It is a celebration of the singularity and connectedness of each and every one of us. It demands of us what it demanded of her: the courage to see things as they are and the grace to permit them to simply be. For Diane Arbus, this is what making pictures was all about.These photographs achieve a lyricism, an emotional purity that sets them apart from all her other accomplishments. "Finally what I've been searching for, " she wrote at the time. The product of her consistently unflinching regard for reality as she found it, the images in this book have less in common with the documentary than with the mythic.

    In 1992, the year she completed her studies at Glasgow School of Art, her graduation exhibition sold out. Most notably, one painting was bought by Charles Saatchi and, since then, her international reputation has grown at a rapid and steady pace.Jenny Saville is described as a "New Old Master" for the technical proficiency of her oversize nudes that have earned her comparisons to Rubens and Lucian Freud and universal praise from critics and art historians alike. For the conceptual underpinnings of her work, she has been hailed as one of the most interesting artists of the last decade. Her work has been shown alongside that of Damien Hirst and the other Young British Artists in the acclaimed and seminal survey of new British art Sensation at the Royal Academy (London, 1997) and the Brooklyn Museum of Art (New York, 2000).This is the only monograph devoted to the critically acclaimed young artist and features all of Jenny Saville's paintings to date-including many previously unpublished. This volume is being published in association with the Gagosian Gallery in London. The power of her brilliant and relentless embodiment of our worst anxieties about our own corporeality and gender is what distinguishes Saville from other paint-obsessed representers of the naked human body. To my eye, no other artist in recent memory has combined empathy and distance with such visual and emotional impact. -Linda Nochlin, Art in America, March 2000

    Her "floating abstractions," in which lines and free bands of color emerge almost imperceptibly, can be reproduced only with difficulty. Her writings, on the other hand--although certainly not intended as programmatic statements--offer valuable clarity regarding her own works and poetic insight about art in general. Since its original publication in 1991, this volume of Martin's writings has been a fundamental document for libraries of artists, collectors, and critics. Rather than identifying herself with her Minimalist peers, Martin has aligned herself with the ancient Greeks, Egyptians, and Chinese, asserting that "the function of art work is . . . the renewal of memories of moments of perfection." In combination with illustrations of her works, these texts--including lectures, stories recorded by critic Ann Wilson, passages ostensibly arranged in associative sequences, and "fragmentary ideas"--form an eloquent artist's statement by the creator of "silent paintings."

    His darkly brilliant, addictively hilarious scrawls from the subconscious have already made him a star in the UK, with a growing legion of fans around the globe. The Book of Shrigley is the most extensiveand the first widely availableshowcase of his edgy but accessible off-kilter vision. Here are bad-tempered pets, strange attractions, work, S-E-X, knitting, wrestling, and a host of other everyday activities, dangers, and amusements laid bare in Shrigley's urgently illustrated panels and wickedly mischievous punch lines. Made up of almost entirely new work and bursting with color and unsettlingly funny truths, The Book of Shrigley is the ideal introduction to this comic genius and the book fans have been waiting for.

    Sally Mann came to the attention of the public in 1992, with a series of intimate portraits of her children and her reputation has risen since then.

    Beautifully produced and co-published with La Lux de Jesus, this is an objet d'art in itself, revealing the complexity of Elizabeth McGrath's sweetly twisted creatures, giving a glimpse of what the Island of Misfit Toys might have become had it been saved by Satan rather than Santa.

    His earliest photographs were images of decadent movie palaces built in the 20s and 30s. By timing the exposure of his photos to the exact length of the film being screened, he produced images that depict theater interiors bathed in the magical glare of an all-white screen: pure light. Next Sugimoto began a body of work that he continues to this day, photographing views of the sea from land, traveling around the world to make pictures that, despite their vastly different geographic origins, seem at first to be the same, with only slight variations. Their captions, however, confirm that each is of a different body of water: Caspian, Ligurian, Black. Other series include his out-of-focus impressions of landmark architectural monuments, wherein the Empire State Building, Le Corbusier's "Chapel de Notre Dame du Haut," and Tadao Ando's "Church of Light in Osaka," among others, are essentialized rather than documented. This volume presents a monographic retrospective of Hiroshi Sugimoto's complete body of work, including the projects described above and others. New, mostly unpublished images from his recent color work are featured: impressions of the impeccably proportioned shrine Sugimoto designed in Naoshima Island in Japan, as well as a series entitled "Colors of Shadow," Specially commissioned essays by photography curators David Elliot and Kerry Brougher examine Sugimoto's work in depth, while an exhibition history and bibliography round out the volume.

