virtuosos. His pieces are marked by a keen eye for detail and an elegant understanding of an artist's relationship to her work."—David Remnick, The New Yorker"For more than half a century, Calvin Tomkins has brought readers breathtakingly close to the personalities, practices, ideas, and immediate environments of many of the most significant artists and creators of our time. From Robert Rauschenberg and Nam June Paik to Julie Mehretu, Chris Ofili, and Mark Bradford, his artist profiles have charted an entire era. I cherish this volume as an invaluable resource about the art of our time."—Thelma Golden, Director and Chief Curator, The Studio Museum in Harlem"[For] those seeking creative inspiration."—Bloomberg Businessweek"...The handsome new Phaidon tome-six volumes in a fluorescent red case... Clocks in at about 1,600 pages and weighs a healthy 6 pounds. An essential and highly pleasurable record of the era, it also amounts to a sprawling, lifelong investigation into what it means to be an artist. Tomkins would go on to become the premier chronicler of the age's art scene, right up to the present... [his] prose exudes the sheer joy of writing about art."—ARTnews"Longtime New Yorker writer Calvin Tomkins has compiled a massive boxed set of 82 profiles that he's written from 1962 to 2019 - from famous names like Jasper Johns to contemporary heavyweights like Cindy Sherman and Mark Bradford."—Bloomberg Pursuits"An elegant homage... Reading [the interviews] only confirms the enviable lucidity and profound insight of Tomkins' writing. He has championed the avant-garde and worked the miracle of making the difficult seem easy without talking down to readers. Who could ask for anything more?"—The Evening Standard"Legendary Journalist Calvin Tomkins... has profiled many of the greatest artists of the age... A lavish new multi-volume set... His profiles make artists human, allowing other humans to understand their art."—Artnet News"A prolific collection of artists-many of them eccentric or otherwise challenging, all of them great (or at least noteworthy)."—The Art Angle"...As a study of a longtime critic, it's unmatched."—Chicago Tribune

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Book SynopsisThis is a full-length biography of Mark Rothko, arguably one of the greatest artists of the 20th century. Drawing on exclusive access to his personal papers and over 100 interviews with artists, patrons and dealers, the author tells the story of a life in art.

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Book SynopsisChallenges the conventional wisdom that digital arts arose out of Silicon Valley's technological revolutions in 1970s. This title demonstrates that the radical and experimental aesthetics and political and cultural engagements of early digital art stand as precursors for the mobility among technological platforms, artistic forms, and social sites.Table of ContentsList of Illustrations Acknowledgments Introduction Hannah B Higgins and Douglas Kahn Part I. Discourses 1. The Soulless Usurper: Reception and Criticism of Early Computer Art Grant Taylor 2. Georges Perec's Thinking Machines David Bellos 3. In Forming Software: Software, Structuralism, Dematerialization Edward A. Shanken Part II. Centers 4. Information Aesthetics and the Stuttgart School Christoph Klutsch 5. "They Have All Dreamt of the Machines--and Now the Machines Have Arrived": New Tendencies--Computers and Visual Research, Zagreb, 1968--1969 Margit Rosen 6. Minicomputer Experimentalism in the United Kingdom from the 1950s to 1980 Charlie Gere Part III. Music 7. James Tenney at Bell Labs Douglas Kahn 8. HPSCHD--Ghost or Monster? Branden W. Joseph 9. The Alien Voice: Alvin Lucier's North American Time Capsule 1967 Christoph Cox 10. An Introduction to North American Time Capsule 1967 Robert A. Moog 11. North American Time Capsule 1967 Alvin Lucier Part IV. Art and Intermedia 12. An Introduction to Alison Knowles's The House of Dust Hannah B Higgins 13. The Book of the Future: Alison Knowles's The House of Dust Benjamin H.{ths}D. Buchloh 14. Three Early Texts by Gustav Metzger on Computer Art Compiled by Simon Ford 15. Computer Participator: Situating Nam June Paik's Work in Computing William Kaizen Part V. Poetry 16. First-Generation Poetry Generators: Establishing Foundations in Form Christopher Funkhouser 17. "Tape Mark I" Nanni Balestrini 18. Letter to Ann Noel Emmett Williams 19. The Computational Word Works of Eric Andersen and Dick Higgins Hannah B Higgins 20. Opus 1966 Eric Andersen 21. "Computers for the Arts" (May 1968) Dick Higgins 22. The Role of the Machine in the Experiment of Egoless Poetry: Jackson Mac Low and the Programmable Film Reader Mordecai-Mark Mac Low Part VI. Film and Animation 23. Stan VanDerBeek's Poemfields: The Interstice of Cinema and Computing Gloria Sutton 24. From the Gun Controller to the Mandala: The Cybernetic Cinema of John and James Whitney Zabet Patterson Index

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Book SynopsisFirst released in 1901, Thought-Forms was an in-depth exploration on the visual manifestations of thoughts and the notion that they exist as objects. Conceived by renowned theosophists Annie Besant and C.W. Leadbeater, the book consists of 58 illustrations based on Besant and Leadbeater’s clairvoyant observations on how music, emotions, experiences, and colors affect thought forms. Expanding beyond its original readership, the book would have great influence on twentieth-century art and go on to inspire many artists including Wassily Kandinsky, Hilma af Klint, Piet Mondrian, and Paul Klee. This updated edition features a new introduction by famed occult author, Mitch Horowitz.

