Fortunately we've created our second Art Now volume to keep art fans abreast of the latest trends and hottest names. Not only will you discover the most important artists in the international art market, you'll also learn how the art scene has changed dramatically in recent years - notably with a return to figurative painting and an increase in political topics. Featuring over 135 artists in A-Z entries, plus a special section about gallery representation and current market prices, Art Now Vol. 2 is the guide to what's happening and who's who in contemporary art.A-Z artist entries include:short biographyexhibition history and bibliographical informationimages of important recent workBonus illustrated appendix features:names and contact information for the galleries representing the artists featuredprimary market pricesthe five best auction results

    Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

     What do all these people have in common? Fame, of course, and undeniable talent. But most of all, they were cool. Birth of the Cool is a stunningly illustrated, brilliantly written cultural history of the American avant-garde in the 1940s and 1950s -- the decades in which cool was born. From intimate interviews with cool icons like poet Allen Ginsberg, bop saxophonist Jackie McLean, and Living Theatre cofounder Judith Malina, award-winning journalist and poet Lewis MacAdams extracts the essence of cool. Taking us inside the most influential and experimental art movements of the twentieth century -- from the Harlem jazz joints where Dizzy Gillespie and Charlie Parker invented bebop to the back room at Max's Kansas City when Andy Warhol was holding court to backstage at the Newport Folk Festival the night Bob Dylan went electric, from Surrealism to the Black Mountain School to Zen -- MacAdams traces the evolution of cool from the very fringes of society to the mainstream. Born of World War II, raised on atomic-age paranoia, cast out of the culture by the realities of racism and the insanity of the Cold War, cool is now, perversely, as conventional as you can get. Allen Ginsberg suited up for Gap ads. Volvo appropriated a phrase from Jack Kerouac's On the Road for its TV commercials. How one became the other is a terrific story, and it is presented here in a gorgeous package, rich with the coolest photographs of the black-and-white era from Robert Doisneau, Henri Cartier-Bresson, Man Ray, and many others. Drawing a direct line between Lester Young wearing his pork-pie hat and his crepe-sole shoes staring out his hotel window at Birdland to the author's three-year-old daughter saying "cool" while watching a Scooby-Doo cartoon at the cusp of a new millennium, Birth of the Cool is a cool book about a hot subject...maybe even the coolest book ever.

    And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

    College level text for art appreciation.

    She paints rainbow-colored rooftops, striped pears, birds in hats, teacups, cats, and more—all drawn to bring joy to anyone who views them. When the weather is rainy and gray, Sevig paints herself some sunshine. When she feels sad, she paints something colorful to cheer herself up; when anxious, something soothing and repetitive; when overwhelmed, she makes a series of small decisions about what to put on the page and begins to feel empowered.In Striped Pears and Polka Dots, Sevig invites readers into her cozy, sunny world of snail mail, patterned socks and knitted sweaters, ice cream and flaky croissants, and dachshunds in sweaters. This perfect gift book will inspire readers to look around and notice all the little happy-makers that surround them in their daily lives.

    Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

    The Complete Letters of Vincent van Gogh was first published by New York Graphic Society in 1958. Surely among the most distinguished books ever published, it is still the only complete edition of the letters in English. Illustrated by the more than two hundred ink drawings the artist sketched into his letters, the collection has been the source of numerous biographical and fictional works, but none has matched the intensity of the original material. Most of the letters were written to the artist's brother, Theo, and it was Theo's son, Vincent, who acted as consulting editor for the publication. A touching memoir by Theo's wife serves as the introduction.

    EXPLORING ART uses art examples from around the world to discuss art in the context of religion, politics, family structure, sexuality, entertainment and visual culture.

    ARTnews hailed this lively volume as "a fascinating book" by "a superb critic and art historian". For this Second Edition, the author adds a new final chapter and extensively reworks the last quarter of the hook to incorporate current thinking on the art of the last 20 years.

    With its wealth of exclusive photographs, this stunning book is a unique look into the world of the film.

    We need not walk far, because paradise is right around the corner." --Hundertwasser Friedrich Stowasser, born in Vienna in 1928, called himself Friedensreich Hundertwasser Regentag Dunkelbunt. True to the colorful variety of his names, he has pursued many activities as a painter, architect, and ecologist, and as "one who awakens identities." This presentation of Hundertwasser's work in all of its different facets is guided by the artist's own view of himself and his purpose. And, because his work is, by nature, virtually inseparable from his biography, his artistic and political actions, and equally so from the "stories" of his (ostensibly) private life, a vivid portrait of the artist takes shape before the reader's eyes. Excerpts from conversations between the author and the artist lend a sense of immediacy and authenticity to the narration.

    An excellent, comprehensive overview of the life and work of the groundbreaking artist who broke down the boundaries between photography and graphic design with his innovative techniques.

     Additionally, as a lady-in-waiting, Countess Buxhoeveden attended on the Empress for much of the reign of Tsar Nicholas II, only leaving her side when the Imperial Family was removed to Tobolsk after the Tsar’s abdication in 1917. Thereafter, she followed the Empress to Tobolsk, and then to Ekaterinburg, where the entire Imperial Family, some of the Court suite and some of their servants met their deaths on July 17, 1918. The portrait the Countess paints of the Empress is of a warm, shy, kind and generous woman, devoted to Russia, her husband and her children, deeply charitable in word and deed, and a committed friend and mistress, but ill-starred, physically sick, maligned, misunderstood and much plotted against. The character descriptions in this book also include those for Tsar Nicholas, each of the children – OTMA and the Tsarevitch – Grand Duchess Ella (the Empress’ sister), Ania Vyrubova (the Empress’ most intimate friend), Rasputin and Kerensky (the Head of the Provisional Government that took power after the abdication of the Tsar and before the ascendancy of the Bolsheviks). The narrative also describes in detail the daily domestic life of the Imperial Family, and each of their trips to other parts of Russia and abroad in peace and war. It is rare for the author of any authorized biography to know her subject so familiarly and for so long, and to have been a first-hand witness to almost everything that happened for much of her life, and it is this that makes ‘The Tragic Empress’ such an intriguing and compelling book.

    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.