Today, says Francine Prose, the word has been weakened and is used almost exclusively to refer to the chic women who help fashion designers inform their latest lines. But in her scholarly account, Prose (a National Book Award finalist for her novel Blue Angel ) presents nine real women who moved men to greatness and who were not mere catalysts but worthy of note on their own, in many cases deserving a share of the credit for the work they helped create.Each chapter is a mini-biography of a woman's life and the way a male artist figured into it. We see the muse as prompter and creator in her own regard, like memoirist Hester Thrale, whose letters to Samuel Johnson helped form his later works. In Alice Liddell, the inspiration for Lewis Carroll's Alice's Adventures in Wonderland, the muse is at her most passive, asserting her independence of the child-loving author only by failing to remain seven years old forever. And with Yoko Ono, there is the muse as artist in her own right, who claimed not to have heard of the Beatles before meeting John Lennon, and whose avant-garde tendencies some blamed for his musical downfall.To hit the mystical nine, Prose stretches a bit. For every Suzanne Farrell collaborating on ballets with George Balanchine, or every Gala Dal� cosigning canvases with spouse Salvador, there are personae only a graduate student would be likely to know. We learn of "serial muse" Lou Andreas-Salom�'s involvement with Friedrich Nietzsche, Rainer Maria Rilke, and Sigmund Freud, and of how Charis Weston had to vie with a toilet for the attentions of her photographer husband, Edward. But these lesser-knowns help make the book a complete analysis of notable women who motivated men of achievement -- usually at the expense of their own -- and lived with the consequences. iKatherine Hottinger/i

    

    It looks at painting, photography, film, television, and new media across the realms of art, advertising, news, science, and law. Authors Marita Sturken and Lisa Cartwright present the diverse ranges of approaches to visual analysis that have emerged in the last few decades, and lead the reader through the key theories of visual culture in an accessible and highly readable approach. Including over 180 images, this truly interdisciplinary and beautifully designed book aims to be a comprehensive introduction for anyone interested in images, and the key text for courses across a range of disciplines including media and film studies, art history, photography, and communication.

    Katsushika Hokusai (1760-1849) is not only one of the giants of Japanese art and a legend of the Edo period, but also a founding father of Western modernism, whose prolific gamut of prints, illustrations, paintings, and beyond forms one of the most comprehensive oeuvres of ukiyo-e art and a benchmark of japonisme. His influence spread through Impressionism, Art Nouveau, Jugendstil, and beyond, enrapturing the likes of Claude Monet (who bought 23 of his prints), Berthe Morisot, Edgar Degas, Mary Cassatt, and Vincent van Gogh. Hokusai was always a man on the move. He changed domicile more than 90 times during his lifetime and changed his own name through at least seven professional pseudonyms. In his art, he adopted the same restlessness, covering the complete spectrum of Japanese ukiyo-e ("pictures of the floating world") practice in painting and woodblock, from single-sheet prints of landscapes and actors to erotic books, album prints, illustrations for verse anthologies and historical novels, and surimono, which were privately issued prints for special occasions. Hokusai's print series Thirty-Six Views of Mount Fuji, published between 1826 and 1833 is the artist's most renowned work and, with its soaring peak through different seasons and from different vantage points, marked the towering summit of the Japanese landscape print. The series' The Great Wave off Kanagawa, also known simply as The Great Wave , is one of the most recognized images of Japanese art in the world. This TASCHEN introduction spans the length and breadth of Hokusai's career with key pieces from his far-reaching portfolio. Through these meticulous, majestic works and series, we trace the variety of Hokusai's subjects, from erotic books to historical novels, and the evolution of his vivid formalism and decisive delineation of space through color and line that would go on to liberate Western art from the constraints of its one-point perspective and unleash the modernist momentum.

    There are wars and sieges, scandals and seductions, fountains playing in deserted squares and crowds thronging the markets.And there is a dark undertone too, of shadowy corners and dead ends, prisons and punishment.The language and way of thinking of the Venetians sets them aside from the rest of Italy. They are an island people, linked to the sea and to the tides rather than the land.'The moon rules Venice,' Ackroyd writes: 'It is built on ocean shells and ocean ground; it has the aspect of infinity.It is the floating world... changing and variable and accidental.'This book, like a magic gondola, transports its readers to thatsensual, surprising realm. We could have no better guide - reading Ackroyd's Venice is, in itself, a glorious journey and the perfect holiday.

    For what Ingo Walther and his international team have done is to make sense of this most explosive of artistic centuries. Who could possibly have forecast on New Year's Eve 1899 that, one hundred years later, painting and sculpture would be only options, not prerequisite disciplines for modern artists, constantly questioning both the technical and thematic definitions of their work? The infinite laboratory of experiment that the visual arts have become over the last decades highlights not only the inherent potential for human creativity and representation, but also shows the way individuals and groups have responded to the huge social, political and technological changes of this most turbulent of times. Ranging across the full spectrum of disciplines available, including photography and new media, and thematically chaptered to highlight relationships between works and movements, this readable and encyclopaedic masterwork does just what it says on the cover. Whether you want Surrealism or Land Art, Fluxus or Bauhaus, your art book purchases can stop once you buy this. Warning: it will not fit on your coffee table!