    Her subject matter is as wide-ranging as the materials her work has encompassed. In the 1980s, with her earliest figural sculptures in plaster, glass and wax, Smith developed an elaborate vocabulary around the forms and functions of the body and its metaphorical as well as physical relationship to society. By the early 1990s, she began to engage with themes of a more religious and mythological nature. Her re-imaginings of biblical women as inhabitants of physical bodies--rather than as abstract bearers of doctrine--led her to make series of sculptural works related to the figure of the Virgin Mary, Mary Magdalene, Lilith and others. The artist has more recently considered fairy tales and folk narratives as well as nurturing a growing menagerie of work concerned with animals and the natural world. Smith has now earned a considerable reputation as a virtuoso printmaker and draftsperson, and as a re-inventor of the startling sculptural possibilities present in materials ranging from paper and resin to bronze and porcelain. Organized by the Walker Art Center with the full collaboration of the artist, the exhibition Kiki Smith represents the artist's first full-scale monograph.

    Since then, critics and scholars have largely ignored him. Wyeth, however, who is age 88 at the date of publication, has continued to paint, to the delight of his admirers, collectors, and the art-loving public. Now, in association with the High Museum exhibition, Andrew Wyeth: Memory & Magic takes a fresh look at the work of one of America's most beloved artists.In examining his entire oeuvre, the book celebrates the artist's ongoing love affair with everyday life-domestic, natural, and architectural. Found throughout Wyeth's work, these objects form patterns that illuminate core themes and reveal the artist wrestling with issues of memory, temporality, embodiment, and the metaphysical. Organized chronologically and thematically, the book explores how the artist's approach to these subjects was formed in his early career, and has been revisited in new and surprising ways in recent years.Andrew Wyeth: Memory & Magic comprises 150 tempera paintings and 50 drawings and watercolors-including his most-famous works, but also many published here for the first time.

    Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hanover, New York and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work.Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

    This book, takes into consideration Twombly’s immense and complex body of work from the 1950s up through his current works, offers a thematic and chronological interpretation of his paintings, drawings, sculptures, and collages. Richard Leeman’s study elucidates the symbols found in Twombly’s paintings―pictograms, numbers, words, colors―that, at first glance, constitute diverse and unique entities, but then assemble to form a veritable language, where their often primitive forms mix on the canvas with allusive fragments of a vast culture. From scribbles and drawings to words, Twombly’s work profoundly articulates a language and memory of desire where painting, drawing, and writing meld into a single art form.This exquisitely produced volume, complete with six gatefolds, is an important addition to the existing bibliography of works on one of America’s preeminent contemporary artists.Exhibition Schedule “Cy Twombly: Fifty Years of Works on Paper” Whitney Museum of Art: January 27—May 8, 2005 Menil Collection, Houston, TX: May 27—September 4, 2005

    A crucial figure in California's postwar underground, Berman was a catalyst who traveled through many different worlds, transferring ideas and dreams from one circle to the next. His larger community is the subject of Semina Culture: Wallace Berman & His Circle, a catalogue to the exhibition organized by the Santa Monica Muesum of Art including previously unexhibited works by 52 artists. Anchoring this publication is Semina, a free-form art and poetry journal that Berman published in nine issues between 1955 and 1964. Although privately made and distributed to a mere handful of friends and sympathizers, Semina is a brilliant compendium of the most interesting artists and poets of its time. Showcasing the individuals who came to define a still potent strand of post-war beat counter-culture, Semina Culture subtly outlines the energies, values, and foibles of this fascinating circle. Also reprduced here are works by various artists and writers who appear in Berman's own photographs-approximately 100 of which were recently developed from vintage negatives, and will be seen here for the first time. Includes paintings and drawings by Cameron, John Altoon, Jay DeFeo, Bruce Conner and Joan Brown; collages and assemblages by Robert Alexander, Stuart Perkoff, John Reed, George Herms and Jess; poetry by Robert Duncan, David Meltzer, Philip Lamantia and John Wieners; and photographs by Charles Brittin, Walter Hopps and Patricia Jordan. Edited by Michael Duncan and Kristine McKenna. Essays by Michael Duncan and Kristine McKenna and Stephen Fredman. Hardcover, 9 x 11 in./384 pgs / 242 color and 250 b&w.

