Throughout, the emphasis is on promoting a plain English style. This little book can help you communicate more effectively by showing you how to enliven your sentences.

    The highly readable texts and over 800 beautiful full-color images come together in a unique way to convey hidden dimensions of meaning. Each of the ca. 350 essays examines a given symbol’s psychic background, and how it evokes psychic processes and dynamics. Etymological roots, the play of opposites, paradox and shadow, the ways in which diverse cultures have engaged a symbolic image—all these factors are taken into consideration.Authored by writers from the fields of psychology, religion, art, literature, and comparative myth, the essays flow into each other in ways that mirror the psyche’s unexpected convergences. There are no pat definitions of the kind that tend to collapse a symbol; a still vital symbol remains partially unknown, compels our attention and unfolds in new meanings and manifestations over time. Rather than merely categorize, The Book of Symbols illuminates how to move from the visual experience of a symbolic image in art, religion, life, or dreams to directly experiencing its personal and psychological resonance.The Book of Symbols sets new standards for thoughtful exploration of symbols and their meanings, and will appeal to a wide range of readers: artists, designers, dreamers and dream interpreters, psychotherapists, self-helpers, gamers, comic book readers, religious and spiritual searchers, writers, students, and anyone curious about the power of archetypal images.

    In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house.Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.

    Goya's model for his visual indictment of war and its horrors was the Spanish insurrection of 1808 and the resulting Peninsular War with Napoleonic France. The bloody conflict and the horrible famine of Madrid were witnessed by Goya himself, or were revealed to him from the accounts of friends and contemporaries. From 1810 to 1820, he worked to immortalize them in a series of etchings.The artist himself never saw the results. The etchings were not published until 1863, some 35 years after his death. By then, the passions of the Napoleonic era had subsided and the satirical implications in Goya's work were less likely to offend. The Dover edition reproduces in its original size the second state of this first edition, which contained 80 prints. Three additional prints not in the 1863 edition are also included here, making this the most complete collection possible of the etchings Goya intended for this series. The bitter, biting captions are reprinted, along with the new English translations, as are the original title page and preface.

    Anna Karenina, Clarissa Dalloway, Daisy Buchanan...each seems to live on the page through celebrated artist Samantha Hahn's evocative portraits and hand-lettered quotations, with the pairing of art and text capturing all the spirit of the character as she was originally written. The book itself evokes vintage grace re-imagined for contemporary taste, with a cloth spine silk-screened in a graphic pattern, debossed cover, and pages that turn with the tactile satisfaction of watercolour paper. In the hand and in the reading, here is a new classic for the book lover's library.

    Through the lens of esteemed writers and critics such as Carlo McCormick, Steven Heller and Roger Gastman, Fairey's work is seen for all its depth and placed in context as art, design, social experiment and "getting over". This massive book pulls no punches and all areas of the enigmatic artist's work, travels and travails are illuminated; from exhibitions, posters, flyers, silkscreens and stickers to high altitude pursuits, citations and police beatings, it's all documented in a museum quality layout and binding. The evidence is in, and it's clear that Shepard Fairey is not one to rest on his laurels, the work must go on. For both long time fans wanting the complete collection and those just curious to know what this OBEY business is all about Supply and Demand is the answer.

    In addition to explaining the basic moves, this book provides writing templates that show students explicitly how to make these moves in their own writing.

    The descriptive method is based on seven guided visits to a group of real or imaginary houses that make up a sufficiently extended panorama for understanding what the 20th century has bequeathed to us by way of a heritage. In short, this book takes the reader on a fantasy tour, one whose aim is not just to celebrate the diversity of the 20th-century house but also to stimulate the pleasure of thinking, planning and living intensely, to promote the appearance of a house that does not yet exist.

    Born of a functional need rather than aesthetic ideal, golf range nets span spaghetti snack bars and a host of 70 other remarkable combinations are pictured and described in this quintessential glimpse of Tokyo's architectural grass roots.

    Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

    Studies major works by important sculptors since Rodin in the light of different approaches to general sculptural issues to reveal the logical progressions from nineteenth-century figurative works to the conceptual work of the present.

    Now, in a tour-de-force narrative twenty years in the making, Ashton leads us on a journey through humanity’s greatest creations to uncover the surprising truth behind who creates and how they do it. From the crystallographer’s laboratory where the secrets of DNA were first revealed by a long forgotten woman, to the electromagnetic chamber where the stealth bomber was born on a twenty-five-cent bet, to the Ohio bicycle shop where the Wright brothers set out to “fly a horse,” Ashton showcases the seemingly unremarkable individuals, gradual steps, multiple failures, and countless ordinary and usually uncredited acts that lead to our most astounding breakthroughs.Creators, he shows, apply in particular ways the everyday, ordinary thinking of which we are all capable, taking thousands of small steps and working in an endless loop of problem and solution. He examines why innovators meet resistance and how they overcome it, why most organizations stifle creative people, and how the most creative organizations work. Drawing on examples from art, science, business, and invention, from Mozart to the Muppets, Archimedes to Apple, Kandinsky to a can of Coke, How to Fly a Horse is a passionate and immensely rewarding exploration of how “new” comes to be.

    More often than not, these manifestations have been the result of a few like-minded people coming together to create something new and original for no other purpose than a common love of doing it. In the 1990s, a loose-knit group of American artists and creators, many just out of their teens, began their careers in just such a way. Influenced by the popular underground youth subcultures of the day, such as skateboarding, graffiti, street fashion and independent music, artists like Shepard Fairey, Mark Gonzales, Spike Jonze, Margaret Kilgallen, Mike Mills, Barry McGee, Phil Frost, Chris Johanson, Harmony Korine and Ed Templeton began to create art that reflected the lifestyles they led. Many had no formal training and almost no conception of the inner workings of the art world. They learned their crafts through practice, trial and error, and good old-fashioned innovation. Not since the Beat Generation have we seen a group of creative individuals with such a unified aesthetic sense and varied cultural facets. The world of art has been greatly affected by their accomplishments as have the worlds of fashion, music, literature, film, and, ironically, athletics. Beautiful Losers is a retrospective celebration of this spirit, with hundreds of artworks by over two dozen artists, from precursors like Jean-Michel Basquiat, Keith Haring and Larry Clark, to more recent adherents Ryan McGinness, KAWS and Geoff McFetridge. Work in all conceivable mediums is included, plus reproductions of reams of ephemera. The accompanying essays are contributed by a half-dozen writers who have championed these beautiful losers from the start. This paperback reprint includes more pages, more images, an exhibition checklist, installation shots from a variety of exhibitions and an interview with Beautiful Losers advocate Agnes B.

    Subjective feelings and objective color principles are described in detail and clarified by color reproductions.

    Here, acclaimed scholar Stephen Greenblatt explores it with profound appreciation for its cultural and psychological power as literature. From the birth of the Hebrew Bible to the awe-inspiring contributions of Augustine, Dürer, and Milton in bringing Adam and Eve to vivid life, Greenblatt unpacks the story’s many interpretations and consequences over time. Rich allegory, vicious misogyny, deep moral insight, narrow literalism, and some of the greatest triumphs of art and literature: all can be counted as children of our “first” parents.