Thus began the romance of the most dynamic, productive and famous couple in American art. 8 pages of full-color photographs; 40 black-and-white photographs.

    Includes details and drawings of paintings from "Blood" exhibited at Earl McGrath Gallery. Distressed leather-like embossed soft cover. Smyth sewn binding, Ninety two pages. Limited printing of 20,000 books (This book will not be reprinted). Each book is individually numbered. Book Size: 2 1/2" x 3 1/2"

    A seminal work of modern photojournalism, this landmark collection of photographs and interviews documents the abandon and risk implied in the name of the gang Lyon belonged to: the Chicago Outlaw Motorcycle Club. With images and interviews that are as raw, alive, and dramatic today as they were three decades ago, this new edition includes startling new images: 15 additional black-and-white photographs and 14 color prints--long thought missing--of works originally published in black-and-white. With a new introduction by the author, The Bikeriders rides again, capturing like never before the dawn of the counterculture era.

    This showcase of cutting-edge contemporary art from across the globe features galleries of collage by 30 practitioners, from the surreal landscapes of Beth Hoeckel to Fabien Souche's humorous appropriations of pop culture. Each artist has also created a new piece especially for this book—all using the same original image, but with results as wildly diverse as the medium of collage itself. This collection is visual inspiration for art lovers and an appreciation of the transformation of old into new.

    Slight of build, shy by nature, prone to fits of depression, the 28-year-old Beijing photographer was nonetheless at the forefront of Chinese artists' battle for creative freedom. Like his champion Ai Weiwei, Ren was controversial in his homeland and wildly popular in the rest of the world. He said, -I don't really view my work as taboo, because I don't think so much in cultural context, or political context. I don't intentionally push boundaries, I just do what I do.- Why? Because his models, friends, and increasingly, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever enters his mind at the moment. He denies his intentions are sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, -there are a lot of dicks ... do you just like dicks?- Ren responded, -It's not just dicks I'm interested in, I like to portray every organ in a fresh, vivid and emotional way.- True though that may be, the penises Ren photographed are not just fresh and vivid, but unusually large, making one wonder just where he met his friends. In the same piece, Hang also stated, -Gender isn't important when I'm taking pictures, it only matters to me when I'm having sex, - making him a pioneer of gender inclusiveness. Young fans still eagerly flock to his website, Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief six-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He self-published 16 monographs, in tiny print runs, that now sell for up to $600. TASCHEN's Ren Hang is his only international collection, covering his entire career, with well-loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections. We take solace remembering Ren's joy when he first held the book, shared by his long-time partner Jiaqi, featured on the cover.Text in English, French, and German

    Following the simple SoulCollage directions, your hands move fragments of cut-out magazine pictures around, fitting them together in a surprising new way and gluing them down on a card. Cards containing the images you select — or the images that select you — come straight through your Soul, bypassing the mind. This is a multi-leveled, creative process which anyone can do. All you need is a good pair of scissors, pre-cut mat board cards, glue, and images you can cut out from magazines, greeting cards, personal photos, postcards, catalogues, and calendars. It is wonderful to have other people with whom to share the process. The cards are fun to take to a friend's house, to work with in therapy or support groups, or to keep on your coffee table.

    In this style bible Gok breathes new life into your existing wardrobe, showing you how to transform the basics we all have into a fabulous new look.

    With all the creative experiementation developing at such a fast pace, it is pertinent to know how various techniques and combinations work and whether they are right for your latest project. Alphabetica illuminates new techniques through detailed visuals and rich, explanatory text. From cover to cover, readers absorb the specialties of each contributing artist, such as Judi Riesch's use of vintage photographs, and Lesley Riley's sophisticated fabric transfers, and are able to get an "over the shoulder" glance at how these artists work.

    It takes into account new finds as well as new ideas and attitudes to the subject, and emphasizes that Greek art should be seen in its proper context, not that of galleries and museums. 302 illustrations, 73 in color

    When I'm there, sitting with those folks, listening and talking, he said to Coles, I'm part of that life, and I'm near it in my head, too.... Back here, sitting near this typewriter--its different. I'm a writer. I'm a doctor living in Rutherford who is describing 'a world elsewhere.' Williams captured the great difficulty in documentary writing--the gulf that separates the reality of the subject from the point of view of the observer . Now, in this thought-provoking volume, the renowned child psychiatrist Robert Coles, author of the Pulitzer Prize-winning Children in Crisis series, offers a penetrating look into the nature of documentary work. Utilizing the documentaries of writers, photographers, and others, Coles shows how their prose and pictures are influenced by the observer's frame of reference: their social and educational background, personal morals, and political beliefs. He discusses literary documentaries: James Agee's searching portrait of Depression-era tenant farmers, Let Us Now Praise Famous Men, and George Orwell's passionate description of England's coal-miners, The Road to Wigan Pier. Like many documentarians, Coles argues, Agee and Orwell did not try to be objective, but instead showered unadulterated praise on the noble poor and vituperative contempt on the more privileged classes (including themselves) for exploiting these workers. Documentary photographs could be equally revealing about the observer. Coles analyzes how famous photographers such as Walker Evans and Dorthea Lange edited and cropped their pictures to produce a desired effect. Even the shield of the camera could not hide the presence of the photographer. Coles also illuminates his points through his personal portraits of William Carlos Williams; Robert Moses, one of the leaders of the Student Non-Violent Coordinating Committee during the 1960s; Erik H. Erikson, biographer of Mahatma Gandhi and Martin Luther; and others. Documentary work, Coles concludes, is more a narrative constructed by the observer than a true slice of reality. With the growth in popularity of films such as Ken Burns's The Civil War and the controversial basketball documentary Hoop Dreams, the question of what is real in documentary work is more pressing than ever. Through revealing discussions with documentarians and insightful analysis of their work, complemented by dramatic black-and-white photographs from Lange and Evans, Doing Documentary Work will provoke the reader into reconsidering how fine the line is between truth and fiction. It is an invaluable resource for students of the documentary and anyone interested in this important genre.