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Book SynopsisThis book takes the reader through the process of learning and creating data visualisation, following a unique journey with questions every step of the way, ultimately discussing how and when to bend and break the rules to come up with creative, unique, and sometimes unconventional ideas. Each easy-to-follow chapter poses one key question and provides a selection of discussion points and relevant data visualisation examples throughout.Structured in three parts: Section I poses questions around some fundamental data visualisation principles, while Section II introduces more advanced questions, challenging perceived best practices and suggesting when rules are open to interpretation or there to be broken. The questions in Section III introduce further themes leading on to specific ideas and visualisation projects in more detail.Questions in Dataviz: A Design-Driven Process for Data Visualisation will appeal to any reader with an interest in creaTrade Review"It’s a common experience for newcomers in visualization to be a bit disoriented. Here are some questions we’ve all asked ourselves at some point: Am I doing things correctly? Should I use this type of chart or that other type? Is this color palette appropriate? Will my intended audience understand the point I’m trying to make with this graphic? Will they be able to use the graphic’s interface? Am I breaking any rule of visualization? And so many others. The difference between Neil Richards and the rest of us is that Neil has written an entire book about his posing those questions to himself, and about the journey towards trying to answer them. Spoiler alert: the journey is often circuitous, and sometimes lacks a clear destination. But who cares? The journey, and not where it leads, is what can make us wiser as professionals; the process of reasoning to disentangle complex design choices has a value of its own.Moreover, and perhaps more importantly, walking that path along someone as friendly and personable as Neil makes the experience exciting and joyful."– Alberto Cairo and Tamara Munzner, Series Editors, AK Peters Visualization Series"Questions in Dataviz is an amazing resource for data visualisation folks looking for different and more creative design ideas - instead of following the norms of business data visualisation it asks the questions that challenge conventional practices to inspire new ideas to develop your own style and data visualisation philosophy. Neil introduces us to the concepts, inspirations and designers that inspired him, and encourages you to ask questions to find your own design driven journey into more creative design-driven output."– Giorgia Lupi, Pentagram"Beyond technical skills, statistical knowledge, and creative talent, one of the most vital attributes in data visualisation is to be curious. Before a chart comes data. Before the data comes a question. Questions fuel one’s understanding about anything and in this super new book, Neil Richards eloquently demonstrates his amazing flair for being curious. He answers the questions he had – and that anyone else should have – about the journey towards successfully mastering data visualisation. He delightfully unpacks the whys, the why nots, and the hows of this complex subject, in a wonderfully engaging and perfectly nuanced way."– Andy Kirk, Visualising Data Ltd."Neil writes about the 'why' behind his own chart design decisions in an engaging way that will give any new practitioner a glimpse inside the brain of a data visualization designer, with examples that showcase how an individual designer's style evolves and changes over time. For the experienced practitioner, Neil's book offers a tour through the many questions about our motivations and design decisions in data visualization that have emerged over the past decade or more. In some ways, the ideas feel like a delightful highlights reel of debates and discussions born out on Twitter and in various slack channels, summarized neatly and without judgement around the ways we may come to different answers to those questions."– Amanda Makulec, Executive Director, Data Visualization Society"Neil is a luminary in the field and his work clearly pushes the boundaries of data visualization. This book will help people push past the "standard" chart types and consider different, alternative visualizations that they may not have considered before."– Jonathan Schwabish, Urban Institute and PolicyViz“When do we break the rules? What are the exceptions? What is the decision making process that goes into creating dataviz and how do you bend the universal principles based on specific circumstances? This book explores these questions in an open-minded way.”– Valentina D'Efilippo, Award-winning data designerTable of ContentsPreface. Author. Introduction. SECTION I First Questions. Chapter 1.1 Should the data drive the visualisation? Chapter 1.2 What’s in a colour? Chapter 1.3 What does data visualisation have in common with psychology? Chapter 1.4 Do data visualisations have to tell a story? Chapter 1.5 Is it OK to steal? Chapter 1.6 Is white space always your friend? Section II Challenging. Questions Chapter 2.1 Why do we visualise data? Chapter 2.2 Why do we visualise using triangles? Chapter 2.3 Does it matter if shapes overlap? Chapter 2.4 What is data humanism? Chapter 2.5 What is design-driven data? Chapter 2.6 Do we take data visualisation too seriously? Chapter 2.7 Why create unnecessary data visualisations? Chapter 2.8 When are several visualisations better than one? Chapter 2.9 What can I do when data is impossible to find? Section III Idea Questions. Chapter 3.1 What is the third wave of data visualisation? Chapter 3.2 What alternative ways are there for visualizing timelines? Chapter 3.3 Why do I use flowers to visualise data? Chapter 3.4 What are Data Portraits? Chapter 3.5 How can I take inspiration from album covers? Chapter 3.6 How many ways can you tile the United States? Chapter 3.7 Is it possible to tile the world? Chapter 3.8 Can you create visualisations using only numbers? Chapter 3.9 How do you visualise music? Chapter 3.10 What are Truchet tiles? Chapter 3.11 How do you create 31 visualisations in a month? Index.

