Its images are shaped by an eye and a mind legendary for their empathy and for going to the heart of the matter. Cartier-Bresson's talent, his famous mantle of invisibility and his good connections with such figures as Nehru allowed him to capture the quintessence of India - a land renowned for its contradictions and variety. His pictures of Hindus in refugee camps after the Partition or beggars in Calcutta speak with the same passion and authority as those of the Maharaja of Baroda's sumptuous birthday celebrations or of the Mountbattens on the steps of Government House. Considerable space is given to his famous reportages, such as the astonishing sequence on the death and cremation of Gandhi.

    Each casebook reprints documents relating to a work's historical context and reception, presents the best critical studies, and, when possible, features an interview with the author. Accessible and informative to scholars, students, and nonspecialist readers alike, the books in this series provide a wide range of critical and informative commentaries on major texts. Gabriel Garcia Marquez's One Hundred Years of Solitude is arguably the most important novel in twentieth-century Latin American literature. This Casebook features ten critical articles on Garcia Marquez's great work. Carefully selected from the most important work on the novel over the past three decades, they include pieces by Carlos Fuentes, Iris Zavala, James Higgins, Jean Franco, Michael Wood, and Gene H. Bell-Villada. Among the intriguing aspects of the work discussed are its mythic dimension, its "magical" side, its representations of women, its relationship with past chronicles of exploration and discovery, its portrayals of Western power and imperialism, its astounding diffusion throughout the globe and the media, and its simple truth-telling, its fidelity to the tangled history of Latin America. The book incorporates several theoretical approaches--historical, feminist, postcolonial; the first English translation of Fuentes's renowned, oft-cited, eight page meditation on the work; a general introduction; and a 1982 interview with Garcia Marquez.

    The images were taken when Banksy joined Bristol's radical football team The Easton Cowboys on a tour of Mexico to play football against the Zapatista freedom fighters. The new edition also contains sections on the Banksy vs Bristol Museum show, Exit Through The Gift Shop, The Tesco Value Petrol Bomb, an interview with John Nation and more. The book is a celebration of Banksy's street art in his home city of Bristol and places him in the context of 3D, John Nation from the Barton Hill Youth Club, Inkie, Nick Walker and the other artists and musicians who were instrumental in linking Bristol to the original New York hip-hop scene. It is the most revealing account of Banksy's formative years and contains more than one hundred images of his Bristol art, as well as pictures of Banksy at work, many of which have never been published before. Steve Wright, traces Banksy's roots back to the rave culture of the Nineties and draws a rounded picture of an artist who is most famous for being anonymous.

    He recorded his surroundings faithfully, from the grime of a Paris railway station to the incandescent beauty of his later paintings based on the gardens he created at Giverny in northeastern France.Monet looks at all aspects of the painter's artistic style, with detailed commentary on 120 of his works. Some are held to be his most important pieces; others may be less well known, but all are essential to his artistic development.

    Banksy, Britain’s now-legendary “guerilla” street artist, has painted the walls, streets, and bridges of towns and cities throughout the world. Once viewed as vandalism, Banksy’s work is now venerated, collected, and preserved. Over the course of a decade, Martin Bull has documented dozens of the most important and impressive works by the legendary political artist, most of which are no longer in existence.

    In many ways, her works were ”psychic models,” as Robert Smithson has said, of ”a very interior person.” In pioneering the use of ”soft” materials, her sculptures betrayed her awareness of the manner in which her experience as a woman altered her art and career. Although she died before feminism affected the art world to any great extent, her major works have since become talismans for succeeding generations of women artists. Eva Hesse was designed by Hesse's friends and colleagues Sol LeWitt and Pat Stier; her sculptures, drawings, and paintings are reproduced and discussed; and the text includes numerous quotations from her diaries. First published in 1976 but long out-of-print, this classic text is both an insightful critical analysis and a tribute to an artist whose genius has become increasingly apparent with the passage of time.

