Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

    Released ahead of the start of the 3rd season, this book will bring Fannibals into the world of secrets, lies, and intrigue of their beloved show.With stars including Mads Mikkelsen, Hugh Dancy, Laurence Fishburne, Caroline Dhavernas and guest spots by Gillian Anderson, Eddie Izzard and Michael Pitt, Hannibal is one of the most elegant, engrossing and deliciously haunting shows on television today. The Art & Making of Hannibal: The Television Series celebrates all aspects of this unique show. A highly stylized illustrated book featuring extracts of the shooting scripts of the first and second seasons, exclusive cast and crew interviews, behind-the-scenes photography, production notes, storyboards, alongside Hannibal's sketches and music notations. Hannibal Lecter was a brilliant psychiatrist in the employ of the FBI. His task: to help an unusually gifted criminal profiler, Will Graham, who is haunted by his ability to see into the minds of serial killers.

    Master portraitist and specialist in nudes, Freud uses impasto to create depth and intensity while restraining his color palate to mostly muted hues. His portraits may be physically unflattering to their subjects, but they are honest, frank, and unapologetic. I paint people, Freud has said, not because of what they are like, not exactly in spite of what they are like, but how they happen to be.

    Bacon was also a legend in the London demimonde, a man who followed long nights of drinking, gambling, and sexual adventure with intense early morning encounters with the blank canvas.When Michael Peppiatt first met him in 1963, Bacon, then in his early fifties, was at the height of his powers. Over the next thirty years, Peppiatt became a close friend of Bacon's and one of his most perceptive critics, and he has produced a fascinating, disturbing portrait of this agonized modern artist.Bacon (1909–92) was raised in large country houses in rural Ireland by a family whose conventional expectations he rebelled against early on. As a young man he was introduced to the seamy side of life in London and Paris; but only after seeing a Picasso retrospective in 1928 did he become an artist. He sprang into prominence in 1944 with a triptych which shocked the art world with its sheer ferocity, and he soon emerged, with his friend Lucian Freud, as a leader of an informal “School of London,” which favored figurative painting in an age dominated by abstraction.As retrospectives of Bacon's work in Paris, London, and New York made his reputation soar, his nighttime exploits grew wilder and wilder; charming and confident, with a strong sadomasochistic streak, he was drawn to “rough trade” in London clubs and pushed all situations to the edge. At the same time, he was a deeply cultivated and thoughtful artist who was obsessively guarded about the sources of his inspiration.Peppiatt has unlocked many of the enigmas of Bacon's life and work. Bacon talked openly to Peppiatt about his early life, his sexuality, his fantasies, and his ambitions, aware that all was being recorded for publication. At the suggestion that some of his remarks would sound indiscreet, Bacon replied: “The more indiscreet, the more interesting it will be.” Together with many new facts, unpublished documents, and penetrating analyses of key paintings, these conversations have been integrated into what is the most complete and riveting account of one of the greatest artists of our time.

    Now, on YouTube and blogs and Facebook and Twitter, we are media. And while we watch more television than ever before, how we watch it is changing in ways we have barely slowed down to register. No longer content in our traditional role as couch potatoes, we approach television shows, movies, even advertising as invitations to participate—as experiences to immerse ourselves in at will. Wired contributing editor Frank Rose introduces us to the people who are reshaping media for a two-way world—people like Will Wright (The Sims), James Cameron (Avatar), Damon Lindelof (Lost), and dozens of others whose ideas are changing how we play, how we chill, and even how we think. The Art of Immersion is an eye-opening look at the shifting shape of entertainment today.

    During his life he created numerous works of art and kept voluminous notebooks that detailed his artistic and intellectual pursuits.The collection of writings and art in this magnificent book are drawn from his notebooks. The book organizes his wide range of interests into subjects such as human figures, light and shade, perspective and visual perception, anatomy, botany and landscape, geography, the physical sciences and astronomy, architecture, sculpture, and inventions. Nearly every piece of writing throughout the book is keyed to the piece of artwork it describes.The writing and art is selected by art historian H. Anna Suh, who provides fascinating commentary and insight into the material, making Leonardo's Notebooks an exquisite single-volume compendium celebrating his enduring genius.

    Three essays by Barney experts articulate the series' diverse themes and explore the artist's innovative aesthetic vocabulary; interviews with key collaborators, a composer, costume designer, make-up artist, technicians and actors reveal his working process. A trailblazing essay by Curator of Contemporary Art Nancy Spector charts Barney's work from the 1990s to the present and provides critical insights into the aesthetic vocabulary of his five Cremaster films, while Neville Wakefield's "Cremaster Glossary" illuminates the films' most far-flung references with citations from sources as diverse as Freud's psychoanalytic studies, Mormon law and lore, and hardcore music fanzines. In addition to stills from the five films--including the final episode, Cremaster 3--the book features related sculptures, photographs, drawings and storyboards. For anyone intrigued by the Wagner of contemporary art, this is an atlas to his enticingly hypnotic worlds. Barney himself collaborated on all aspects of this extraordinary publication, including the selection of over 700 images, most of them never before published.