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Book SynopsisPoached, scrambled, boiled, whipped into a cocktail, transformed into a painting medium, tossed at an enemy’s house. As the most striking of paradoxes, the egg exists in happy suspension between humble household ingredient and ever-powerful source of life. One of the most enduring symbols throughout antiquity, eggs were used by the Romans to dispel evil spirits, modeled as priceless artifacts for the Russian nobility, and were woven into Egyptian mythology. In the debut volume of TASCHEN’s series with cult-favorite The Gourmand journal, we celebrate the link between food and culture in a visual and literary exploration of the powerhouse kitchen staple. A collection of original essays and archetype recipes, from the perfect poach to artful desserts, celebrates the diversity of culinary traditions around the world. The Gourmand’s Egg. A Collection of Stories and Recipes is illustrated with exclusive commissions by acclaimed still life photographers—equal parts sumptuous, absurd, lurid, mouthwatering, and undeniably The Gourmand. Rounding out the volume are works from art history’s titans, including Salvador Dalí, Jean-Michel Basquiat, Frida Kahlo, David Hockney, and Man Ray alongside texts from chef, food writer, and critic Ruth Reichl and writer and editor Jennifer Higgie, and more. “In cooking — as in almost every-thing else,” Reichl said. “It all starts with an egg.”Trade Review“This tasty title is well worth dipping (your soldiers) into.” * World of Interiors *“[A] gorgeous, frothy offering from food-culture journal The Gourmand.” * World of Interiors *“…entertainingly explores the cultural and culinary history of the egg, with spectacular imagery and essential recipes.” * Delicious *“As this lavishly ovophilic work demonstrates, eggs are loaded with symbolic and metaphoric potential, and their hold on the artistic imagination, as well as our appetites, can be traced back through the millennia.” * The Observer New Review *“The humble egg has provided inspiration well beyond the kitchen and is celebrated in all its guises in The Gourmand’s Egg: A Collection of Stories and Recipes.” * ArtReview *“…an absolute playground for the eyes and mind.” * vanityfair.com *“Celebrating the endless possibilities of the egg… whether it’s poached, scrambled, boiled, whipped, deviled, painted, or even tossed, the egg is here celebrated in all its various guises: as both humble household ingredient and ever-powerful source of life.” * vogue.com *“The Gourmand's Egg. A Collection of Stories & Recipes dives into the cultural relevance and history behind the oval wonder, while blessing our eyes with the most eclectic visual companions we've ever seen inside the pages of a cookbook.” * Tasting Table *“…turns the staple (ingredient) into a star, and charts its significant beyond the kitchen.” * Apollo *“A closer look at how eggs became a complex motif in countless works of art.” * Salon *“Every food-lover’s favourite magazine ‘The Gourmand’ has begun a series of books dedicated to singular foods, featuring essays, recipes and always beautiful imagery. Scramble to get your mitts on the first, centred on the humble egg.” * ES Magazine *“The Gourmand’s Egg is the first in a new series of sumptuous art books by TASCHEN, celebrating the connections between art and food.” * The Telegraph *“A cracking new look at the egg… Culinary, cultural… it’s all collected in this fascinating compendium of all things ovoid.” * The Financial Times *“Cracked, over-easy or richly symbolic: the humble egg in art.” * The Observer *“Editorially experimental, visually conceptual, but highly accessible because of the sheer wit of its inventive features, The Gourmand offers surprising delicacies.” * The Guardian *

