His style ranged from the social realism of his WPA murals through his abstract expressionist canvasses of the 1950s and 1960s (when he counted Pollock, Rothko, de Kooning, and Kline among his friends) to his cartoonlike paintings of Klansmen, disembodied heads, and tangled piles of everyday objects. Critics and public alike savaged Guston for his return to figurative art, but today his late work is recognized for the singular power of its darkly hilarious vision. Musa Mayer augments her firsthand knowledge with extensive interviews with his family, friends, students, and colleagues, as well as Guston's own letters, notes, and autobiographical writings, to re-create a turbulent era in American art. Night Studio, profusely illustrated (including almost a dozen paintings in full color), illuminates not only the life of a great artist, but the experience of growing up in his shadow.

    Until now there was almost no written insight into this vast subculture, which inspires fascination across America and around the world. As dazzling as the art it celebrates, the book is packed with 1,000 full-color illustrations and features in-depth interviews with more than 125 train artists and "writers." Hundreds of never-before-seen photographs span the style's evolution, while the authoritative text from an all-star team of authors provides unprecedented perspective, including the first-ever written history of "monikers," the precursors of graffiti, developed by hobos and rail workers to communicate en route. Bound to surprise graffiti artists, graphic designers, and urban culture buffs alike, this book will inspire anyone who has ever been interested in graffiti.

    A hotbed for hip hop, underground culture, and unmatched creative energy, it spawned some of the most significant art of the 20th century. It was where Jean-Michel Basquiat became an avant-garde street artist and painter, swiftly achieving worldwide fame. During the years before his death at the age of 27, he shared his life with his lover and muse, Suzanne Mallouk. A runaway from an unhappy home in Canada, Suzanne first met Jean-Michel in a bar on the Lower East Side in 1980. Thus began a tumultuous and passionate relationship that deeply influenced one of the most exceptional artists of our time. In emotionally resonant prose, award-winning author Jennifer Clement tells the story of the passion that swept Suzanne and Jean-Michel into a short-lived, unforgettable affair. A poetic interpretation like no other, Widow Basquiat is an expression of the unrelenting power of addiction, obsession and love.

    R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley.Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.

    Even as everything else about the world of music changes, the piano lesson retains its appeal. Drawing on her own lifelong experience as a student and teacher, Tunstall writes about the mysteries and delights of piano teaching and learning. What is it that happens in a piano lesson to make it such a durable ritual? In a world where music is heard more often on the telephone and in the elevator than in the concert hall, why does the piano lesson still have meaning in the lives of children? What does it matter whether one more child learns to play Bach's Minuet in G? "Note by Note" is in part a memoir in which Tunstall recalls her own childhood piano teachers and their influence. As she observes, the piano lesson is unlike the experience of being coached on an athletic team or taught in a classroom, in that it is a one-on-one, personal communication. Physically proximate, mutually concentrating on the transfer of a skill that is often arduous, complicated and frustrating, teacher and student occasionally experience breakthroughs-moments of joy when the student has learned something, mastered a musical passage or expressed a feeling through music. The relationship is not only one-way: teaching the piano is a lifelong endeavor of particular intensity and power.Anyone who has ever studied the piano-or wanted to-will cherish this gem of a book.

    From extraordinary highs - patronage by the Medicis, friendship with Galileo and, most importantly of all, beautiful and outstandingly original paintings - to rape by her father's colleague, torture by the Inquisition, life-long struggles for acceptance by the artistic Establishment, and betrayal by the men she loved, Artemisia was a bold and brilliant woman who lived as she wanted, and paid a high price.

    She’s Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She’s Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she’s Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She’s haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She’s railing against her corsets, her chaperones, her husband and her brothers; she’s hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available.Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have – and, of course, continue to do so – often against tremendous odds, from laws and religion to the pressures of family and public disapproval.In THE MIRROR AND THE PALETTE, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery. This is a dazzlingly original and ambitious book by one of the most well-respected art critics at work today.

    As one of the first agents to represent athletes, he's been negotiating mega-deals for almost forty years with a hugely successful record on behalf of stars like Arthur Ashe, Michael Jordan, Jimmy Connors, Patrick Ewing, Stan Smith, and Boomer Esiason. Now Dell shares behind-the-scenes stories of his dealings with some of the most powerful sports owners and executives. He brings the inner workings of the negotiating room to life and offers lessons that readers can apply to their own tough situations. A sample: ? "Never make the first offer" You're not seeking an offer at all; you are seeking information. ? "Business is emotional" If you are less than genuine people will pick up on it, which is much worse than losing your temper every now and then. ? "Know your audience" I finally figured out the key to Jimmy Connors-play to his stubbornness. Don't force Jimmy to do something and he just might do it. ? "Decide what's important" Something extremely important to the other side may be trivial to you, in which case you can gain leverage by giving it to them.

