This excursion into the history of bizarre entertainments includes armless calligraphers, mathematical dogs, tightrope-walking fleas and assorted quacks, flimflammers and charlatans of spectacle.

    An artist's book by the renowned Swiss duo dedicated to the questions that everyone asks themselves once in a while: Can something be unbelievable? Should I get drunk? Could I be Japanese? Is the freedom of birds overrated? Am I a farmer in winter? Does unease grow by itself? Should I crawl into my bed and stop producing things all the time?

    A century later, Jarry is firmly established as one of the leading figures of the artistic avant-garde. Italo Calvino, Umberto Eco, Gilles Deleuze, Jean Baudrillard, Philip K. Dick, Paul McCartney, DJ Spooky, Peter Greenaway, and J. G. Ballard are among his many admirers. A community of scholars and artists maintain a posthumous dialogue with Jarry's ideas through the Collège de 'Pataphysique in Paris (named after the "science of imaginary solutions" he conceived), while a steady stream of books on twentieth-century drama pay tribute to his absurd and grotesque play, Ubu Roi. Even so, most people today tend to think of Jarry only as the author of that play, and of his life as a string of outlandish "ubuesque" anecdotes, often recounted with wild inaccuracy. In this first full-length critical biography of Jarry in English, Alastair Brotchie reconstructs the life of a man intent on inventing (and destroying) himself, not to mention his world, and the "philosophy" that defined their relation. In short, Brotchie gives us the narrative version of what Jarry himself produced: a pataphysical life. Drawing on a wealth of new material, Brotchie alternates chapters of biographical narrative with chapters that connect themes, obsessions, and undercurrents that relate to the life.The anecdotes remain, and are even augmented: Jarry's assumption of the "ubuesque," his inversions of everyday behavior (such as eating backwards, from cheese to soup), his exploits with gun and bicycle, and his herculean feats of drinking. But Brotchie distinguishes between Jarry's purposely playing the fool and deeper nonconformities that appear essential to his writing and his thought, both of which remain a vital subterranean influence to this day.

    Fresh coats of paint and newly pasted posters appear overnight in cities across the world. New artists, new ideas, and new tactics displace faded images in a perpetual process of renewal and metamorphosis. From Los Angeles to Barcelona, Stockholm to Tokyo, Melbourne to Milan, wall spaces are a breeding ground for graphic and typographic forms as artists unleash their daily creations.Current graffiti art is reflective of the world around it. Using new materials and techniques, its innovators are creating a language of forms and images infused with contemporary graphic design and illustration. Fluent in branding and graphic imagery, they have been replacing tags with more personal logos and shifting from typographic to iconographic forms of communication.Street Logos is a worldwide celebration of these new developments in twenty-first-century graffiti, an essential sourcebook for all art and design professionals, and a delight to everyone excited by the vitality of the street.

    This work reveals the growth of an artist who saw no artificial boundary between art and the paying job and who succeeded in putting her indelible stamp on the visual imagination.

    Clayton Eshleman's translations have won widespread acclaim, including a National Book Award. Now in its second printing.

    People literally put themselves into the skin of the "savage," in masquerades that stretch back centuries. By becoming a bear, a goat, a stag, a wild boar, a man of straw, a devil, or a monster with jaws of steel, these people celebrate the cycle of life and seasons. The costumes amaze with their extraordinary diversity and prodigious beauty. Work on this project took leading French photographer Charles Fréger to eighteen European countries in search of the mythological figure of the Wild Man.

    It captures bygone New York at its most raucous, dangerous, and outrageous. Grisly murders, tragic accidents, gawking crowds, along with intimate human-interest and high-society images, are all captured by Weegee's flash. Interpretive essays, an annotated chronology, bibliography, filmography, and a list of exhibitions complete this comprehensive volume.

    We need not walk far, because paradise is right around the corner." --Hundertwasser Friedrich Stowasser, born in Vienna in 1928, called himself Friedensreich Hundertwasser Regentag Dunkelbunt. True to the colorful variety of his names, he has pursued many activities as a painter, architect, and ecologist, and as "one who awakens identities." This presentation of Hundertwasser's work in all of its different facets is guided by the artist's own view of himself and his purpose. And, because his work is, by nature, virtually inseparable from his biography, his artistic and political actions, and equally so from the "stories" of his (ostensibly) private life, a vivid portrait of the artist takes shape before the reader's eyes. Excerpts from conversations between the author and the artist lend a sense of immediacy and authenticity to the narration.