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Book SynopsisThis major practical handbook bridges the gap between strategy and design, presenting a step-by-step design process with a strategic approach and extensive methods for innovation, strategy development, design methodology and problem solving. It is an effective guide to planning and implementing design projects to ensure strategic anchoring of the process and outcome.Built around a six-part phase structure that represents the design process, covering initial preparations and project briefing, research and analysis, targets and strategy, concept development, prototyping and modelling, production and delivery, it is a must-have resource for professionals and students. Readers can easily dip in and out of sections, using the phase structure as a navigation tool. Unlike other books on the market, Design and Strategy addresses the design process from the perspective of both the company and the designer. For businesses, it highlights the value of design as a strategic tool foTrade Review"I have worked at the intersection of design and strategy for over 25 years, have read a great deal of nonsense written about both, fortunately this book bucks the trend. A ready reckoner for anyone looking to develop cohesive, intelligent new design work rooted in plans, not hopes." Simon Manchipp, Founder & Executive Strategic Creative Director of SomeOne."A very accessible and comprehensive overview of a strategic design process – with practical tools and guides for working strategically with design – for both students and practitioners."Rachel Cooper OBE, Distinguished Professor of Design Management, Lancaster University, UK."Wanda’s book is encyclopedic and unrivaled. The most comprehensive deconstruction of the rigor it takes to build on a strategy to design a sustainable future, whether you are a designer, a marketer, or a manager." Alina Wheeler, Author Designing Brand Identity: an essential resource for the whole branding team.Table of ContentsIntroduction How does the book work? What is design? Phase 1 Initiation 1.1 Initial preparations 1.2 Project brief 1.3 Initial meeting 1.4 Initial workshop 1.5 Project description 1.6 Progress schedule 1.7 Price quotation 1.8 Contract 1.9 Team collaboration Phase 2 Insight 2.1 Understanding the company 2.2 Situational study 2.3 Problem statement 2.4 Method selection 2.5 Research process 2.6 Research 2.7 Analyses 2.8 Mapping 2.9 Testing and measuring Phase 3 Strategy 3.1 Strategy development 3.2 Overall strategy 3.3 Goals and sub-goals 3.4 Business strategy 3.5 Business model 3.6 Market strategy 3.7 Brand strategy 3.8 Communication strategy 3.9 Design strategy Phase 4 Design 4.1 Design brief 4.2 Strategy>Phase 5 Production 5.1 Implementation 5.2 Model 5.3 Material selection 5.4 Paper and cartonboard 5.5 Colour management 5.6 Production for digital media 5.7 Production for printed media 5.8 Quality assurance Phase 6 Management 6.1 Intangible assets 6.2 Legal protection 6.3 Design management 6.4 Effect measurement 6.5 Design manual 6.6 Design templates 6.7 Operating manual 6.8 Further development 6.9 Sustainability management

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Book SynopsisTrade Review"An absorbing and rigorously researched new book. . . .Kee does more than provide a recent history of collisions between art and the law. She overlays developments in the two fields, and argues that each one can help us better understand the other. . . . Models of Integrity reads as a compelling call for artists, arts professionals, and viewers to work more ambitiously, and to think with more nuance." -- Andrew Russeth, * ARTnews *"Kee’s book is a welcome primer on the myriad ways artists have engaged with the law over the past fifty years. What sets it apart from earlier literature is the intricacy with which Kee weaves together art and legal history as mutually informative, arguing that it is because artists are legal subjects within society at large that they have been able to so adroitly critique and illuminate law’s logics. . . It also inspires us to pursue Kee’s revelatory art-historical inquiry into how, when, and why legal conditions influence art." * Burlington Magazine *“This wide-ranging volume offers insights into issues (of certification and distribution, for instance) that shaped Conceptual art.” * ArtReview *"Meticulously researched and lucidly written, Models of Integrity demands that we take the law seriously as one of many structural factors that impact art in complex ways. Kee’s interdisciplinary approach often yields a fresh perspective on her objects of study, assessing them through an underexplored lens and situating them firmly within an expanded social context. And while many people view the law as a dispassionate arbiter of clearly defined rules, Kee reminds us that ambiguity and inconsistency are deeply embedded in the American legal system. Although as a practical matter these uncertainties can chill what may in fact be perfectly legal creative acts, Models of Integrity provides an engaging account of a disparate group of artists who jumped wholeheartedly into the fray." * Panorama: Journal of the Association of Historians of American Art *"The ‘models of integrity’ in Kee's fascinating account are articulated in the intersection of individual codes of conduct, art world conventions, and the range of activities that are both facilitated and enjoined by legal protocols. Taking full advantage of her double background, as a practising lawyer who subsequently turned her attention to art history, Kee examines many telling points of comparison between the two fields while also drawing on a wealth of archival research." * Art History *"Adds a novel perspective on art law, highlighting how both law and art can serve as sources of creative thinking. Illustrations and scholarship form an integral part of the book, and constitute an unconventional and much needed artistic take on the law [putting] six post-sixties artworks in their legal, historical, political, and artistic contexts." * Center for Art Law Blog *"Brushing with critical intersections of law and contemporary art, this book explores concepts of integrity as mediated and represented through artworks of the 1960s and onwards. Dancing fuidly between historical context, art theory, and legal theory, each piece of art is grounded in the legal developments of the time: questions of integrity for law and artists, the creation of artistic ownership rights, the constitutive power of property, and the emergence of art forms not yet recognised as art. Through art, Kee opens up vital spaces of legal discussion through depictions of (and participation in) authority, power, disobedience and other possibilities beyond compliance and consensus." * Journal for the Semiotics of Law *“The book speaks to a variety of audiences: those interested in post-1960s art of the United States; in the intersection of art and law; in the history of law and its intersections with art; in art triggering negative accountability and what is now referred to as moral outrage and call-out culture; and in art and its broader connections to social, political, and cultural moments in history. It also gestures toward a neglected field of art historical research that is ripe for development: an art history informed by legal analysis. . . . the strength of Models of Integrity is not just its integration of legal analysis into art history, it is also how the book lays the groundwork for (or one might say: operates as a model for) future scholarship examining the intersection of art and law.” * Law & Literature *"A perceptive and sophisticated book that brings remarkable insight to the complex entanglements of law and art. It deftly and incisively explores the connections between art and law at a time in history during which there was “a crisis of citizenship." Rather than advocating a particular ideological agenda in response to this crisis, through her compelling interpretations of a series of case studies Kee illuminates how the relationships between the art and law invite critical engagement with “politics in need of accounting.” * Law, Culture, and the Humanities *"An exceptional and commanding work of scholarship. Despite the author’s qualification that the book might fall short of the visual analysis expected in an art history text, Kee’s book is vividly illustrative, and boldly leads the reader through the oft- fraught liminal space between art and law. The book’s achievements extend far beyond effectively bearing legal concepts on art or narrating the logistical relations between art and law. To be exact, its real feats lie in its rumination on not only the plasticity of the law, but also on art as an extralegal machination that structures our society. In this way, Kee’s work will serve as a model for future scholarship in this emerging interdisciplinary field." * Journal of Visual Culture *"Joan Kee’s Models of Integrity is a fascinating book that makes a valuable contribution to interdisciplinary legal scholarship." * Edinburgh Law Review *'Models of Integrity offers a provocative account of art that 'messes with' the law.'' * Art Journal *

