The many-pointed star formed from large icicles balances on a rock in a quiet Dumfriesshire valley, a delicate bamboo screen stands on a Japanese beach, a great serpentine ridge of earth extends along a disused railway cutting on Tyneside, four massive snow rings mark the position of the North Pole.

    Drawing from street culture, high art, and traditional Japanese painting, Murakami takes the contemporary art trend of mixing high and low to an unprecedented level (critics call him the new Warhol), producing original paintings and sculptures as well as mass-produced consumer objects such as toys, books, and most famously, a line of handbags for Louis Vuitton. A committed supporter and spokesperson for Japanese artists and a powerful commentator on postwar culture and society, Murakami has organized influential exhibitions of Japanese art as well as a biannual art fair in Tokyo. Murakami has positioned himself as a new type of artist for the twenty-first century: a hybrid of creator, entrepreneur, and cultural ambassador.In conjunction with the first major retrospective of his work, Murakami traces Murakami’s global impact socially, culturally, and art historically. Essays focus on Murakami’s early works, which were based on a social critique of Japan’s rampant consumerism; the development of his characters; his work with anime, fantasy; otaku culture; and his engagement with global pop culture. Representing output from original works of art to mass-produced multiples, the catalogue also considers the implications of Murakami’s working methods within the tradition of the Western avant-garde.

    Through his street roots in graffiti, Basquiat helped to establish new possibilities for figurative and expressionistic painting, breaking the white male stranglehold of Conceptual and Minimal art, and foreshadowing, among other tendencies, Germany's Junge Wilde movement. It was not only Basquiat's art but also the details of his biography that made his name legendary--his early years as "Samo" (his graffiti artist moniker), his friendships with Andy Warhol, Keith Haring and Madonna and his tragically early death from a heroin overdose. This superbly produced retrospective publication assesses Basquiat's luminous career with commentary by, among others, Glenn O'Brien, and 160 color reproductions of the work.Jean-Michel Basquiat was born in Brooklyn, New York, to a Puerto Rican mother and a Haitian father--an ethnic mix that meant young Jean-Michel was fluent in French, Spanish and English by the age of 11. In 1977, at the age of 17, Basquiat took up graffiti, inscribing the landscape of downtown Manhattan with his signature "Samo." In 1980 he was included in the landmark group exhibition The Times Square Show; the following year, at the age of 21, Basquiat became the youngest artist ever to be invited to Documenta. By 1982, Basquiat had befriended Andy Warhol, later collaborating with him; Basquiat was much affected by Warhol's death in 1987. He died of a heroin overdose on August 22, 1988, at the age of 27.

    Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects.

    These different ways of describing and interpreting art are the methodologies of artistic analysis, the divining rods of meaning. Regardless of a work’s perceived difficulty, an art object is, in theory, complex. Every work of art is an expression of its culture (time and place) and its maker (the artist) and is dependent on its media (what it’s made of). The methodologies discussed here—formal analysis, iconology and iconography, Marxism, feminism, biography and autobiography, psychoanalysis, and structuralism—reflect the multiplicity of meanings in an artistic image.

    Michelangelo Buonarroti never wanted to paint the Sistine Chapel, though. Appointed by the temperamental Julius II, Michelangelo believed the suspiciously large-scale project to be a plot for failure conspired by his rivals and the "Warrior Pope." After all, Michelangelo was not a painter—he was a sculptor. The noble artist reluctantly took on the daunting task that would damage his neck, back, and eyes (if you have ever strained to admire the real thing, you know). Andrew Graham-Dixon tells the story behind the famous painted ceiling over which the great artist painfully toiled for four long years. Linking Michelangelo's personal life to his work on the Sistine Chapel, Graham-Dixon describes Michelangelo's unique depiction of the Book of Genesis, tackles ambiguities in the work, and details the painstaking work that went into Michelangelo's magnificent creation. Complete with rich, full-color illustrations and Graham-Dixon's articulate narrative, Michelangelo and the Sistine Chapel is an indispensable and significant piece of art criticism. It humanizes this heavenly masterpiece in a way that every art enthusiast, student, and professional can understand and appreciate.

    Here, from author Jay Williams, is the moving story of the man behind the Renaissance myth.