    The complex and troubled relationship with discipline, alcohol and authority during his exhilarating cricket career. The search for an authentic voice as a player, free from the blandness and conformity of modern professionalism. Is Flintoff the last of his kind, in any sport?Through all his highs and lows, triumphs and reversals, this book reveals a central tension. There is 'Fred' - performer, extrovert, centre of attention. Then there is 'Andrew' - reflective, withdrawn and uncertain. Two people contained in one extraordinary life. And sometimes, inevitably, keeping the two in balance proves too much.We are taken backstage, seeing the mischief and adventure that has defined Andrew Flintoff's story. Above all, we observe the enduring power of fun, friendship and loyalty - the pillars of Flintoff's career. At ease with his faults as well as his gifts, Andrew Flintoff has sought one thing, even more than success: to be himself.

    Pieced together, they form a revealing mosaic of the creative mind. It's like viewing an exhibit from the therapist's couch as each entry delves into the mental anguish that afflicts the artist and affects their art.The scope of the artists covered is as varied as their afflictions. Inside, you will find not just the creators of the darkest of dark literature, music, and art. While it does reveal what everyday problem kept Poe's pen to paper and the childhood catastrophe that kept Picasso on edge, it also uncovers surprising secrets of more unexpectedly tormented artists. From Charles Schultz's unrequited love to J.K. Rowling's fear of death, it's amazing the deep-seeded troubles that lie just beneath the surface of our favorite art.As much an appreciation of artistic genius as an accessible study of the creative psyche, Tortured Artists illustrates the fact that inner turmoil fuels the finest work.

    I never dreamt it would be like this.'Frequently affecting...intriguing, almost incantatory' TelegraphTracey Emin's Strangeland is her own space, lying between the Margate of her childhood, the Turkey of her forefathers and her own, private-public life in present-day London. Her writings, a combination of memoirs and confessions, are deeply intimate, yet powerfully engaging. Tracey retains a profoundly romantic world view, paired with an uncompromising honesty. Her capacity both to create controversies and to strike chords is unequalled in British life. A remarkable book - and an original, beautiful mind.'As spare and poignant as one of Emin's line drawings' Marie Claire

    Working with the full cooperation of the Van Gogh Museum in Amsterdam, Naifeh and Smith have accessed a wealth of previously untapped materials to bring a crucial understanding to the larger-than-life mythology of this great artist: his early struggles to find his place in the world; his intense relationship with his brother Theo; and his move to Provence, where he painted some of the best-loved works in Western art. The authors also shed new light on many unexplored aspects of Van Gogh’s inner world: his erratic and tumultuous romantic life; his bouts of depression and mental illness; and the cloudy circumstances surrounding his death at the age of thirty-seven.   Though countless books have been written about Van Gogh, no serious, ambitious examination of his life has been attempted in more than seventy years. Naifeh and Smith have re-created Van Gogh’s life with an astounding vividness and psychological acuity that bring a completely new and sympathetic understanding to this unique artistic genius.

    Mora also offers a unique insight into the lives of her famous contemporaries - Boyd, Blackman, Perceval and others.

    Although many show biz kids founder as they approach adulthood, Ron Howard had the advantage of brains, common sense, and two down-to-earth parents who kept him from having an inflated view of his own accomplishments. He also had a longstanding goal: to trade the glare of the spotlight for a quieter but equally creative life behind the camera. This biography tracks his career from 1960, when he debuted as six-year-old Opie Taylor on The Andy Griffith Show through 2002, when he accepted his Academy Award

    M. W. Turner, one of Britain's most admired, misunderstood and celebrated artists J. M. W. Turner is Britain's most famous landscape painter. Yet beyond his artistic achievements, little is known of the man himself and the events of his life: the tragic committal of his mother to a lunatic asylum, the personal sacrifices he made to effect his stratospheric rise, and the bizarre double life he chose to lead in the last years of his life.A near mythical figure in his own lifetime, Franny Moyle tells the story of the man who was considered visionary at best and ludicrous at worst. A resolute adventurer, he found new ways of revealing Britain to the British, astounding his audience with his invention and intelligence. Set against the backdrop of the finest homes in Britain, the French Revolution and the Industrial Revolution, this is an astonishing portrait of one of the most important figures in Western art and a vivid evocation of Britain and Europe in flux.Set against this spectacular and ultimately controversial career, Moyle also excavates the private Turner. Psychologically wounded as a child, by a family torn apart by death and mental illness, she suggests a man who could not embrace relationships fully until the very end of his life. Only then did he succumb to his love for the widowed Sophia Booth, concealing this all too human aspect of his life behind an assumed identity. She mines the poignancy of his final years, when, with his health ailing, Turner sought solace in a secret private life that had eluded him before and that he knew would scandalise the new generation of Victorians.