He first revisits the old stories--Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others--and then holds them up against the life and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Authoritative in its scholarship, loose-limbed in its style, Trickster Makes This World ranks among the great works of modern cultural criticism.

    It is simple and clean, and commonly seen in advertising, signage, and literature. The R has a curved leg, and the i and j have square dots. The Q has a straight angled tail, and the counterforms inside the O, Q, and C are oval. It is an all-purpose type design that can deliver practically any message clearly and efficiently. It is one of the most popular typefaces of all time. Helvetica: Homage to a Typeface presents 400 examples of Helvetica in action, selected from two diametrically opposed worlds. Superb applications by renowned designers are juxtaposed with an anonymous collection of ugly, ingenious, charming, and hair-raising samples of its use.

    Hockney’s extensive research led him to conclude that artists such as Caravaggio, Velázquez, da Vinci, and other hyperrealists actually used optics and lenses to create their masterpieces.In this passionate yet pithy book, Hockney takes readers on a journey of discovery as he builds a case that mirrors and lenses were used by the great masters to create their highly detailed and realistic paintings and drawings. Hundreds of the best-known and best-loved paintings are reproduced alongside his straightforward analysis. Hockney also includes his own photographs and drawings to illustrate techniques used to capture such accurate likenesses. Extracts from historical and modern documents and correspondence with experts from around the world further illuminate this thought-provoking book that will forever change how the world looks at art.Secret Knowledge will open your eyes to how we perceive the world and how we choose to represent it.

    The turbulent political weather of the twenty-first century generates anxiety and makes it difficult to know how to react. Olivia Laing makes a brilliant, inspiring case for why art matters more than ever, as a force of both resistance and repair. Art, she argues, changes how we see the world. It gives us X-ray vision. It reveals inequalities and offers fertile new ways of living.Funny Weather brings together a career’s worth of Laing’s writing about art and culture, and their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O’Keeffe, interviews Hilary Mantel and Ali Smith, writes love letters to David Bowie and Wolfgang Tillmans, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, Funny Weather celebrates art as an antidote to a terrifying political moment.

    It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.

    A VINTAGE ORIGINAL.What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page - a graceful ear there, a stray curl, a hat positioned just so - and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved - or reviled - literary figures.In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature - he thinks of himself first, and foremost, as a reader - into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.

    Along with commercial and dwelling units, temples, palaces, and cathedrals, Zevi treats structures such as fountains, columns, and monuments, subjecting them all to aesthetic, cultural, and functional criteria and explaining them in easily understood terms. Beautifully illustrated with examples from the entire history of the art, this is one of the most stimulating and provocative books ever written on the history and purpose of architecture.

    Rothko’s other written works have yet to be brought together into a major publication. Writings on Art fills this significant void; it includes some 90 documents—including short essays, letters, statements, and lectures—written by Rothko over the course of his career. The texts are fully annotated, and a chronology of the artist’s life and work is also included. This provocative compilation of both published and unpublished writings from 1934--69 reveals a number of things about Rothko: the importance of writing for an artist who many believed had renounced the written word; the meaning of transmission and transition that he experienced as an art teacher at the Brooklyn Jewish Center Academy; his deep concern for meditation and spirituality; and his private relationships with contemporary artists (including Newman, Motherwell, and Clyfford Still) as well as journalists and curators. As was revealed in Rothko’s The Artist’s Reality, what emerges from this collection is a more detailed picture of a sophisticated, deeply knowledgeable, and philosophical artist who was also a passionate and articulate writer.

    As Venturi's "gentle manifesto for a nonstraightforward architecture," Complexity and Contradiction in Architecture expresses in the most compelling and original terms the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture. Complexity and Contradiction in Architecture was the winner of the Classic Book Award at the AIA's Seventh Annual International Architecture Book Awards.

    A short illustrated survey of the use of photography in contemporary art since the mid-1980s.

    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.

    From its publication amid the social upheavals of the 1960s up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image/information culture.

    K. Ching. Each page has been meticulously revised to incorporate contemporary examples of the principles of form, space, and order - the fundamental vocabulary of every designer. The result is a beautifully illustrated volume that embraces today's forms and looks at conventional models with a fresh perspective. Here, Ching examines every principal of architecture, juxtaposing images that span centuries and cross cultural boundaries to create a design vocabulary that is both elemental and timeless. Among the topics covered are point, line, plane, volume, proportion, scale, circulation, and the interdependence of form and space. While this revision continues to be a comprehensive primer on the ways form and space are interrelated and organized in the shaping of our environment, it has been refined to amplify and clarify concepts. In addition, the Second Edition contains numerous new hand-rendered drawings; expanded section on openings and scale; examples of contemporary architectural design elements; expanded chapter on design principles; new glossary and index categorized by the author; and new 8 1/2 x 11 upright trim. In the Second Edition of Architecture: Form, Space, and Order, the author has opted for a larger format and crisper images. Mr. Ching has retained the style of his hand-lettered text, a hallmark of each of his books. This rich source of architectural prototypes, each rendered in Mr. Ching's signature style, also serves as a guide to architectural drawing. Doubtless, many will want this handsomevolume for the sheer beauty of it. Architects and students alike will treasure this book for its wealth of practical information and its precise illustrations. Mr. Ching has once again created a visual reference that illuminates the world of architectural form.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.