Exquisitely designed and produced, Patti Smith: Camera Solo accompanies the first museum exhibition of the artist's photography in the United States.Using either a vintage Land 100 or a Land 250 Polaroid camera, Smith photographs subjects inspired by her connections to poetry and literature as well as pictures that honor the personal effects of those she admires or loves. In the catalogue's interview, conducted by Susan Lubowsky Talbott, the artist talks about her "respect for the inanimate object" as well as the talismanic qualities of things in her life. We see, for instance, a picture of Mapplethorpe's slippers or a porcelain cup that belonged to her father, and are drawn into their intimacy and quiet power. Moreover, these images reveal how the camera has proven to be a means for Smith to retreat—undisturbed—to "a room of my own."From her explorations as a visual artist in the 1960s and 70s and her profound influence on the nascent punk rock scene in the late 1970s and 80s, to Just Kids, her National Book Award-winning memoir of life with her beloved friend Robert Mapplethorpe, Smith continues to make an indelible mark on the American cultural landscape.

    Analyzing cultural practices such as anthropology, travel writing, collecting, and museum displays of tribal art, James Clifford shows authoritative accounts of other ways of life to be contingent fictions, now actively contested in post-colonial contexts. His critique raises questions of global significance: Who has the authority to speak for any group's identity and authenticity? What are the essential elements and boundaries of a culture? How do self and "the other" clash in the encounters of ethnography, travel, and modern interethnic relations?In chapters devoted to the history of anthropology, Clifford discusses the work of Malinowski, Mead, Griaule, L�vi-Strauss, Turner, Geertz, and other influential scholars. He also explores the affinity of ethnography with avant-garde art and writing, recovering a subversive, self-reflexive cultural criticism. The surrealists' encounters with Paris or New York, the work of Georges Bataille and Michel Leiris in the Coll�ge de Sociologie, and the hybrid constructions of recent tribal artists offer provocative ethnographic examples that challenge familiar notions of difference and identity. In an emerging global modernity, the exotic is unexpectedly nearby, the familiar strangely distanced.

    Outrageous evaluations of Picasso, Turner, Cézanne, many more. Text includes 15 renderings of paintings discussed and 44 of Dalí's calligraphic decorations. Will delight anyone who enjoys the artist's unconventional opinions and egotistical posturing.

    Text by Alain Robbe-Grillet for the film by Alain Resnais, with over 140 illustrations.

    Harry Sword traces the line from neolithic Indo-European traditions to the modern underground by way of mid-20th Century New York, navigating a beguiling topography of archeoacoustics, ringing feedback, chest plate sub bass, avant-garde eccentricity, and fervent spiritualism. From ancient beginnings to bawdy medieval troubadours, Sufi mystics to Indian raga masters, North Mississippi bluesmen to cone-shattering South London dub reggae sound systems, Hawkwind's Ladbroke Grove to the outer reaches of Faust, Ash Ra Temple and sonic architects like La Monte Young, Brian Eno, and John Cale, the opium-fueled fug of The Theatre of Eternal Music to the caveman doom of Saint Vitus, the cough syrup reverse hardcore of Swans to the seedy VHS hinterland of Electric Wizard, ritual amp worship of Earth and Sunn O))) and the many touch points in between, Monolithic Undertow probes the power of the drone: something capable of affording womb-like warmth or evoking cavernous dread alike.This story does not start in the twentieth century underground: the monolithic undertow has bewitched us for millennia. The book takes the drone not as codified genre but as an audio carrier vessel deployed for purposes of ritual, personal catharsis, or sensory obliteration, revealing also a naturally occurring auditory phenomenon spanning continents and manifesting in fascinatingly unexpected places.Monolithic Undertow will be a book about music and the very human need for transcendence and intoxication through sound. It seeks to reveal the drone as a tool of personal liberation that exists far outside the brittle confines of commodity culture.

    His early work clearly shows the influence of Fauvism and Cubism. The Catalan landscape also shapes the themes and treatment of these initial works. In his travels, Miro encountered the intellectual avant-garde of his time. His friends included Francis Picabia, Tristan Tzara, Andre Masson, Jean Arp and Pablo Picasso. From the mid-twenties onward, Miro strove to leave direct objective references behind and developed the pictograms that typify his style. The pictures of this period, which include perhaps the most beautiful and significant ones of his whole oeuvre, dispense with spatiality and an unambiguous reference to objects. From now on, the surfaces are defined by numerals, writing, abstract emblems, and playful figures and creatures. Nineteen forty four saw the beginning of his extensive graphic oeuvre, ceramics, monumental mural works, and sculptures. In these works, too, the Catalan artist sought the solid foundation of a figurative, symbolic art with orientation as regards content: faces, stars, moons, rudimentary animal forms, letters. Joan Miro developed in several stages his characteristic flowing calligraphic style and his world of forms resembling shorthand symbols. About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    By means of words, signs, drawings. Mescaline, the subject explored." In Miserable Miracle, the great French poet and artist Henri Michaux, a confirmed teetotaler, tells of his life-transforming first encounters with a powerful hallucinogenic drug. At once lacerating and weirdly funny, challenging and Chaplinesque, his book is a breathtaking vision of interior space and a piece of stunning writing wrested from the grip of the unspeakable.Includes forty pages of black-and-white drawings.

