Drawing from street culture, high art, and traditional Japanese painting, Murakami takes the contemporary art trend of mixing high and low to an unprecedented level (critics call him the new Warhol), producing original paintings and sculptures as well as mass-produced consumer objects such as toys, books, and most famously, a line of handbags for Louis Vuitton. A committed supporter and spokesperson for Japanese artists and a powerful commentator on postwar culture and society, Murakami has organized influential exhibitions of Japanese art as well as a biannual art fair in Tokyo. Murakami has positioned himself as a new type of artist for the twenty-first century: a hybrid of creator, entrepreneur, and cultural ambassador.In conjunction with the first major retrospective of his work, Murakami traces Murakami’s global impact socially, culturally, and art historically. Essays focus on Murakami’s early works, which were based on a social critique of Japan’s rampant consumerism; the development of his characters; his work with anime, fantasy; otaku culture; and his engagement with global pop culture. Representing output from original works of art to mass-produced multiples, the catalogue also considers the implications of Murakami’s working methods within the tradition of the Western avant-garde.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    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."

    Eric Jaffe captures the progress of people and culture along the road through four centuries, from its earliest days as the king of England’s “best highway” to the current era. Centuries before the telephone, radio, or Internet, the Boston Post Road was the primary conduit of America’s prosperity and growth. News, rumor, political intrigue, financial transactions, and personal missives traveled with increasing rapidity, as did people from every walk of life.From post riders bearing the alarms of revolution, to coaches carrying George Washington on his first presidential tour, to railroads transporting soldiers to the Civil War, the Boston Post Road has been essential to the political, economic, and social development of the United States. Continuously raised, improved, rerouted, and widened for faster and heavier traffic, the road played a key role in the advent of newspapers, stagecoach travel, textiles, mass-produced bicycles and guns,  commuter railroads, automobiles—even Manhattan’s modern grid. Many famous Americans traveled the highway, and it drew the keen attention of such diverse personages as Benjamin Franklin, Franklin D. Roosevelt, P. T. Barnum, J. P. Morgan, and Robert Moses. Eric Jaffe weaves this entertaining narrative with a historian’s eye for detail and a journalist’s flair for storytelling. A cast of historical figures, celebrated and unknown alike, tells the lost tale of this road.Revolutionary printer William Goddard created a postal network that united the colonies against the throne. General Washington struggled to hold the highway during the battle for Manhattan. Levi Pease convinced Americans to travel by stagecoach until, half a century later, Nathan Hale convinced them to go by train. Abe Lincoln, still a dark-horse candidate in early 1860, embarked on a railroad speaking tour along the route that clinched the presidency. Bomb builder Lester Barlow, inspired by the Post Road’s notorious traffic, nearly sold Congress on a national system of expressways twenty-five years before the Interstate Highway Act of 1956. Based on extensive travels of the highway, interviews with people living up and down the road, and primary sources unearthed from the great libraries between New York City and Boston—including letters, maps, contemporaneous newspapers, and long-forgotten government documents—The King’s Best Highway is a delightful read for American history buffs and lovers of narrative everywhere.

    A talented violinist as well as a painter, Klee drew much of the inspiration for his abstract art from musical rhythms and structure. Like a composer, he developed and harmonized pictorial themes, weaving a complex series of signs and symbols into his painting. Art historian Hajo Duchting focuses his study primarily on Klee's decade-long tenure at the Bauhaus, where the artist's theories and practice first merged, and where he was to develop his Color Spectrum, Square and Polyphone painting series. Illustrated throughout with full-color reproductions of Klee's paintings and etchings, as well as entries from his diaries, this unique study sheds light on an important aspect of Klee's work while providing insights into his development as an abstract artist.

    A political betrayal. A constitutional crisis. The Palace Letters is the groundbreaking result of one historian’s fight to expose secret letters between the Queen and the then Australian governor general, Sir John Kerr, during the dismissal of prime minister Gough Whitlam in the 1970s. Whitlam was a progressive prime minister whose reforms proved divisive after two decades of conservative leadership in Australia. When he could not get a budget approved, it sparked a political deadlock that culminated in his unexpected and deeply controversial dismissal by Kerr.More than 200 letters between Kerr and the Queen from the period exist in the archive, and historians have long believed that they could reveal the extent to which Buckingham Palace knew about or approved of the dismissal. But until now they have remained hidden in the National Archives of Australia, protected from public scrutiny through their designation as ‘personal’.In the face of this, Professor Jenny Hocking embarked on a 10-year campaign and a four-year legal battle to force the Archives to release the letters. In 2015, she secured a stellar pro bono team that took her case all the way to the High Court of Australia. On 29 May 2020, the court ruled in her favour, requiring the correspondence to be released.Now, Professor Hocking is able to reveal the previously hidden trove of letters. And, drawing on never-before-published material from Kerr’s archives and submissions to the court, Hocking traces the collusion and deception behind the dismissal, and charts the role of High Court judges, the Queen’s private secretary, and the leader of the opposition, Malcolm Fraser, in Kerr’s actions, and any prior involvement of the Queen and Prince Charles in Kerr’s planning.