    Country musicians and magicians, professional wrestlers and rock stars, all have turned to Nashville's historic Hatch Show Print to create showstopping posters. Established in 1879, Hatch preserves the art of traditional printing that has earned a loyal following to this day (including the likes of Beck, Emmylou Harris, and the Beastie Boys). Hatch Show Print: The History of a Great American Poster Shop is the first fully illustrated tour of this iconic print shop and also chronicles the long life and large cast of employees, entertainers, and American legends whose histories are intertwined with it. Complete with 190 illustrations--as well as a special book jacket that unfolds to reveal an original Hatch poster on the reverse--Hatch Show Print is a dazzling document of this legendary institution.

    His work first garnered attention in the 1990s when he ushered in a new genre of painting, “Pop Surrealism,” dragging a host of followers in his wake. He has trumped the initial surrealist strategies by choosing subject matter loaded with cultural connotation.Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché and disturbing archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul. A subtle disquiet inhabits his paintings; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Ryden’s world cherubic girls rub elbows with strange and mysterious figures. Ornately carved frames lend the paintings a baroque exuberance that adds gravity to their enigmatic themes. Complex in its arcane and idiosyncratic subject matter, Ryden’s work can leave no viewer unmoved.Pinxit, whose title refers to the Latin term meaning “painted by,” is organized by the themes of Ryden’s major exhibitions—The Meat Show, Bunnies & Bees, The Tree Show, and so on—and includes collected essays by Yoshitomo Nara, Carlo McCormick, and others, and a new essay by culture critic Kristine McKenna. Ryden’s paintings and drawings are reproduced using the finest technique available, and over a dozen of the paintings are foldouts that open to a staggering 150 cm (59 inches) across. Many books have been published on Mark Ryden before, but none like this large-format monograph, released in a boxed Collector’s Edition of 1,000 numbered copies, each signed by the artist; and also available in an Art Edition of only 50 copies, which come with an artwork. This sweeping retrospective brings together nearly two decade’s worth of Mark Ryden’s paintings and works on paper, broadening the horizons of his uncanny universe and bringing it to the world, one big page at a time.Collector’s Edition – No. 51–1,050 Limited to 1,000 individually numbered copies, each signed by Mark Ryden Printed on archival-quality paper Quarter-bound book with leather spine Front cover features gold-relief embossing crafted by the master printers at Pressure Printing Comes in a clamshell box covered in cloth fabric Also available in an Art Edition of 50 copies with a silk screen print

    We start off in Japan as he’s about to board the cargo ship, and throughout the book flash back to times spent in Amsterdam, Bucharest, Kathmandu, Bangkok and the likes. “I wish I could have written a book this awesome.” – Jack Kerouac Expect plenty of taboo topics, tales of dating misadventures, and honest takes on places like India and Iran. If you like the Momentos series on Niall’s blog, you’ll absolutely love this book. FAQ’s Q. How long is the book? A. 36,506 words on 133 pages. You can read through the whole thing in about three hours. Q. What route did you take from Ireland to Peru? A. Ireland > England > Netherlands > Germany > Switzerland > Austria > Hungary > Romania > Turkey > Iran > UAE > India > Nepal > India > Thailand > Cambodia > Laos > Vietnam > China > Hong Kong > China > Vietnam > Laos > Thailand > Laos > China > South Korea > Japan > Peru Q. Is there a surprise ending? A. Yes, but I’m going to ruin it for you right now: In the last chapter I reveal that I’ve never actually left Ireland, and have been fooling everyone with my photo and video editing skills for years. Suckers! Q. Did Jack Kerouac really say that about your book? A. Um, no. He died thirteen years before I was born. So I kinda lied. Sorry. I hope we can still be friends. Here’s a real testimonial to make amends… “This shit be tight, yo!” – Marco Polo Q. Is there an audio version of the book? A. Yes. You can buy it via my website: http://ndoherty.com/books/cargo/ Q. Are there cargo ship sound effects to go with the audio version of the book? A. I think you can hear a toilet flush at the end of chapter ten. That’s about as good as it gets. Q. Why don't you fly? Sounds dumb. A. It is pretty stupid, and I don't recommend it, but I explain my motivation in the book.

