Her hand-lettered typography - sometimes tender, sometimes gritty, always breathtaking in its visceral candor - makes Self Portrait as Your Traitor a moving masterpiece of a singular art form that speaks to our deepest longings for beauty, honesty, and the ineffable magic of what it means to live.

    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.

    For forty days she relies on “drawing the feeling” as a way to realign her relationship to food, addiction, fertility, perfectionism, and the endless messaging of “never enough” echoing throughout current culture. She makes the ashram her home and embarks on the healing process through intricately hand-drawn narration of both her inner and outer worlds, cancelling forthcoming high-profile teaching obligations and international travel. Radical simplification, meditation, community, and creativity bring her through the darkest chapter of her life. What emerges from Krans’ deeply personal undertaking is a raw and beautiful never-before-seen artists’ document that explores what it means to prioritize truth and self-discovery in a world of relentless expectations and distractions. A memoir at its heart, Blossoms and Bones is a lifeline of light and beauty, a call to embrace our creative power, and a courageous example of realigning with one’s destiny.

     Awake in the Dream World is a mid-career retrospective of artist and author Audrey Niffenegger (The Time Traveler's Wife, bestselling novel turned feature film), reflecting her talent for cultivating a captivating narrative exclusively through pictures and her own confrontations with life, mortality, and magic.Niffenegger's fantastical body of work is reminiscent of renowned pen and ink predecessors such as Edward Gorey, Aubrey Beardsley, Egon Schiele, Edward Dulac, and Horst Janssen, but with a brutally honest and unapologetically strange female perspective that touches upon the universal trials of life—death and decay, love, jealousy, redemption, and the inevitability of change. Her works on paper, lithographs, and aquatints reflect the often surreal narratives of her artist's books. Through self-portraiture, Niffenegger reveals her own self-assurance and whimsy alongside anxiety and loneliness, probing darker corners of the human heart and mind, often exploring the hopeless struggle with what Shakespeare called "this bloody tyrant, Time."Essays by Audrey Niffenegger, National Museum of Women in the Arts Curator of Book Arts Krystyna Wasserman, and Art Institute of Chicago Curator and School of the Art Institute Professor Mark Pascale explore the artist's influences and work. Published in conjunction with the June 21—November 10, 2013 exhibition at the National Museum of Women in the Arts.

    Illustrates outdoor sculptures created with a range of natural materials, including snow, ice, leaves, rock, clay, stones, feathers, and twigs.

    Amy weaves her own coming-of-age as a young Jewish artist into the narrative of her mother, a psychologist, and Bubbe, her grandmother, a World War II survivor who escaped from the Warsaw Ghetto by disguising herself as a gentile. Captivated by Bubbe’s story, Amy turns to her sketchbooks, teaching herself to draw as a way to cope with what she discovers. Entwining the voices and histories of these three wise, hilarious, and very different women, Amy creates a portrait not only of what it means to be part of a family, but also of how each generation bears the imprint of the past. Flying Couch uses Bubbe’s real testimony and her playful, idiosyncratic sensibility to investigate the legacy of trauma, the power of family stories, and the meaning of home. The result is this bold illustrated memoir, both an original story of self-discovery and an important entry into the literature of the Holocaust.“Flying Couch is perfect. It’s perceptive, emotionally on point, surprising and funny in its details, told in an intuitive way that’s completely direct, and about something that matters. This is an important book.” —Liana Finck, author of The Bintel Brief“Flying Couch is a moving, intricate story of identity and family history.”—Ariel Schrag, author of Likewise and Awkward and Definition“I read Flying Couch in one sitting, without moving, literally laughed and literally cried.” —Rachel Fershleiser, co-editor of the New York Times bestseller Not Quite What I Was Planning"Amy Kurzweil's moving debut is a story of trauma and survival, and a search for identity and belonging. Fluctuating, in words and images, from the bubbly to the intense, this graphic memoir exposes the complicated and powerful ways we are shaped by the histories and relationships that anchor us."—Tahneer Oksman, author of How Come Boys Get to Keep Their Noses?

    These most permanent and intimate of body adornments are hidden by pants legs and shirttails, emblazoned on knuckles, or tucked inside mouths. They are battle scars and beauty marks, totems and mementos. Pen & Ink grants us access to the tattoos—and the stories behind them—of writers Cheryl Strayed and Roxane Gay; rockers in the bands Korn, Otep, and Five Finger Death Punch; and even a porn star. But it also illuminates the tattoos of the ordinary people living in our midst—from professors to thrift store salespeople, cafe owners to librarians, union organizers to administrators—and their extraordinary lives.Curated and edited by Isaac Fitzgerald, who sports twelve tattoos himself, each story “is like being let in on . . . secrets by . . . strangers who passed you on the street or sat across from you on the train” (Strayed) and features Wendy MacNaughton’s gorgeously rendered full-color illustrations of the tattoos on black-and-white drawings of the bearer’s body. At its heart, beneath its colorful skin, Pen & Ink is an exploration of the decision to scar one’s self with a symbol and a story.

    A fascinating mix of established master draftsmen and neophytes, working in a vast range of techniques, Illustration Now! Vol. 3 features illustrators from 30 countries, including  information about their career paths, and lists of selected exhibitions. Also included is an introduction by specialist Steven Heller on current trends in the field. This book is perfect for graphic artists, creative professionals and illustration students, as well as anyone with an appreciation for draftsmanship and visual language.