    She is the girl with the blue tattoo.The story behind the distinctive tattoo is the stuff of legends. Some believed it was placed on her face during her captivity, following the brutal murders of her family members and the kidnapping of her and her sister. Others believe it was placed on her after her return.Rumors swelled. Her tattoo became a symbol of Native barbarianism and the triumph of American goodness, but like many stories of that era, the truth is far more complicated.This short book details the murders, her captivity, the aftermath, and her baffling return to her captors. Unravel the mystery of the woman who would become famous for all the wrong reasons and discover what her life story says about cultural identity, the power of resiliency, and what happens when fact and fiction bend and twist to muddy the waters.Read on to find out the truth!

    From diverse backgrounds, they met at The Slade in London between 1908 and 1910, in what was later described as the school’s “last crisis of brilliance.” Between 1910 and 1918 they loved, talked, and fought; they admired, conspired, and sometimes disparaged each others’ artistic creations. They created new movements; they frequented the most stylish cafés and restaurants and founded a nightclub; they slept with their models and with prostitutes; and their love affairs descended into obsession, murder, and suicide.

    in a literary sense, ever written in Canada."Completed just before Emily Carr died in 1945, Growing Pains tells the story of Carr’s life, beginning with her girlhood in pioneer Victoria and going on to her training as an artist in San Francisco, England and France. Also here is the frustration she felt at the rejection of her art by Canadians, of the years of despair when she stopped painting. She had to earn a living, and did so by running a small apartment-house, and her painful years of landladying and more joyful times raising dogs for sale, claimed all her time and energy. Then, towards the end of her life, came unexpected vindication and triumph when the Group of Seven accepted her as one of them. Throughout, the book is informed with Carr’s passionatate love of and connection with nature.Carr is a natural storyteller whose writing is vivid and vital, informed by wit, nostalgic charm, an artist’s eye for description, a deep feeling for creatures and the foibles of humanity--all the things that made her previous books Klee Wyck and Book of Small so popular and critically acclaimed.

    In fact, right up to the Industrial Revolution the fiber arts were an enormous economic force, belonging primarily to women.Despite the great toil required in making cloth and clothing, most books on ancient history and economics have no information on them. Much of this gap results from the extreme perishability of what women produced, but it seems clear that until now descriptions of prehistoric and early historic cultures have omitted virtually half the picture.Elizabeth Wayland Barber has drawn from data gathered by the most sophisticated new archaeological methods—methods she herself helped to fashion.

    As Boston Celtics fans watched the team retire Pierce's jersey in a ceremony on February 11, 2018, they remembered again the incredible performances Pierce put on in the city for fifteen years, helping the Celtics escape the bottom of their conference to become champions and perennial championship contenders. But Pierce's time in the city wasn't always so smooth. In 2000, he was stabbed in a downtown nightclub eleven times in a seemingly random attack. Six years later, remaining the sole star on a struggling team, he asked to be traded and briefly became a lightning rod among fans.Then, in 2007, the Boston Celtics General Manager made two monumental trades, bringing Ray Allen and Kevin Garnett to Boston. A press conference on July 31, 2007 was a sight to behold: Pierce, KG, and Ray Allen holding up Celtics jerseys for the flood of media. Coach Doc Rivers made sure the team bonded over the thought of winning a title and living by a Bantu term called Ubuntu, which translates as "I am because we are." Rivers wanted to make it clear that togetherness and brotherhood would help them maximize their talent and win. What came next—the synthesis of the Celtics' "Big Three" and their dominant championship run—cemented their standing as one of great teams in NBA history, a rival to Kobe Bryant's Lakers and LeBron James's Cavaliers.This is the team that brought excitement back to the Garden, and therefore to one of the most storied franchises in all of sports. They met their historic rivals, the Lakers, in the 2008 NBA Finals, winning the series in Game 6, in a rout on their home court with a raucous, concert like atmosphere. Along the victory parade route, Paul Pierce smoked a cigar—as a tribute to legendary former Celtics Coach Red Auerbach. In a city now defined by a wealth of championships, "The Big Three" joined the club. Michael Holley, the premier chronicler of Boston sports, brings their story to life with countless untold stories and behind-the-scenes details in another bestselling tome for New England and sports fans across the country.

    Many readers will recognize Audrey Munson, even without knowing her name. She was America's first supermodel. Munson's beauty, though, was also her curse, exactly as a fortune teller predicted in her youth. Her looks won her entry to high society, but at a devastating cost. In 1919 she became a recluse, eventually being admitted to an asylum where she remained until her death. This is her story.

    TASCHEN's 25th anniversary - Special edition! "Fascinating for what it tells us about the history of body images and social codes." -The Independent, London

    This monograph follows Van Gogh between 1886 and 1890, from Holland to Paris, where his palette was brightened with impressionistic colour, to Arles and his still-mysterious friendship with Gauguin.

    A must for all Rollins fans.