    Art has succumbed to the techniques of advertising and in politics, the battle for hearts and minds has become a mere convergence of opinion. TV ratings have triumphed over universal suffrage. The events of September 11 reflect both the manipulation of a global sub-proletariat and the delusions of an elite of rich students and technicians who resemble the ‘suicidal members of the Heaven’s Gate cybersect’. And, in this post-humanist dystopia, we are morally rudderless before the threat of biological manipulations as yet undreamt.About the series: Appearing on the first anniversary of the attacks on the World Trade Center and the Pentagon, these series of books from Verso present analyses of the United States, the media, and the events surrounding September 11 by Europe’s most stimulating and provocative philosophers. Probing beneath the level of TV commentary, political and cultural orthodoxies, and ‘rent-a-quote’ punditry, Baudrillard, Virilio, and Žižek offer three highly original and readable accounts that serve as fascinating introductions to the direction of their respective projects, and as insightful critiques of the unfolding events. This series seeks to comprehend the philosophical meaning of September 11 and will leave untouched none of the prevailing views currently propagated.

    in the first two cases in Susan Hill's gripping crime seriesIn The Various Haunts of Men Detective Chief Inspector Simon Serrailler and a new member of the station, Detective Sergeant Freya Graffham investigate the disappearance of a local woman from the peaceful cathedral town of Lafferton. As more people vanish, Simon and Freya are forced to embark on a complicated mission to unravel the mystery and enter the mind of a killer.In The Pure in Heart Simon Serrailler is nursing a broken heart while trying to deal with a new and worrying case: the kidnapping of a young boy on his way to school. As the family of the missing boy falls apart, and more children are taken, the station - and Simon - begin to lose hope...

    Lavishly illustrated with more than seventy-five boxes andcollages, as well as images of the fascinating source material that the artistcollected to create his exquisitely crafted worlds, it communicates to thereader the sense of surprise and delight that one experiences on viewingthe actual boxes with their toys, stuffed birds, maps, clay pipes, marbles,shells, and other paraphernalia of daily life.The book’s essays bring together the expertise of Lynda Roscoe Hartigan,former director of the Joseph Cornell Study Center; the compelling commentaryof Walter Hopps, art dealer, museum curator and director, and theartist’s personal friend; the wide-ranging scholarship of Richard Vine; andthe sensitivity of Robert Lehrman, a leading Cornell collector whose firsthandexperience lends this publication its distinctive intimacy. Among thetopics explored are the role of dualities in the artistic process, the dominantthemes of Cornell’s oeuvre, and the importance of his Christian Science faith.

    So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year earlier, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art.Spring Cannot Be Cancelled is an uplifting manifesto that affirms art’s capacity to divert and inspire. It is based on a wealth of new conversations and correspondence between Hockney and art critic Martin Gayford, his long-time friend and collaborator. Their exchanges are illustrated by a selection of Hockney’s new Normandy drawings and paintings alongside works by Van Gogh, Monet, Bruegel, and others. We see how Hockney is propelled ever forward by his infectious enthusiasms and sense of wonder. A lifelong contrarian, he has been in the public eye for sixty years, yet remains entirely unconcerned by the view of critics or even history. He is utterly absorbed by his four acres of northern France and by the themes that have fascinated him for decades: light, color, space, perception, water, trees. He has much to teach us, not only about how to see . . . but about how to live.

    It is not advisable, nor was it ever, to lead a Dada life."--The Posthuman Dada GuideThe Posthuman Dada Guide is an impractical handbook for practical living in our posthuman world--all by way of examining the imagined 1916 chess game between Tristan Tzara, the daddy of Dada, and V. I. Lenin, the daddy of communism. This epic game at Zurich's Cafe de la Terrasse--a battle between radical visions of art and ideological revolution--lasted for a century and may still be going on, although communism appears dead and Dada stronger than ever. As the poet faces the future mass murderer over the chessboard, neither realizes that they are playing for the world. Taking the match as metaphor for two poles of twentieth- and twenty-first-century thought, politics, and life, Andrei Codrescu has created his own brilliantly Dadaesque guide to Dada--and to what it can teach us about surviving our ultraconnected present and future. Here dadaists Duchamp, Ball, and von Freytag-Loringhoven and communists Trotsky, Radek, and Zinoviev appear live in company with later incarnations, including William Burroughs, Allen Ginsberg, Gilles Deleuze, and Newt Gingrich. The Posthuman Dada Guide is arranged alphabetically for quick reference and (some) nostalgia for order, with entries such as "eros (women)," "internet(s)," and "war." Throughout, it is written in the belief "that posthumans lining the road to the future (which looks as if it exists, after all, even though Dada is against it) need the solace offered by the primal raw energy of Dada and its inhuman sources.

    The gorgeous evolution continues in the second color volume, which includes the Sunday strips from all of 1937 and 1938. The color format opens the floodgates for a massive amount of spectacular rare color art from series editor Bill Blackbeard and designer Chris Ware's files. Krazy Kat is a love story, focusing on the relationships of its three main characters. Each of the characters was ignorant of the others' true motivations, and this simple structure allowed Herriman to build entire worlds of meaning into the actions, building thematic depth and sweeping his readers up by the looping verbal rhythms of Krazy Co.'s unique dialogue.Most of these strips in this volume have not seen print since originally running in Hearst newspapers over 70 years ago. With a full 104 Sunday pages this time around, this particular book is jam packed with little room for extras, but we did squeeze in a half-dozen or so pages' worth of never-before-seen Herriman memorabilia (all in color), including a spectacular full-color New Year's card illustration done for a friend.

    Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries.

    These four took the nihilism of the movement to its ultimate conclusion, their works are remnants of lives lived to the limit and then cast aside with nonchalance and abandon: Vache died of a drug overdose, Rigaut shot himself, Cravan and Torma simply vanished, their fates still a mystery. Yet their fragmentary works - to which they attached so little importance - still exert a powerful allure and were a vital inspiration for the literary movements that followed them. Vache's bitter humour, Cravan's energetic invective, Rigaut's dandyfied introspection, and Torma's imperturbable asperity: all had their influence. This collection contains biographical introductions to each author as well as personal recollections by their contemporaries.