    When customers noticed and began telling her the drawings brightened their days, Mari realized she could use that hobby to connect with people. She hit a professional rough patch in her late 20s and began to chronicle her work on Instagram. Nearly overnight, she became a sensation. Now when Mari Andrew posts something new, the Internet rejoices. This book is organized by universal themes of becoming an adult--for example, loss, adventure, ambition. Within each chapter, Mari shares her personal experiences in never-before-seen essays, accompanied by spreads of her signature illustrations, 90 percent of which are brand new. Readers are bound to see some of themselves in this book, whether seeking advice on how to handle growing up, or just looking for a friend who can commiserate.

    This passionate, often surprising, intimate record, kept under lock and key for some forty years in Mexico, reveals many new dimensions in the complex persona of this remarkable Mexican artist.Covering the years 1944-45, the 170-page journal contains Frida's thoughts, poems, and dreams, and reflects her stormy relationship with her husband, Diego Rivera, Mexico's famous artist. The seventy watercolor illustrations in the journal - some lively sketches, several elegant self-portraits, others complete paintings - offer insights into her creative process, and show her frequently using the journal to work out pictorial ideas for her canvases.The text entries, written in Frida's round, full script in brightly colored inks, add an almost decorative quality, making the journal as captivating to look at as it is to read. Frida's childhood, her political sensibilities, and her obsession with Diego are all illuminated in witty phrases and haunting images.Although much has been written recently about this extraordinary woman, Frida Kahlo's art and life continue to fascinate the world. This personal document, published in a complete full-color facsimile edition, will add greatly to the understanding of her unique and powerful vision and her enormous courage in the face of more than thirty-five operations to correct injuries she had sustained in an accident at the age of eighteen. The facsimile is accompanied by an introduction by the world-renowned Mexican man of letters Carlos Fuentes and a complete translation of the diary's text. An essay on the place of the diary in Frida's work and in art history at large, as well as commentaries on the images, is provided by Sarah M. Lowe.

    Allie Brosh returns with a new collection of comedic, autobiographical, and illustrated essays.Solutions and Other Problems includes humorous stories from Allie Brosh’s childhood; the adventures of her very bad animals; merciless dissection of her own character flaws; incisive essays on grief, loneliness, and powerlessness; as well as reflections on the absurdity of modern life.This full-color, beautifully illustrated edition features all-new material with more than 1,600 pieces of art.

    Set amid the most turbulent social and political period of modern times, Ninth Street Women is the impassioned, wild, sometimes tragic, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting -- not as muses but as artists. From their cold-water lofts, where they worked, drank, fought, and loved, these pioneers burst open the door to the art world for themselves and countless others to come. Gutsy and indomitable, Lee Krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock. Elaine de Kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax. Grace Hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Joan Mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. And Helen Frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Her gamble paid off: At twenty-three she created a work so original it launched a new school of painting. These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. In Ninth Street Women, acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future.

    The anonymous messages are hopeful and hopeless, funny and sad. Ms. Blackall, award-winning illustrator of Ruby’s Wish and Big Red Lollipop, has turned some of the most evocative (or hilarious) of them into exquisite paintings. Missed Connections is a collection of illustrated love stories. There’s “We Shared a Bear Suit.” “If Not for Your Noisy Tambourine.” “Hairy Bearded Swimmer.” Each is told in the shorthand of a “missed connection,” and then illustrated in Chinese ink and watercolor. The paintings are extraordinary: delicate yet full of feeling, each springing from one little detail of the post into a fully imagined world. Each brings the voyeuristic pleasure of watching love at first sight, and the pleasure of watching an artist discover a fresh new way to tell a story. And not all the connections are missed. Hidden in the book are three pieces that conjure up the magic of love found.

    During her increasingly long lunch breaks, she began to obsessively read the PennySaver, the iconic classifieds booklet that reached everywhere and seemed to come from nowhere. Who was the person selling the “Large leather Jacket, $10”? It seemed important to find out—or at least it was a great distraction from the screenplay.Accompanied by photographer Brigitte Sire, July crisscrossed Los Angeles to meet a random selection of PennySaver sellers, glimpsing thirteen surprisingly moving and profoundly specific realities, along the way shaping her film, and herself, in unexpected ways.Elegantly blending narrative, interviews, and photographs with July’s off-kilter honesty and deadpan humor, this is a story of procrastination and inspiration, isolation and connection, and grabbing hold of the invisible world.

    Calle's projects have frequently drawn on episodes from her own life, but this book-part visual memoir, part meditation on the resonances of photographs and belongings-is as close as she has come to producing an autobiography, albeit one highly poetical and fragmentary. The first section is composed of various reflections on objects such as a shoe, a postcard, a bathrobe and a bed, or musings on the artist's body, such as "The Love Letter": "For years a love letter languished on my desk. I had never received a love letter, so I paid a public scribe to write one. Eight days later, I received seven beautiful pages of pure poetry penned in ink. It had cost me one hundred francs and the man said: '...as for myself, without moving from my chair I was everywhere with you.'" The second section of the book, "The Husband," is comprised of ten recollections of episodes from Calle's first marriage, by turns funny ("He was an unreliable man. For our first date he showed up one year late."), erotic and sad. A third section gathers various autobiographical tales, and the book closes with three interlinked stories titled "Monique." This new edition includes five new photo-text presentations and is the first English translation.Sophie Calle (born 1953) is a French writer, photographer, installation artist and conceptual artist. Among her many publications are "The Address Book," "Blind," "Take Care of Yourself" and "Double Game."