    For Blake, religion and politics, intellect and emotion, mind and body were both unified and in conflict with each other: his work is expressive of his personal mythology, and his methods of conveying it were integral to its meaning. There is no comparison with reading books such as Jerusalem, America, and Songs of Innocence and of Experience in Blake's own medium, infused with his sublime and exhilarating colors. Tiny figures and forms dance among the lines of the text, flames appear to burn up the page, and dense passages of Biblical-sounding text are brought to a jarring halt by startling images of death, destruction, and liberation. Blake's hope that his books would obtain wide circulation was unfulfilled: some exist only in unique copies and none was printed in more than very small numbers. Now, for the first time, the plates from the William Blake Trust's Collected Edition have been brought together in a single volume, with transcripts of the texts and an introduction by the noted scholar David Bindman. Includes: Jerusalem; Songs of Innocence and of Experience; All Religions are One; There is No Natural Religion; The Book of Thel; The Marriage of Heaven and Hell; Visions of the Daughters of Albion; America a Prophecy; Europe a Prophecy; The Song of Los Milton a Poem; The Ghost of Abel; On Homers Poetry and] On Virgil; Laocoon; The First Book of Urizen; The Book of Ahania; The Book of Los.

    

    "The hushed reverence of the gallery can fool you into believing masterpieces are polite things; visions that soothe, charm and beguile, but actually they are thugs. Merciless and wily, the greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your sense of reality. . . ."With the same disarming force, The Power of Art propels us on an eye-opening, breathtaking odyssey, zooming in on eight extraordinary masterpieces, from Caravaggio's David and Goliath to Picasso's Guernica. Jolting us far from the comfort zone of the hushed art gallery, Schama closes in on intense make-or-break turning points in the lives of eight great artists who, under extreme stress, created something unprecedented, altering the course of art forever.The embattled heroes—Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso and Rothko—each in his own resolute way, faced crisis with steadfast defiance, pitting passion and conviction against scorn and short-sightedness. The masterpieces they created challenged convention, shattered complacency, shifted awareness and changed the way we look at the world.With vivid storytelling and powerfully evocative descriptive passages, Schama explores the dynamic personalities of the artists and the spirit of the times they lived through, capturing the flamboyant theatre of bourgeois life in Amsterdam, the passion and paranoia of Revolutionary Paris, and the carnage and pathos of Civil War Spain.Most compelling of all, The Power of Art traces the extraordinary evolution of eight "eye-popping" world-class works of art. Created in a bolt of illumination, such works "tell us something about how the world is, how it is to be inside our skins, that no more prosaic source of wisdom can deliver. And when they do that, they answer, irrefutably and majestically, the nagging question of every reluctant art-conscript . . . 'OK, OK, but what's art really for?'"

    Rebecca Litchfield is one who couldn t resist the haunting allure of the ruins of the Soviet Union. Time and again she risked radiation exposure, experienced arrest and interrogation, and was accused of espionage while collecting the stunning photography in Soviet Ghosts. Join her on an adventure through the ruins of soviet bloc, never before seen by western eyes. The emotional affect of this poetic collection will keep you coming back for more, while a series of expert articles offer in-depth analysis of the historical context. Contemplate the uncanny and disturbing emotional power of the imagery. Discover the story of the rise and fall of the USSR, the empire whose ghost continues to haunt Europe even today... Features A breathtaking collection of images from Pripyat, Chernobyl Stunning imagery of a vast, ruined Bulgarian communist monument. A road trip through the ruined abandonment in East Germany, Ukraine, Bulgaria, Hungary, Czech Republic, Slovakia, Latvia, Estonia, Lithuania, Croatia and Russia featuring decaying hospitals, military barracks, prisons, spy stations and sports halls and more. Photographer Rebecca Litchfield captures many abandoned locations, which were either part of the Soviet Union or occupied satellite states during this period of history, including forgotten towns, factories, prisons, schools, monuments, hospitals, theatres, military complexes, asylums & death camps across the former communist states. These photographs deliver a compelling narrative of both moral bankruptcy and flawed ideology. Featuring stunning imagery throughout, this compelling road-trip through the old USSR, breathes new life into these forgotten places, finding both beauty and meaning in their post-apocalyptic decay. Extended essays by Tristi Brownett, Neill Cockwill and Professor Owen Evans, offer considerable contextual depth to the locations imbuing them with a wealth of connection and wonder. By virtue of its holistic approach, the book also explores how and why these once thriving communities became abandoned, whether by natural disaster, man-made catastrophe or simply through the march of time."

    Escher was born in 1898 in Leeuwarden (Netherlands). He received his first drawing lessons during secondary school from F.W. van der Haagen, who also taught him the block printing, thus fostering Escher's innate graphic talents. From 1912 to 1922 he studied at the School of Architecture and Ornamental Design in Haarlem, where he was instructed in graphic techniques by S. Jessurun de Mesquita, who greatly influenced Escher's further artistic development. Between 1922 and 1934 the artist lived and worked in Italy. Afterwards Escher spent two years in Switzerland and five in Brussels before finally moving back to Barn in Holland, where he died in 1972. M.C. Escher is not a surrealist drawing us into his dream world, but an architect of perfectly impossible worlds who presents the structurally unthinkable as though it were a law of nature. The resulting dimensional and perspectival illusions bring us into confrontation with the limitations of our sensory perception. 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

    Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.