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Book SynopsisAn accessible, comprehensive, freshly-updated celebration of the vast range of human artistry from 28,000 BC to todayTrade Review"A celebration of art-making.A new edition brings the story of the world’s art even further up to date."—Wall Street Journal"A scintillating overview of art history... An indispensable companion for art and culture lovers."—The Arts Society magazine

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Book SynopsisIn exhibitions, illustrated art books, and classrooms, artworks or their photographic reproductions are arranged as calculated ensembles that have their own importance. In this volume, Felix Thurlemann develops a theory of this type of image use, arguing that with each new gathering of images, an art object is reinterpreted. These hyperimages have played a major role in the history of art since the seventeenth century, and the main actors of the art world are all hyperimage creators. In part because the hyperimage is not permanently available, this interplay of images has been largely unexplored. Through case studies organized within three groups of producers-collectors and curators, art historians, and artists-Thurlemann proposes a theory of the hyperimage, explores the semiotic nature of this plural image use, and discusses the arrangement and interpretation of such pictures in order to illuminate the phenomenon of Western image culture from the beginning of the seventeenth century until today. His analysis of the ways in which images are assembled and associated provides a crucial context for the explosive present-day deployment of images on digital devices.

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Book SynopsisThe role of Yugoslav socialist art in emerging global modernisms.Trade Review"Still, the problem of integrating national stories into greater, transnational narratives is a key challenge in the field today – a challenge that Nonaligned Modernism takes head-on. With its emphasis on larger socio-political forces and the institutional structures they engendered, the book offers a thorough, well-researched cultural history of a country that still deserves a more prominent place in the art histories of modernism, 'global' or otherwise." RACAR“Videkanić calls for more attention to be paid to self-governing Yugoslavia and the Nonaligned Movement, with their message of resistance to Western capitalist and colonial hegemony through economic and political cooperation, cultural exchange, justice, and respect for sovereignty, with an eye to both the post-Yugoslav successor states and the global situation. This call is all the more urgent in 2023, when the consequences of Western capitalist exploitation and neocolonialism are becoming more and more evident, not least in the form of perpetual refugee crises, global warming, and the extinction of nonhuman animal and plant species.” H-Socialisms

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Book SynopsisThis edited collection examines conflicting assumptions, expectations, and perceptions of maternity in artistic, cultural, and institutional contexts. Over the past two decades, the maternal body has gained currency in popular culture and the contemporary art world, with many books and exhibitions foregrounding artists’ experiences and art historical explorations of maternity that previously were marginalized or dismissed. In too many instances, however, the maternal potential of female bodies—whether realized or not—still causes them to be stigmatized, censored, or otherwise treated as inappropriate: cultural expectations of maternity create one set of prejudices against women whose bodies or experiences do align with those same expectations, and another set of prejudices against those who do not. Support for mothers in the paid workforce remains woefully inadequate, yet in many cultural contexts, social norms continue to ask what is “wrong” with women who do not have children. In these essays and conversations, artists and writers discuss how maternal expectations shape creative work and designed environments, and highlight alternative ways of existing in relation to those expectations.