    As word began to spread, similar establishments popped up across the country. Men lined up outside these cafés waiting to pay three times the usual cost for coffee served by a panty-free young woman, hoping to catch a fortuitous glimpse. Within a few years, a new craze took hold: the no-panties "massage" parlor. Competition for customers led these new types of businesses to offer an increasingly bizarre range of services: fondling clients through holes in coffins whilst they lie naked inside playing dead, interiors catering to commuter-train fetishists, young virgin role-playing, etc. Amongst these many destinations was a Tokyo club called Lucky Hole. Here, the premise was ridiculously simple: clients stood on one side of a plywood partition, a hostess on the other; in between them was simply a hole big enough for a certain part of the male anatomy to pass through. Nobuyoshi Araki was a frequent visitor to the sex clubs of Tokyo's Shinjuku neighborhood, and he photographed them profusely until the golden age of Japan's sex industry came to a screeching halt in February 1985, with the enactment of the New Amusement Business Control and Improvement Act. In over 800 photos, Tokyo Lucky Hole documents the free-for-all spirit of those clubs via Araki's lens.

    A tiny mother and child bustle through a dusty township in Cape Town, while a miniature informant whispers in a telephone booth in Beijing. Thumb-size riot police climb the Acropolis in Athens, while an inch-high woman pole-dances around a lamppost in a Hong Kong red-light district.Global Model Village collects the international works of Slinkachu, the London-based artist who as part of his “Little People Project” has been abandoning tiny model people on the mean streets of the world since 2006. Documented through photography, these little dramas of hope and tragedy, loneliness and humor, somehow get to the heart of what it means to be human, to be alone among millions of other people, all experiencing the melancholy and magic of life in the big city.

    But we did it.In Upturn Tanya Plibersek brings together some of the country's most interesting thinkers who are ready to imagine a better Australia, and to fight for it. It is a compelling vision for a stronger economy, a fairer society and a more environmentally sustainable future.

    Like its highly successful companion volumes, Art in Theory, 1815–1900 and Art in Theory, 1900–1990, its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.Harrison, Wood, and Gaiger have collected writing by artists, critics, philosophers, literary figures, and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch, and Latin sources is also provided, including many new translations.Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.

    Walker is one of the most exciting photographers of our time, and his flamboyant style—often tongue-in-cheek but always exquisitely executed—places him in the line of brilliant eccentrics from Cecil Beaton to David LaChapelle. Showcasing 170 photographs through Walker’s most recent work, the book features many A-listers in fashion and Hollywood, including Tilda Swinton, Helena Bonham Carter, and Alber Elbaz. The book includes a foreword by Kate Bush, an introduction by writer Robin Muir, and an afterword by Tim Walker.Praise for Tim Walker: Story Teller:“You’ll delight in the fashion photographer’s visual daydreams.” —DuJour magazine

    The drip paintings of Jackson Pollock, trailblazing Abstract Expressionist, appear to be the polar opposite of Thomas Hart Benton’s highly figurative Americana. Yet the two men had a close and highly charged relationship dating from Pollock’s days as a student under Benton. Pollock’s first and only formal training came from Benton, and the older man soon became a surrogate father to Pollock. In true Oedipal fashion, Pollock even fell in love with Benton’s wife.Pollock later broke away from his mentor artistically, rocketing to superstardom with his stunning drip compositions. But he never lost touch with Benton or his ideas—in fact, his breakthrough abstractions reveal a strong debt to Benton’s teachings. In an epic story that ranges from the cafés and salons of Gertrude Stein’s Paris to the highways of the American West, Henry Adams, acclaimed author of Eakins Revealed, unfolds a poignant personal drama that provides new insights into two of the greatest artists of the twentieth century.