A semi-memoir covering a decade of the acclaimed cartoonists formative years (1935-1945), and including many reproductions of famous drawings and photos from the authors personal collection.

    His work first garnered attention in the 1990s when he ushered in a new genre of painting, “Pop Surrealism,” dragging a host of followers in his wake. He has trumped the initial surrealist strategies by choosing subject matter loaded with cultural connotation.Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché and disturbing archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul. A subtle disquiet inhabits his paintings; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Ryden’s world cherubic girls rub elbows with strange and mysterious figures. Ornately carved frames lend the paintings a baroque exuberance that adds gravity to their enigmatic themes. Complex in its arcane and idiosyncratic subject matter, Ryden’s work can leave no viewer unmoved.Pinxit, whose title refers to the Latin term meaning “painted by,” is organized by the themes of Ryden’s major exhibitions—The Meat Show, Bunnies & Bees, The Tree Show, and so on—and includes collected essays by Yoshitomo Nara, Carlo McCormick, and others, and a new essay by culture critic Kristine McKenna. Ryden’s paintings and drawings are reproduced using the finest technique available, and over a dozen of the paintings are foldouts that open to a staggering 150 cm (59 inches) across. Many books have been published on Mark Ryden before, but none like this large-format monograph, released in a boxed Collector’s Edition of 1,000 numbered copies, each signed by the artist; and also available in an Art Edition of only 50 copies, which come with an artwork. This sweeping retrospective brings together nearly two decade’s worth of Mark Ryden’s paintings and works on paper, broadening the horizons of his uncanny universe and bringing it to the world, one big page at a time.Collector’s Edition – No. 51–1,050 Limited to 1,000 individually numbered copies, each signed by Mark Ryden Printed on archival-quality paper Quarter-bound book with leather spine Front cover features gold-relief embossing crafted by the master printers at Pressure Printing Comes in a clamshell box covered in cloth fabric Also available in an Art Edition of 50 copies with a silk screen print

    The official history and commemoration of Pogo's first decade...all wrapped up with a running commentary by Walt Kelly.

    The work beautifully captures the isolation of the Great White North while also giving the artist a sequential canvas to explore and experiment. This book will be printed in three Pantone spot colors. Jesse's work has been nominated for the Doug Wright award and has won the Gene Day award.

    This is a definite requirement for anyone who wants to be an artist. Drawing or sketching becomes automatic once you learn these skills and the majority is done by studying Nature. A must-have for any student and great for homeschooling. There are more than 40 illustrations to demonstrate each process. Join Author Kate Berry, a self taught artist who knows all about the obstacles you may be experiencing.

    His mastery of his characters’ faces and gestures is also wonderful, his line quick and sure and expressive." —The New YorkerThe existential dread of making (or not making) art takes center stage in this trenchant satire of MFA cultureWendy is an aspiring contemporary artist whose adventures have taken her to galleries, art openings, and parties in Los Angeles, Tokyo, and Toronto. In Wendy, Master of Art, Walter Scott’s sly wit and social commentary zero in on MFA culture as our hero hunkers down to complete a master of fine arts at the University of Hell in small-town Ontario.Finally Wendy has space to refine her artistic practice, but in this calm, all of her unresolved insecurities and fears explode at full volume—usually while hungover. What is the post-Jungian object as symbol? Will she ever understand her course reading—or herself? What if she’s just not smart enough? As she develops as an artist and a person, Wendy also finds herself in a teaching position, mentoring a perpetually sobbing grade-grubbing undergrad.Scott’s incisively funny take on art school pretensions isn’t the only focus. Wendy, Master of Art explores the politics of open relationships and polyamory, performative activism, the precariousness of a life in the arts, as well as the complexities of gender identity, sex work, drug use, and more. At its heart, this is a book about the give and take of community—about learning to navigate empathy and boundaries, and to respect herself. It is deeply funny and endlessly relatable as it shows Wendy growing from millennial art party girl to successful artist, friend, teacher—and Master of Art.

    His logical, methodical world was suddenly turned upside down by a strangely exotic woman living on a tropical island thousands of miles away. Who is Sabine? How can she "see" what Griffin is painting when they have never met? Is she a long-lost twin? A clairvoyant? Or a malevolent angel? Are we witnessing the flowering of a magical relationship or a descent into madness?This stunning visual novel unfolds in a series of postcards and letters, all brilliantly illustrated with whimsical designs, bizarre creatures, and darkly imagined landscapes. Inside the book, Griffin and Sabine's letters are to be found nestling in their envelopes, permitting the reader to examine the intimate correspondence of these inexplicably linked strangers. This truly innovative novel combines a strangely fascinating story with lush artwork in an altogether original format.

    Byrne wanted the book to be the size and shape of a portable Bible, and thus The New Sins resembles the sort of book a strange person in a robe would try to give you in an airport. Bizarre and profound, the book includes 80 color photographs taken by the author.