    From his spare yet enigmatic forms of the 1960s to his complex, multi-faceted assemblages and installations of more recent years, Tuttle's primary impetus throughout has been to craft unique objects, using everyday, often ephemeral materials, that demand to be confronted on their own terms. The relentless individuality of his aesthetic vision has earned him standing as one of the most provocative and influential artists of his day. This richly illustrated and strikingly designed catalogue, the most authoritative volume ever published on this prolific artist, presents nearly 400 reproductions of artworks from across his oeuvre and documentary photographs of his creative process. Essays by a distinguished group of writers trace the arc of Tuttle's career from its inception in the 1960s to the present day, addressing topics such as the philosophical underpinnings of his artistic method; his sensitive handling of diverse materials; his lifelong engagement with drawing and its expansion into three-dimensional space; his groundbreaking solo exhibitions and their critical reception in the United States and Europe; his complex play with the conventions of language; and his innovative artist's books, many of which are collaborations with poets.The Art of Richard Tuttle is published in conjunction with a major retrospective organized by the San Francisco Museum of Modern Art. The exhibition travels to the Whitney Museum of American Art, New York; the Des Moines Art Center; the Dallas Museum of Art; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles.

    One of the most fascinating representatives of the Belle Epoque, Klimt is chenshed for his rich use of ornament and his paintings of fin de siecle Viennese high society, which bring to life the decadence of the era through vibrant colours and patterns. Yet there can be no doubt about Klimt's greatness as a draughtsman. Remarkable above all is the intensely sensual mood that he establishes in his limpid, fluid drawings and watercolours; the line with which his subjects are described explores and caresses as though the drawing itself was an act of seduction. Here, Rainer Metzger brings together hundreds of Klimt's works on paper in a way that enriches our knowledge of the artist and enhances the visual impact of his oeuvre. Many revolve around Klimt's taboo-breaking main themes - the naked woman, erotica and homoerotica - while others provide allegorical and historical insights. Between these...

    Amberlyn begins by offering a discourse on animal anatomy, basic animal structure and characteristics, and the animals' natural environment. Such details are examined and explored through more than 300 detailed animal studies. More advanced topics include drawing the three major animal categories: carnivores/omnivores (wolves, coyotes, weasels, raccoons, and bears), hoofed mammals (deer, elk, moose, caribou, and sheep), and small mammals (rabbits, squirrels, mice, beaver, and armadillo). Readers will transform their mediocre interpretations into drawings that truly capture the essence and subtleties of the animal, its mood, and its habitat.

    Schiele’s fiercely drawn lines and confrontational compositions command our attention. His erotic art, most of all, evokes feelings of discomfort, titillation, curiosity, and even repulsion, and yet bears testimony to his talent and passion. This beautifully crafted collection of erotic masterpieces showcases the themes Schiele wove into all of his work: a fascination with the human psyche and sexuality, a desire to destroy the conservative facade of moral righteousness and expose the inner truth. Designed to resemble an artist’s sketchbook, this book offers viewers a chance to gain a better understanding of the technique and vision of this revolutionary painter.

    and Europe. Offering a comprehensive retrospective of this vital photographer's work, Saga gives new meaning to the self-portrait. Eschewing digital manipulation, Minkkinen juxtaposes his own body (and occasionally those of his family) with details in the landscape so that, in whole or in part, the human form collaborates with nature to create a work of lyrical beauty. Essays by a stellar roster of writers and scholarsnovelist Alan Lightman and critics A.D. Coleman and Arthur Dantoexplore the inner world of Minkkinen's pictures. Surreal and humorous, documentary and artful, the photographs of Arno Minkkinen leave the viewer moved and captivated.