    Pablo Escobar lay dead, the Cali Cartel had taken over much of the global supply, and an avalanche of coke was poised to hit Europe. Now the British government wanted Chandler and his team to do the impossible: infiltrate the most powerful crime syndicates on earth and stop their drug shipments. It was a perilous assignment. The cartel bosses operated like a lethal multi-national, with armies of hitmen and myriad spies in ports, airports, police stations and government offices. Their intelligence systems flushed out turncoats and traitors, and they ruthlessly exterminated their enemies. Yet Chandler, an HM Customs investigator fluent in Spanish, knew he could only succeed by recruiting local informants, and went out into the field to find them. Within four years he had a network of fifty agents buried deep inside the trafficking organisations. The result was unprecedented. Their intel led to the arrest of hundreds of narcos and to the seizure of 300 tonnes of drugs, worth a staggering $3 billion. Chandler's web disrupted the Bogotá mafia, who controlled the main airport and boasted they could put anything on a plane, from drugs to bombs; penetrated the go-fast crews who raced coke-laden speedboats to the transit station of Jamaica; dismantled the 'rip-on' teams who smuggled through the coastal ports; and identified the so-called motherships, the largest method of bulk transit ever discovered. He faced appalling risks. Treacherous stool pigeons worked for both sides, and some of his Colombian law-enforcement colleagues were abducted, tortured and killed. Chandler too faced a grave threat when the crime lords learned he was responsible for a string of interdictions. Yet he persisted, driven to continue with the greatest series of sustained seizures ever made, until he finally burned out and his tour of duty came to an end. Two of his best sources were subsequently murdered, and his bosses dropped the entire overseas informant programme, with dire consequences. Narco Wars is an unflinching story of danger fear and stress, and of the tradecraft and unsung heroism of the agents and their handlers.

    Each spread features a simple line of text encapsulating the creator's iconic work in one word, such as "D is for Dots" (Yayoi Kusama) and "S is for Spider" (Louise Bourgeois), followed by slightly longer text about the artist for older readers who would like to know more. Backmatter includes photos, extended biographies, and discussion questions for budding creatives and trailblazers.Artists featured: Mirka Mora, Betye Saar, Helen Frankenthaler, Yayoi Kusama, Kay Sage, Georgia O'Keeffe, Agnes Martin, Jaune Quick-to-See Smith, Elizabeth Catlett, Judith Leyster, Leonora Carrington, Carmen Herrera, Edmonia Lewis, Maya Lin, Hilma af Klint, Maria Martinez, Gee's Bend quilters, Frida Kahlo, Louise Bourgeois, Loïs Mailou Jones, Alice Neel, Helen Zughaib, Ursula von Rydingsvard, Dorothea Lange, Xenobia Bailey, and Maria Sibylla Merian.

    A child of suburban 1950s Maryland, she made her name first as an actress in the films of John Waters, and then as an art critic and columnist, a writer of hilarious stories and a maven of New York's downtown art world. "Edgewise" tells the story of Cookie's life through an oral history composed of more than 80 interviews with the people who knew her, including John Waters, Mink Stole, Gary Indiana, Sharon Niesp, Max Mueller, Linda Yablonsky, Richard Hell, Amos Poe and Raymond Foye. The contributors take us from the late-1960s artist communes of Baltimore to 1970s Provincetown and New York, through 1980s Berlin and Positano. Along with the text, "Edgewise" includes artwork, unpublished photographs and archival material and photography by Philip-Lorca diCorcia, David Armstrong, Robert Mapplethorpe, Peter Hujar and others.

    Rejected by his family, hounded by society for his interest in young girls, he expressed through his art a deep and bewildering loneliness and an obsession with sexuality, death and decay. He was only twenty-eight when he died, yet he left behind him a body of work that sustains a huge public reputation--and a myth. This book sets out to examine both. 151 illus., 20 in color.

    Since then, painting has been declared dead several times over, and contemporary art has now expanded to include just about any object, action, or event: dance routines, slideshows, functional hair salons, seemingly random accretions of waste. In the meantime, being an artist has gone from a join-the-circus fantasy to a plausible vocation for scores of young people in America.But why--and how and by whom--does all this art get made? How is it evaluated? And for what, if anything, will today's artists be remembered? In The Contemporaries, Roger White, himself a young painter, serves as our spirited, skeptical guide through this diffuse creative world.White takes us into the halls of the RISD graduate program, where students learn critical lessons that go far beyond how to apply paint to canvases. In New York, we meet the neophytes who assist established artists--and who walk the fine line between "assistance" and "making the art." In Milwaukee, White trails a group of friends trying to create a viable scene where rent is cheap, but where the spotlight rarely shines. And he gives us an intimate perspective on three wildly different careers: that of Dana Schutz, an emerging star who is revitalizing painting; Mary Walling Blackburn, whose challenging art defies market forces; and Stephen Kaltenbach, a '70s wunderkind who is back on the critical radar, perhaps in spite of his own willful obscurity.From young artists trying to elbow their way in to those working hard at dropping out, White's essential book offers a once-in-a-generation glimpse of the inner workings of the American art world at a moment of unparalleled ambition, uncertainty, and creative exuberance.