Packed with wonderfully entertaining and often outrageous speculations about the nature of art, truth, and value, the world-renowned art forger--who died mysteriously before this book was published--details secrets of his techniques.

    The monetary value is estimated at over half a billion dollars. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and frank interviews, Felch and Frammolino give us a fly-on-the-wall account of the inner workings of a world-class museum and tell the story of the Getty’s dealings in the illegal antiquities trade. The outlandish characters and bad behavior could come straight from the pages of a thriller—the wealthy recluse founder, the cagey Italian art investigator, the playboy curator, the narcissist CEO—but their chilling effects on the rest of the art world have been all too real, as the authors show in novelistic detail. Fast-paced and compelling, Chasing Aphrodite exposes the layer of dirt beneath the polished façade of the museum business.

    The turbulent political weather of the twenty-first century generates anxiety and makes it difficult to know how to react. Olivia Laing makes a brilliant, inspiring case for why art matters more than ever, as a force of both resistance and repair. Art, she argues, changes how we see the world. It gives us X-ray vision. It reveals inequalities and offers fertile new ways of living.Funny Weather brings together a career’s worth of Laing’s writing about art and culture, and their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O’Keeffe, interviews Hilary Mantel and Ali Smith, writes love letters to David Bowie and Wolfgang Tillmans, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, Funny Weather celebrates art as an antidote to a terrifying political moment.

    Charley Harper (1922 2007), with his masterly use of simple geometric shapes, patterns, and vivid colors, distilled the essence of each bird, bug, otter, raccoon, or elephant he painted to its most important details. He called his style of painting "minimal realism. . . . Instead of trying to put everything in when I paint, I try to leave everything out. . . . I reduce the subject to the simplest possible visual terms without losing identity, thereby enhancing identity." Harper's approach to depicting the natural world is both sophisticated and fun. This edition of Beguiled by the Wild comprises all of Harper's serigraphs produced from 1968 to 2007. The original text by Roger Caras and Charley Harper is joined by a new commentary from the artist's son, Brett Harper.

    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.

    In the 1st edition, published in 1962, he spoke to that perennial reader he gently called "the troubled layman." His opening paragraph revealed his sympathy: "Why is this supposed to be art?" he quoted rhetorically. "How often have we heard this question asked--or asked it ourselves, perhaps--in front of one of the strange, disquieting works that we are likely to find nowadays in the museum or art exhibition?" Keeping that curious, questioning perspective in mind, he wrote a history of art from cave painting to Picasso that was singularly welcoming, illuminating & exciting. Sojourning thru this book, a reader is offered every amenity for a comfortable trip. Because he never assumes knowledge on the part of the reader, a recent immigrant from Mars could comprehend Western art from this text. The only assumption the Jansons have made is that with a little guidance everyone can come to understand the artifacts that centuries of architecture, sculpture, design & painting have deposited in our paths. Countless readers have proven the Jansons right & found their lives enriched in the process.

    Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.'Julian Barnes began writing about art with a chapter on Géricault's The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays , chiefly about French artists, for a variety of journals and magazines. Gathering them for this book, he realised that he had unwittingly been retracing the story of how art made its way from Romanticism to Realism and into Modernism.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

    His amazing, unprecedented collection of animals, plants and insects from all around the world gained international fame during his lifetime. In 1731, after decades of collecting, Seba commissioned illustrations of each and every specimen and arranged the publication of a four-volume catalog detailing his entire collection?from strange and exotic plants to snakes, frogs, crocodiles, shellfish, corals, insects, butterflies and more, as well as fantastic beasts, such as a hydra and a dragon. Seba's scenic illustrations, often mixing plants and animals in a single plate, were unusual even for the time. Many of the stranger and more peculiar creatures from Seba's collection, some of which are now extinct, were as curious to those in Seba's day as they are to us now. This reproduction is taken from a rare, hand-colored original. The introduction offers background information about the fascinating tradition of the cabinet of curiosities to which Seba's curiosities belonged.