    Learn to draw realistically the easy way using reference photos with Lee's simple techniques and clear step-by-step instruction. Look inside for:Before and after examples from Lee Hammond's students that prove how her simple graphing and blending techniques translate into remarkable drawings.The shape and "Puzzle Piece" theories and how to apply them to anything you want to draw.More than 40 step-by-steps and plenty of tips and hints for beautiful drawings.Whether you're just beginning or more experienced, Lee's instruction will give you everything you need to know to create realistic drawings that will "wow" your audience.

    Considering the world from a child's point of view, he photographed household objects from surprising perspectives to produce unfamiliar and disconcerting results that challenge the viewer’s perception of reality. Morell continues to take photographs that explore reality and illusion and has created images with books, money, maps and paintings as their subject, alongside his best known series of camera obscura photographs.

    The modest palette and conventional patterns of the previous decade eventually yielded to the riotous colors, op art, and psychedelic visions that defined the late '60s, charting a course through the entire spectrum of mid-century graphic design and commercial illustration. Popular imagery of cute animals, adorable children, barbecue iconography for dad, funky florals, and Santas of every stripe grace these pages. A thoughfully wrapped present is a gift in itself, and All Wrapped Up! is the perfect package to celebrate the popular designs of the most visually exuberant decade of all.

    Comprising six essays, six plate sections and over 600 illustrations this beautiful book provides a perfect introduction to the art of this period. The paintings, scrolls and prints reproduced here demonstrate not only the new urban pleasures of the theatre, restaurants, teahouses and geisha, but also Japan’s love of nature and tradition. Professor Calza’s accessible style provides a fascinating yet scholarly study of such masters as Hokusai, Hiroshige and Utamaro.

    For these walks, Cardiff provided gallery-goers with walkmans which led them through the cities relying solely on the acoustic guide. The urban environment thus became the scene of a mysterious narrative in which the visitors became ever more involved. An artist's book with a CD that "guides" readers through the book with regards to text and illustrations.

    Written by an expert on horses, The Encyclopedia of Horses & Ponies is a look at the facinating world of horses.

    This beautiful book describes the revolution that the Reggio Emiliaatelier (art studio) brought to the education of young children in Italy, and follows that revolution across the ocean to North America. It explores how the experiences of children interacting with rich materials in the atelier affect an entire school's approach to the construction and expression of thought and learning.

    1960), whose ingenious constructions of found objects and everyday items have brought him widespread recognition as one of the most original sculptors working in America today. Accompanying an exhibition opening in February at the Whitney Museum of American Art, Tim Hawkinson provides an in-depth look at this prolific and endlessly creative artist. Known primarily for his large-scale kinetic and sound-producing works, such as the monumental \berorgan, Hawkinson has also created a bird skeleton from his own fingernail parings, a latex cast of his body inflated with air, and clocks fashioned from a Coke can, a manila envelope, and a toothpaste tube. His fantastical assemblages, which may include sculpture, painting, photography, drawing, or printmaking, suggest the profound strangeness of life, matter, and time. With 250 color illustrations and three insightful essays, along with the artist's commentary on more than 150 of his hugely varied works, Tim Hawkinson will prove a revelation to all those interested in contemporary art.

    His naked portraits had no parallel. His work exists outside the currents of contemporary art in a domain of his own. In the years since that publication his output has only increased. His worldwide reputation continues to be celebrated. In London he has been shown in a major retrospective at the Tate and more recently a number of his new paintings have been shown at the Wallace Collection.This second volume contains the recent paintings, both large and small, together with a number of extraordinary new works on paper. His work shows no sign of diminishing energy. We are witnessing the work of one of the great artists of our time, now in his eighties, as he reaches still further with his scrutiny of human form and flesh.Sebastian Smee, a young Australian writer, has been recognised as one of the most illuminating writers on art and has been close to Freud for several years. His introduction will provide a new analysis of Freud's work and a different voice among those who have made great claims for the significance of Freud's achievement.