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Book SynopsisThe most comprehensive account available of Michael Heizer's art by a writer and curator who has critical experience with the artist and his work. Michael Heizer is among the greatest, and often least accessible, American artists. As one of the last living figures who launched the Land Art movement, his legacy of works that are literally and metaphorically monumental has an incalculable influence on the world of sculpture and environmental art. But his seclusion in the remote Nevada desert, as well as his notorious obduracy, have resulted in significant gaps in our critical understanding. Michael Heizer: The Once and Future Monuments spans the breadth of Heizer's career, uniquely combining fieldwork, personal narrative, and biographical research to create the first major assessment in years of this titan of American art. Author William L. Fox, founding director of the Center for Art + Environment at the Nevada Museum of Art, has alternately been a sponsor, advocate, and critic of Heizer's work for decades. Fox's understanding of the artist's history and connection to landscape, his time spent with Heizer at the remote ranch where Heizer is finishing his magnum opus - the mile-long sculpture City - and his access to some of Heizer's key associates give him a unique position from which to discuss the artist's work. Fox has also made numerous site visits to Heizer's work - including early pieces in the Nevada desert now largely lost to the elements - to correct the often inconsistent accounts of their locations. Last, Fox imparts a crucial new understanding of Heizer's work by elaborating on the artist's bond with his father, the famed archaeologist and cultural ecologist Robert Heizer, who enlisted his son on important digs in Mexico and Peru, providing the young man with an appreciation of site, landscape, and geology that would thoroughly inform his work. Michael Heizer: The Once and Future Monuments is a long overdue addition to the critical and biographical literature of this major figure in American art.Trade ReviewThe book - which reads one part art criticism, one part unauthorized biography - puts Heizer’s standalone work in the context of an artist’s life that has, up until now, remained largely off limits. - Josie Glassberg, Double Scoop Fox’s erudition and keen insight is the Future Monument‘s draw. "Fox knew and collaborated with Heizer for a time between the late 80’s and early 2000’s. The questions that drive the book’s narrative seem to have first emerged during that period. For instance, what was the extent to which Robert Heizer influenced his son, beyond instilling an intellectual passion for archaeology? It turns out many of Heizer’s more pronounced traits, including his obsessiveness and surliness, could be found in both his father and grandfather. Fox takes these and other insights, gathered from personal conversations, interviews, and additional sources, and weaves them seamlessly with archaeological research, history, and art journalism to craft a cohesive text. Pocketing the text are interview transcripts with Deiro, who provides fascinating anecdotes of time spent with Heizer as well as details some of the technical and political efforts that went in to Heizer’s works. - Aaron King, THE DIRT

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Book SynopsisThis analysis of art and its modes of existence by a contemporary French philosopher begins with an essay that introduces the principal concern sustained in the four succeeding ones.Trade Review“A truly exhilarating set of philosophical reflections on art and aesthetics. . . . Nancy masterfully explicates the threshold role art plays in the philosophical distinctions between the sensory and the sensible, life and death.”—Georges Van Den Abbeele, University of California, Davis

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Book SynopsisPresents an account of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610) and the artist's revolutionary achievement. This book focuses on the emergence of the full-blown 'gallery picture' in Rome during the last decade of the sixteenth century and the first decades of the seventeenth.Trade ReviewOne of Choice's Outstanding Academic Titles for 2011 Winner of the 2010 PROSE Award in in Art History & Criticism, Association of American Publishers A ARTFORUM T. J. Clark Best Book of the Year for 2010 "[B]ased on the A. W. Mellon Lectures in Fine Arts that Mr. Fried delivered in Washington in 2004, is a knotty, episodic, infinitely erudite investigation of, among other things, the pervasiveness of violence in Caravaggio's painting."--Holland Cotter, New York Times "Fried is a persistent spectator, and his careful eye produces remarkable analysis that make for a thrilling read... [H]is process of looking should be an inspiration to students of art history at many levels, and his observations about how viewers respond to paintings are thought-provoking. Finally, the extensive and outstanding illustrations in this handsome book are a perfect complement to Fried's interpretations."--Choice "In this exquisitely illustrated volume, art historian Michael Fried binds Michelangelo Caravaggio's short life (1571-1610) and tumultuous times to the stirring innovations in his art, especially with regard to portraiture, violence and realism. With a little help from the master, Fried encapsulates Caravaggio's tempestuous personality, his place within the religious and political intrigues of the Baroque era, and his primary significance as an artist."--Globe & Mail "No great surprise about my book of the year. I had been waiting for Michael Fried's The Moment of Caravaggio (Princeton University Press) ever since hearing an early version of its opening ideas in Berkeley years ago, and when the volume arrived it took me by storm. So The Moment of Caravaggio stands or falls, as art history mostly should, by the intensity and detail of its accounts of specific works: by its ability to extract a painting from the ordinary round of 'formal analysis,' iconography, and 'contextualization' and put the reader/viewer almost physically in a new kind of contact with it. This happens repeatedly in Fried's new study. The book's key analyses are beautiful and, pace the critics, often profoundly surprising. I found that as the book went on they more and more offered me a way--this is regularly the case with the arc of a Fried argument--to think about questions the author himself did not quite pose, or did not pose as I might want to... In a manner typical of the writer at his best (and maybe this is what so gets up the nose of normal art history about him) his book has robbed me of the common-sensical ground on which and from which I thought I could see--could 'place'--a major artist. It made me aware of what Caravaggio's excessiveness might have been about. And it reminded me of the sheer strangeness--the preposterousness--of European painting's commitment to the real."--T. J. Clark, ArtForum "So much has been written about the High Renaissance artist Caravaggio, it is hard to believe more could be said. But the illustrious Michael Fried, of Johns Hopkins University, manages to say considerably more in his trenchant re-examination of the dynamic painter's art... Fried astounds the reader with thoughts about Caravaggio's use of the mirror in art, his fascination with the 'immersive' or 'specular' moment... The book is lavishly illustrated and intellectually demanding, but given the greatness of the subject and the perspicacity of the author, both are certainly to be expected."--Tracey O'Shaughnessy, Republican-American "Specifically, Fried's concern is with the 'coming into prominence of the autonomous and independent gallery picture in the Roman art world of the 1590s and early 1600s and the internal mechanisms by which such pictures seek 'crucially to establish the supreme fiction of ontological illusion that the beholder does not exist, that there is no one standing before the canvas'. In this context, Fried's study argues across radically different artistic periods ... the better to construct an argument that is as big as it is granular."--Angus Trumble, TLS