    Throughout his career he produced eight certified platinum albums and had numerous singles and LPs debut at No. 1 on the charts. This folio features Tupac's most successful works spanning his career. Titles are: R U Still Down? * Brenda's Got a Baby * California Love * Changes * Dear Mama * Do for Love * How Do U Want It * I Ain't Mad at Cha * I Get Around * I Wonder If Heaven Got a Ghetto * Me Against the World * Papa'z Song * So Many Tears * To Live & Die in L.A. * 2 of Amerikaz Most Wanted.

    Organized chronologically, the book illuminates the dynamic relationship between design and manufacturing as well as the roles of technology, social change, and commercial forces on the course of design history. The layout of each chapter reflects the unique style of the period it describes, and some 450 illustrations throughout the volume provide a visual record of more than one hundred years of creative achievement in the field.Under the influence of William Morris and the Arts and Crafts movement in the late 19th century, a new era began for design arts. Fueled by popular Art Nouveau advertising, the work of graphic designers became central in the growing consumer goods economy. This book traces the emergence of varied modernist design styles in the early 20th century and then examines the wartime politicization of regional styles through American government patronage and revolutionary Soviet ideas. Richly contextualized chapters chronicle the history of the Bauhaus and the rise of the International Style, followed by the postmodern movement of the 1970s and '80s. After highlighting recent developments in graphic design around the globe, the author discusses the impact of inexpensive, powerful design software and the challenges facing designers now.

    Today artists routinely dissolve the old boundaries of art by creating works that neither hang on walls nor adorn pedestals, and often willfully overturn conventions of aesthetic value, permanence and optical reward. Curator and educator Weintraub has researched and/or interviewed 35 prominent radical artists and here explores their common concerns, creative processes and media. Devoting one essay to each artist, Weintraub offers a primer for museum and gallery goers who may be confronting such works for the first time, discussing Andres Serrano's photo of a crucifix submerged in urine, the half ton of dirty clothes Christian Boltanski piled on a museum floor worn by children of the Holocaust, Janine Antoni's mammoth blocks of chocolate and lard, Chuck Close's computer art and David Hammon's detritus constructions.

    This is all done through stimulating discussions on the elements, media, methods, content, composition, and style of art.Along with discussions on the purpose of art (Ch. 1-9), a separate Chapter (18) takes a look at art beyond Europe and the U.S. and examines art from all around the world. The history of art is contained chronologically in the second part of the book, (Ch. 10-17).

    Her journey takes readers from the great cities of Europe and America to Egypt, Turkey, Greece, and Italy, as these countries face down the Louvre, the Metropolitan Museum, the British Museum, and the J. Paul Getty Museum. She also introduces a cast of determined and implacable characters whose battles may strip these museums of some of their most cherished treasures.For readers who are fascinated by antiquity, who love to frequent museums, and who believe in the value of cultural exchange, Loot opens a new window on an enduring conflict.

    Both include a chronology of the religion's history through today, a glossary of terms, and recommended further reading lists.

    Harmony is central. There are two key aspects to the visual structure of Islamic design, calligraphy using Arabic script-one of the world's great calligraphic traditions-and abstract ornamentation using a varied but remarkably integrated visual language. This art of pure ornament revolves around two central themes; crystalline geometric patterns, the harmonic and symmetrical subdivision of the plane giving rise to intricately interwoven designs that speak of infinity and the omnipresent center; and idealized plant form, spiraling tendrils, leaves, buds and flowers embodying organic life and rhythm.1. WIDE APPEAL: Anyone interested in science, mathematics, design, architecture, and the natural world.2. AUTHORITATIVE: A compelling blend of scholarship and visual presentation, packs an enormous amount of information into a short space.3. BEAUTIFUL PACKAGE: A bargain at $10.00. Winner of First Prize for Nonfiction at the New York Book Show4. SERIES PURPOSE: All are aimed at bringing ancient wisdom forward into the 21st century.5. INSPIRING: The perfect entrée into a challenging topic; will inspire other reading.

    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.

    His influential work spans many practices over a 23-year period, from music packaging to installation work to printmaking. Here, he reveals his personal notebooks, photographs, sketches, and abandoned routes to iconic Radiohead artworks. Arranged chronologically, each chapter is dedicated to a major work—whether an album cover, promotional piece, or a personal project—and is presented as a step-by-step working case study. Featuring commentary by Thom Yorke and never-before-seen archival material, this is the first deep dive into Donwood’s creative practice and the artistic freedom afforded to him by working for a major music act. It is a must-have for fans of the band and anyone interested in graphic design and popular culture.