    This book is the first to provide a multifaceted picture of his work, its intellectual foundations, and its place in the history of art—from both outside commentators and Downes himself.Beautifully illustrated, with copious examples from thirty years of the artist's work, the book makes eminently clear why Downes is widely regarded as a "painter's painter." It showcases many of the artist's panoramic pictures—painted with a strong sense of place and a miniaturist's sense of scale. The images, which depict industrial parks, construction sites, housing projects, refineries, razor wire, and landfills, stimulate fresh thoughts about these supposedly unattractive sights. Bathed in the light of a precise time, the paintings resonate with a strikingly evocative quality.The three essays that accompany Downes's art provide rare insights into the way a painter thinks and works. Sanford Schwartz explores the relationships between the artist's personal and intellectual background and his oeuvre. Robert Storr situates Downes in the context of a number of highly prominent contemporary artists such as Chuck Close, Bernd and Hilla Becher, Jasper Johns, Gerhard Richter, and Robert Smithson in a way that offers a new interpretation of Downes's work, while making clear its importance within twentieth-century art. Downes's own essay, "Turning the Head in Empirical Space," presents a direct, firsthand account of his working methods within a larger discussion on spatial paradigms of Renaissance and post-Renaissance modes of painting.

    Long's ability to make works of physical and intellectual beauty in both outdoor and indoor spaces is unrivaled, and the journey covered here takes the reader around the world: to the Sahara Desert and down the Rio Grande, from coast to coast in Ireland and Spain, to Tierra del Fuego and Mongolia, and to the forests of Honshu in Japan. Some of the artist's sculptures were made during his walks through the world's landscapes, while others bring the materials of naturestones, boulders, driftwood, clay, and mudinto museums, galleries, houses, and gardens. These works feed the senses, whereas the texts and photographs recording the artist's walks feed the imagination. Majestic museum pieces made from tons of rock are juxtaposed with dramatic mud works and photographs recording ephemeral sculptures often made in the remote wilderness. Most of the photographs were taken by the artist himself, and the book also includes his notes and writings. If walking has become Long's trademark, the path is perhaps the central image or archetype in his work. The idea of the path or way has meaning in all culturesfrom the most material to the most spiritual. It is both real and symbolic, whether it is a life, a road, or the Taoist "Great Way." With his walks, Richard Long weaves a line through many traditions, creating an art that is both timeless and universal. 248 illustrations in color and duotone.

    IN THE BEGINNING was the world and an innocent young Shrigley made drawings of it in his sketchbooks. Sometimes he added words to the drawings. Sometimes he just wrote words. And the world he draws is dark indeed - but funny and true. True about such things as the vanity of human wishes, the certainty of night, the bad temper of pets and the strangeness of love. Not the whole truth, maybe. But true enough to make you uncomfortable, and to make you laugh out loud when you're not wincing. THE BOOK OF SHRIGLEY contains over 150 new drawings, sketchbook entries from student days, sad and funny ephemera, and texts that illuminate his work with a sideways light. David Shrigley is the author of numerous cult bestsellers including Human Achievement and Why We Got the Sack from the Museum. A celebrated artist, he has exhibited his work all over the world.

    He first exhibited at the Royal Academy at the age of fourteen (one of his sketchbooks from this time is in the British Museum's collection). In 1824, he met William Blake whose influence helped confirm his visionary approach to art. Palmer retreated into rural isolation in the village of Shoreham, Kent, his own 'Valley of Vision'. Here he produced his most distinctive work, and gathered around him a group of artists (including Edward Calvert and George Richmond) known as 'the Ancients'. He married in 1837, and on his two-year honeymoon in Italy, his style turned to intensely coloured watercolours, with an obvious spiritual connection to his subjects. The striking watercolour A Cornfield by Moonlight with the Evening Star is one of his finest works from the Shoreham period and was acquired by the British Museum in 1985 after a public appeal. Samuel Palmer was active during the great flowering of British landscape painting in the first half of the nineteenth century. His work influenced many artists of the twentieth century, including Graham Sutherland and Eric Ravilious. audience to rediscover his beautiful, moving and popular works.