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Book SynopsisThis incomparable collection of essays, manifestos, and illustrations offers the authentic answer to the question What is Dada? Prepared by Motherwell in collaboration with such major Dada figures as Marcel Duchamp, Jean Arp, and Max Ernst, the book creates a composite picture of Dadaits convictions, antics, and spirit.Trade ReviewThe single most instructive book on Dada… [T]he items collected are readable, pungent, and representative. It is one of those ‘essential works’ on twentieth-century art. -- T. J. ClarkTable of ContentsAcknowledgments Foreword by Jack Flam Preface Introduction, by Robert Motherwell List of Illustrations PART I: PRE-DADA 1. Exhibition at the independents, by Arthur Cravan: 1914 2. Arthur Cravan and American Dada, by Gabrielle Buffet-Picabia: 1938 3. Memories of an Amnesic (Fragments), by Erik Satie: 1912-13 i. What I Am ii. The Day of a Musician PART II: EN AVANT DADA: A HISTORY OF DADISM, by Richard Huelsenbeck: 1920 PART III: DADA FRAGMENTS, by Hugo Ball: 1916-17 PART IV: MERZ, by Kurt Schwitters: 1920 PART V: A DADA PERSONAGE Two Letters, by Jacques Vache (to Andre Breton): 1917-18 PART VI: SEVEN DADA MANIFESTOES, by Tristan Tzara: 1916-20 1. Manifesto of Mr. Antipyrine 2. Dada Manifesto 1918 3. Proclamation without Pretension 4. Manifesto of mr. aa the anti-philosopher 5. Manifesto on feeble love and bitter love Supplement: how I became charming delightful and delicious Colonial Syllogism PART VII: HISTORY OF DADA, by Georges Ribemont-Dessaignes: 1931 PART VIII: THE DADA SPIRIT IN PAINTING, by Georges Hugnet: 1932 and 1934 1. Zurich and New York 2. Berlin (1918-22) 3. Cologne and Hanover 4. Dada in Paris PART IX: THREE DADA MANIFESTOES, by Andre Breton: Before 1924 1. For Dada 2. Two Dada Manifestoes 3. After Dada PART X: MARCEL DUCHAMP, by Andre Breton: 1922 New York Dada, edited by Marcel Duchamp and Man Ray New York, April 1921. Facsimile PART XI: DADA FRAGMENTS FROM ZURICH Notes from a Dada Diary, by Jean (Hans) Arp. 1932 monsieur duval vases with umbilical cords sketch for a landscape End of the World, by Richard Huelsenbeck: 1916 PART XII: DADA FRAGMENTS FROM PARIS (Two Poems), by Paul Eluard: 1921 Project for a History of Contemporary Literature, by Louis Aragon: 1922 Facsimile The Magnetic Fields, by Andre Breton and Philippe Soupault: 1920 PART XIII: FROM THE ANNALS OF DADA 1. Zurich Chronicle, by Tristan Tzara: 1915-19 2. Collective Dada Manifesto, by Richard Huelsenbeck: 1920 3. Lecture on Dada, by Tristan Tzara: 1922 PART XIV: SOME MEMORIES OF PRE-DADA: PICABIA AND DUCHAMP, by Gabrielle Buffet-Picabia: 1949 La Pomme de Pins, edited by Francis Picabia St. Raphael February 25, 1922. Facsimile PART XV: THEO VAN DOESBURG AND DADA, by Kurt Schwitters: 1931 PART XVI: DADA LIVES! by Richard Huelsenbeck: 1936 PART XVII: DADA X Y Z..., by Hans Richter: 1948 PART XVIII: DADA WAS NOT A FARCE, by Jean (Hans) Arp: 1949 Sophie, by Jean (Hans) Arp: 1946 Appendices A. The Dada Case, by Albert Gleizes: 1920 B. A Letter on Hugnet's "Dada Spirit in Painting," by Tristan Tiara: 1937 C. Marcel Duchamp: Anti-Artist, by Harriet and Sidney Janis: 1945 D. Sound-Rel 1919, and Birdlike 1946, by Raoul Hausmann Bibliography Did Dada Die? a Critical Bibliography by Bernard Karpel (Librarian, Museum of Modern Art, New York) Index to Bibliography Addenda: Dada Alive and Well, by Benard Karpel: 1981 Additional Bibliography Dada Manifesto 1949, by Richard Huelsenbeck An Introduction to Dada, by Tristan Tzara General Index