    As part of his unique process, Director Bong Joon Ho storyboarded each shot of PARASITE prior to the filming of every scene. Accompanied by the film's dialog, the storyboards he drew capture the story in its entirety. Director Bong has also written a foreword and provided early concept drawings and photos from the set which take the reader even deeper into the vision that gave rise to this stunning cinematic achievement. Director Bong's illustrations share the same illuminating power of his writing and directing. The result is a gorgeous, riveting read and a fresh look at the vertiginous delights and surprises of Bong Joon Ho's deeply affecting, genre-defying story.

    A key figure in the New York art scene, he inventively explored the interplay between words and images throughout his career, first as a member of SAMO, a graffiti group active on the Lower East Side in the late 1970s, and then as a painter acclaimed for his unmistakable Neoexpressionist style. From 1980 to 1987, he filled numerous working notebooks with drawings and handwritten texts. This facsimile edition reproduces the pages of seven of these fascinating and rarely seen notebooks for the first time.The notebooks are filled with images and words that recur in Basquiat's paintings and other works. Iconic drawings and pictograms of crowns, teepees, and hatch-marked hearts share space with handwritten texts, including notes, observations, and poems that often touch on culture, race, class, and life in New York. Like his other work, the notebooks vividly demonstrate Basquiat's deep interests in comic, street, and pop art, hip-hop, politics, and the ephemera of urban life. They also provide an intimate look at the working process of one of the most creative forces in contemporary American art.

    Ever since she swept into the court of King Solomon three thousand years ago, her story has been told and retold, often getting diluted, amended, and reworked along the way. In a quest to collect clues to the mystery of Sheba, Clapp travels to Ethiopia, Yemen, Israel, and even a village in France. Using the latest technology, including satellite images and carbon-14 dating, and some recent archaeological discoveries, he pieces together the facts behind Sheba's multifaceted myth.

    They Drew as They Pleased showcases four of these early pioneers and features artwork developed by them for the Disney shorts from the 1930s, including many unproduced projects, as well as for Snow White and the Seven Dwarfs, Pinocchio, and some early work for later features such as Alice in Wonderland and Peter Pan. Introducing new biographical material about the artists and including largely unpublished artwork from the depths of the Walt Disney Archives and the Disney Animation Research Library, this volume offers a window into the most inspiring work created by the best Disney artists during the studio's early golden age.They Drew as They Pleased is the first in what promises to be a revealing and fascinating series of books about Disney's largely unexamined concept artists, with six volumes spanning the decades between the 1930s and 1990s. Copyright ©2015 Disney Enterprises, Inc. All rights reserved.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

    Chihuly: 365 Days is a richly illustrated photo survey of his entire four-decade career, with more than 500 pictures showing all facets of his work—from intimate smaller pieces to the tremendous outdoor installations that have thrilled millions of visitors. There are also personal photos of the artist; of “Team chihuly” at the Boathouse, his studio in Seattle, Washington; and of his marvelous drawings—all selected by the artist himself. Most of the photographs have never before been published.Quotations from and about Chihuly, as well as descriptions of his various types of works and short texts on his most prominent series pieces, accompany the images. The captions also act as a chronology of his life and work.

    His vision of the impact of modern technology on the contemporary global condition is powerful and disturbing, ranging over art, science, politics and warfare.In Art and Fear, Paul Virilio traces the twin development of art and science over the twentieth century. In his provocative and challenging vision, art and science vie with each other for the destruction of the human form as we know it. He traces the connections between the way early twentieth century avant-garde artists twisted and tortured the human form before making it vanish in abstraction, and the blasting to bits of men who were no more than cannon fodder i nthe trenches of the Great War; and between the German Expressionists' hate-filled portraits of the damned, and the 'medical' experiments of the Nazi eugenicists; and between the mangled messages of global advertising, and the organisation of global terrorism.Now, at the start of the twenty-first century, science has finally left art behind, as genetic engineers prepare to turn themselves into the worst of expressionists, with the human being the raw material for new and monstrous forms of life.Art and Fear is essential reading for anyone wondering where art has gone and where science is taking us.

    Assuming no prior knowledge of C, this introductory-level book demonstrates and explains how to write useful and marketable programs in Turbo C on the IBM PC, XT, AT, and PC/Z computers.