    The facility was complete in 1969, located deep below the pastoral countryside of Mälaröarna. The local population called this marvel of technology The Loop. These are its strange tales.Simon Stålenhag’s paintings of Swedish 1980s suburbia, populated by fantastic machines and strange beasts, have spread like wildfire on the Internet. The 2015 Kickstarter for the English version of the book raised over $320,000. Stålenhag’s portrayal of a childhood against a backdrop of old Volvo cars and coveralls, combined with strange and mystical machines, creates a unique atmosphere that is both instantly recognizable and utterly alien.In this top-quality artbook, Simon Stålenhag’s first set of paintings are collected in book form—together with texts that tell the stories of the youth who lived in the shadows of the machines. In addition, three separate prints (format 260×230 mm) as well as a full-color map (format 520x340mm) of the land of The Loop are included in the book.

    Dr. Seuss) had a career in illustration that varied widely before he wrote his first juvenile book. Early Works Volume 1 is the first of a series collecting political cartoons, advertisements, and various images drawn by Geisel long before he had written any of his world-famous books.

    Each of these forty-four poems is a powerful mixture of concrete images. Each records the reality and myth of the world around us-and in us. "Short, perfectly shaped, Simic's poems float past like feathers, turning one way, then another" (Village Voice).

    His work has been seen by millions—no, hundreds of millions—in the pages of Playboy, The New Yorker, Punch, The National Lampoon, and many other magazines; there is no telling, really, how many readers he has corrupted or comforted. He is revered for his playfully sinister take on childhood, adulthood, men, women, and monsters. His brand of humor makes you laugh until you cry. And it’s about time that a collection of his cartoons was published that did justice to his vast body of work.When Gahan Wilson walked into Hugh Hefner’s office in 1957, he sat down as Hefner was on the phone, gently rejecting a submission to his new gentlemen’s magazine: “I think it’s very well-written and I liked it very much,” Hefner reportedly said, “but it’s anti-sin. And I’m afraid we’re pro-sin.” Wilson knew, at that moment, that he had found a kindred spirit and a potential home for his cartoons. And indeed he had; Wilson appeared in every issue of Playboy from the December 1957 issue to today. It has been one of the most fruitful, successful, and long-lived relationships between a contributor and a magazine, ever.Gahan Wilson: 50 Years of Playboy Cartoons features not only every cartoon Wilson drew for Playboy, but all his prose fiction that has appeared in that magazine as well, from his first story in the June 1962 issue, “Horror Trio,” to such classics as “Dracula Country” (September 1978). It also includes the text-and-art features he drew for Playboy, such as his look at Madame Tussaud’s Wax Museum, his take on our country’s “pathology of violence,” and his appreciation of “transplant surgery.”Wilson’s notoriously black sense of comedy is on display throughout the book, leaving no sacred cow unturned (an image curiously absent in the book), ridiculing everything from state sponsored executions to the sober precincts of the nouveau rich, from teenage dating to police line-ups, with scalding and hilarious satirical jabs. Although Wilson is known as an artist who relishes the creepy side of modern life, this three-volume set truly demonstrates the depth and breadth of his range—from illustrating private angst we never knew we had (when you eat a steak, just whom are you eating?) to the ironic and deadpan take on horrifying public issues (ecological disaster, nuclear destruction anyone?).Gahan Wilson has been peeling back the troubling layers of modern life with his incongruously playful and unnerving cartoons, assailing our deepest fears and our most inane follies. This three-volume set is a testament to one of the funniest—and wickedly disturbing—cartoonists alive.Nominated for two 2010 Will Eisner Comic Industry Awards (Best Archival Collection/Project: Strips; Best Publication Design).

    Because I was trapped in Texas at the time, I needed to believe that the broken tractor out back was a car of the future. Japanese, I’ll say, because of the exotic far-awayness of Japan from Texas, and because of the Japanese monster movies and woodblock prints that reached out to me in Texas. Japanese monster movies are part of the fabric of Texas.”In 1983, Panter finally got a chance to fully explore this world, and share it with an audience, when the L.A. Reader published the first 63 strips. A few years later, the Japanese reggae magazine Riddim picked up the strip, and Panter continued the saga of Dal Tokyo in monthly installments for over a decade.But none of these conceptual descriptions will prepare the reader for the confounding visual and verbal richness of Dal Tokyo, as Panter’s famous “ratty line” collides and colludes with near-Joycean wordplay, veering from more or less intelligible jokes to dizzying non-sequiturs to surreal eruptions that can engulf the entire panel in scribbles. One doesn't read Dal Tokyo; one is absorbed into it and spit out the other side.

    Now Muratyan presents his unique observations in this delightful book, featuring visually striking graphics paired with witty, thought-provoking taglines that celebrate the special details of each city. Paris versus New York is a heartfelt gift to denizens of both cities and to those who dream of big-city romance.

    However, this anecdote is told ninety-nine more times, each in a radically different style, as a sonnet, an opera, in slang, and with many more permutations. This virtuoso set of variations is a linguistic rust-remover, and a guide to literary forms.