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Book SynopsisTrade Review"Winner of the 2018 PROSE Award in Popular Science & Popular Mathematics, Association of American Publishers""One of British Journal of Photography’s Chiara Bardelli Nonino Best Books of 2017""Times Literary Supplement's Books of the Year 2018""Alive, in color and against assorted backdrops from art history, Mr. Gowin's moths portray an acceptance of uncertainty in scientific discovery, the creative process and life more generally. They also present an exchange of beauty, a childlike curiosity and an appreciation for the hidden ties between humans and moths."---JoAnna Klein, New York Times"Moths fly by night and Gowin's project is, at its heart, about drawing his jewels out of the shadows. In this sense, Mariposas Nocturnas returns full circle to the invention of photography itself."---Andrea K. Scott, New Yorker"A book of astonishing beauty."---Joyce Carol Oates, Times Literary Supplement"Entomological glory flutters in Mariposas Nocturnas (Princeton University Press), photographer Emmet Gowin’s hard-won homage to South American lepidoptera. . . . Arranged in typologies of 25, they form a morphologically varied, vividly hued patchwork."---Barb Kiser, Nature"[A] herculean task. . . . Each insect is captured in a natural position and posture, making the project as valuable to entomologists as it is to photographers. . . . Moths are splendid creatures that mostly go unnoticed, but Emmet has succeeded in bringing them centre stage."---Tracy Calder, Amateur Photographer"Richly detailed. . . . [An] epic undertaking."---Gemma Padley, British Journal of Photography"After photographing thousands of species, Gowin has organised them into tile effect panels, with 25 pictures per panel, and the results are powerful. This large-format book befits Gowin's ambitious project." * Outdoor Photography *"A dazzling array of more than 1,000 species of nocturnal moths in Bolivia, Brazil, Ecuador, French Guiana and Panama, captured close-up and in full color." * Los Angeles Times *"The overall presentation of this substantial work, with its significantly over-sized pages, rather heavy paper and somewhat stout dust-jacket reflects the fact that it is as much a work of 'art' as it is a revelation of moth diversity in the Americas. . . . An important contribution to the identification of moth species occurring there. . . . Anyone working in the region is likely to find the book useful and at what is a rather low price for a work of this size and high quality it is also a mightily fine tome to possess on one’s library shelves.""---Colin W. Plant, Entomologist's Record and Journal of Variation"The moths are truly beautiful and will amaze anyone who hasn't visited the tropics. . . . Gowin has to be commended for identifying his pictures and for assembling them into a very nicely produced book which meets his objectives of capturing the beauty and diversity of these moths."---Alan Martin, Atropos

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Book SynopsisIn light of current discourses on AI and robotics, what do the various experiences of art contribute to the rethinking of technology today?Art and Cosmotechnics addresses the challenge of technology to the existence of art and traditional thought, especially in light of current discourses on artificial intelligence and robotics. It carries out an attempt on the cosmotechnics of Chinese landscape painting in order to address this question, and further asks: What is the significance of shanshui (mountain and water) in face of the new challenges brought about by the current technological transformation? Thinking art and cosmotechnics together is an attempt to look into the varieties of experiences of art and to ask what these experiences might contribute to the rethinking of technology today.Trade Review "This book opens the way to rethinking technology beyond Gestell, by exploring the obscure paths of the experience of art."—Augustin Berque, author of Thinking Through Landscape "Art and Cosmotechnics is a must-read, especially for Westerners, to unlock the transformative potential of art vis-à-vis technologies."—Neural "Yuk Hui has played a key role in creating a framework within which current art-historical discourse regarding this vital subject can thrive."—Leonardo Reviews

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Book Synopsis

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Book Synopsis

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Book SynopsisThe tragic-comedic story of the cinema, art and architecture of the early 20th Century, highlighting the unlikely intersections of East and West

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