    Rockwell senior, who said he depicted life “as I would like it to be,” chronicled iconic visions of American life: the Thanksgiving turkey, soda fountains, ice skating on the pond, and small-town boys playing baseball-not to mention the beginning of the civil rights movement. Now, the best-selling collection of Rockwell’s most beloved illustrations, organized by decade, is available in a refreshed edition. With more than 150 images-oil paintings, watercolors, and rare black-and-white sketches--this is an uncommonly faithful Rockwell treasury. The original edition has sold nearly 200,000 copies.

    Art as Therapy is packed with 150 examples of outstanding art, with chapters on Love, Nature, Money, and Politics outlining how these works can help with common difficulties. For example, Vermeer's Girl Reading a Letter helps us focus on what we want to be loved for; Serra's Fernando Passoa reminds us of the importance of dignity in suffering; and Manet's Bunch of Asparagus teaches us how to preserve and value our long-term partners.De Botton demonstrates how art can guide and console us, and along the way, help us to better understand both art and ourselves.

    More often than not, these manifestations have been the result of a few like-minded people coming together to create something new and original for no other purpose than a common love of doing it. In the 1990s, a loose-knit group of American artists and creators, many just out of their teens, began their careers in just such a way. Influenced by the popular underground youth subcultures of the day, such as skateboarding, graffiti, street fashion and independent music, artists like Shepard Fairey, Mark Gonzales, Spike Jonze, Margaret Kilgallen, Mike Mills, Barry McGee, Phil Frost, Chris Johanson, Harmony Korine and Ed Templeton began to create art that reflected the lifestyles they led. Many had no formal training and almost no conception of the inner workings of the art world. They learned their crafts through practice, trial and error, and good old-fashioned innovation. Not since the Beat Generation have we seen a group of creative individuals with such a unified aesthetic sense and varied cultural facets. The world of art has been greatly affected by their accomplishments as have the worlds of fashion, music, literature, film, and, ironically, athletics. Beautiful Losers is a retrospective celebration of this spirit, with hundreds of artworks by over two dozen artists, from precursors like Jean-Michel Basquiat, Keith Haring and Larry Clark, to more recent adherents Ryan McGinness, KAWS and Geoff McFetridge. Work in all conceivable mediums is included, plus reproductions of reams of ephemera. The accompanying essays are contributed by a half-dozen writers who have championed these beautiful losers from the start. This paperback reprint includes more pages, more images, an exhibition checklist, installation shots from a variety of exhibitions and an interview with Beautiful Losers advocate Agnes B.

    In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.

    Topics range from expressive hand gestures to patron saints, pasta, parmesan, shoes, opera, the Vespa, the Fiat 500, gelato, gondolas, and more. History, folklore, superstitions, traditions, and customs are tossed in a delicious sauce that also includes a wealth of factual information for the sophisticated traveler:• why lines, as we know them, are nonexistent in Italy• why a string of coral beads is often seen around a baby’s wrist• what the unlucky number of Italy is (it’s not thirteen, unless seating guests at a table, when it IS thirteen–taking into account the outcome of the Last Supper)• why red underwear begins to appear in shops as the New Year approaches In addition to the lyrical and poetic, Italianissimo provides useful and indispensable information for the traveler: deciphering the quirks of the language (while English has only one word for “you,†in Italy there are three), the best place to find balsamic vinegar (in Modena, of course), the best gelato (in Sicily, where they first invented it using the snow from Mount Etna). There are also recommendations for little-known museums and destinations (the Bodoni museum, the Pinocchio park, legendary coffee bars).This is a new kind of guidebook overflowing with enlightening and hilarious miscellaneous information, filled with luscious graphics and unforgettable photographs that will decode and enrich all trips to Italy–both real and imaginary.

    You Are An Acceptable Level of Threat concentrates on this singular artist's iconic imagery, spanning the late '90s up until the end of 2011. The locations are from around the world (predominantly the UK, US and Europe), and many images have never been seen before. When Banksy started out painting, the political landscape was bleak. Fortunately now, it's ten times worse. As Banksy's cheerfully aggressive political work becomes ever more relevant, this comprehensive tome sets about presenting his art in the context of the era he was responding to.