    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

    From Robert Capa's stark photograph of a Loyalist soldier being shot in the head during the Spanish Civil War to Eve Arnold's astonishingly intimate portraits of well-known faces - from Joan Crawford to Malcolm X - Magnum has changed how we perceive our political leaders, social crises, and the communities next door.Magnum's photographers are some of the most talented, brave, and resourceful in the world: the founders, Robert Capa, David Seymour, George Rodger, and Henri Cartier-Bresson; and recruits, including Eve Arnold, Bruce Davidson, Mary Ellen Mark, Susan Meiselas, Inge Morath, James Nachtwey, Eugene Richards, and Sebastiao Salgado. Magnum follows them on assignment, facing bodyguards and visa troubles and taking to the risk-filled trenches of several wars for the perfect shot. Full of wonderful stories and heroic feats, Magnum is an essential volume for anyone interested in photography or photojournalism.

    One of the chapters in each trivia book was “Disturbing Facts about Our World”. I decided to fill an entire volume with facts about upsetting crimes and mayhem, combined with unbelievable yet real instances of misfortune and misery. This is a book where grim examples of bigotry and hypocrisy are intertwined with amusing stories of bad luck. In the spirit of the times we live in, I dedicated a whole chapter to COVID-19 trivia and weird medical conditions. I am well aware that many potential readers might be overwhelmed by the condensed negativity, but hey… a fact is a fact! Continue to read if you are curious to learn:- Why were the trousers of New Zealand’s farmers exploding?- What is the depressing origin of the phrase “Hip Hip, Hooray”?- Why did the Spanish Habsburgs royal family sleep with human mummies?- Why was it legal in Iceland until 2015 to kill Basque people?- Who was the “Deep Throat” informer from the Watergate scandal?- How many people were killed trying to cross the notorious Berlin Wall?- Why do snakes make a better pet than cats or dogs?- How can millipedes cause a train crash?- What is the etymology of “thug”?- What are the chances of getting killed by rubbish falling from space?- How did polygamist men in Kuwait manage to visit all their wives during the coronavirus lockdown?However incredible these pieces of trivia might sound, all entries have been verified and fact-checked.

    Short chapters can be read in any order, with new vocabulary defined on the page as it occurs. Eight “Gateways to Art” images (from around the world and all eras) support the common course goal of learning to interpret art in multiple ways and help students build on what they already know. The text is balanced and global, with over 1,000 illustrations—from around the world, and from everyday life.

    Now legendary, these men have emerged as the most prominent figures of the famed Mexican mural movement, which lasted from the '20s through the early '70s and was hailed as the most significant achievement in public art of the 20th century. The dramatic story of the movement is told here in a fascinating history of the artists, accompanied by over 100 spectacular color reproductions of the murals. Showcasing popular as well as lesser-known works from around the US and Mexico, this is the first high-quality paperback to do justice to a subject that will captivate every lover of Mexican art and culture, Rivera fan, and art historian, as well as anyone who appreciates a beautiful, intelligent art book.

     Working alongside skilled photographers, Rockwell acted as director, carefully orchestrating models, selecting props, and choosing locations for the photographs -- works of art in their own right -- that served as the basis of his iconic images. Readers will be surprised to find that many of his most memorable characters -- the girl at the mirror, the young couple on prom night, the family on vacation -- were friends and neighbors who served as his amateur models. In this groundbreaking book, author and historian Ron Schick delves into the archive of nearly 20,000 photographs housed at the Norman Rockwell Museum. Featuring reproductions of Rockwell's black-and-white photographs and related full-color artworks, along with an incisive narrative and quotes from Rockwell models and family members, this book will intrigue anyone interested in photography, art, and Americana.

    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.

    In Surreal Lives, Ruth Brandon follows the lives and interactions of such firecracker minds as the movement's didactic "Pope," Andre Breton, and the ambitious and manic Salvador Dali, as well as Marcel Duchamp, Francis Picabia, Tristan Tzara, Man Ray, Max Ernst, and filmmaker Luis Bunuel. It charts their shifting allegiances, and their ties to muses and patrons like Gala Dali and Peggy Guggenheim. Ruth Brandon spins the many stories of Surrealism with wit, energy, and insight, bringing sharp analysis to an eccentric cast of characters whose struggles and achievements came to mirror and define the way the world changed between the wars. "Fascinating, impassioned... admirable [for] the masterly storytelling, the richness of anecdotal incident, the keen reporting of intellectual enthusiasms and artistic collaborations, and the panorama of a spectacular cultural galaxy." -- The New York Times Book Review; "Superbly entertaining... A cousin to Malcolm Cowley's Exile's Return." -- Michael Dirda, The Washington Post Book World; "A lively and absorbing complement to [the Surrealists'] work." -- The New Yorker