Freud—once dubbed "the Ingres of existentialism"—has almost single-handedly redefined the figurative painting of our time. No other living artist possesses his ability to paint the texture and thinness of skin over flesh, and his distinctive portraits have a haunting quality that makes them impossible to forget. This volume, with over one hundred superb reproductions of his greatest paintings, pays tribute to one of the most original and accomplished artists of the twentieth century.

    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.

    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.

    But as soon as he gets on campus, Ben finds out that Spy School is way more deadly than debonair. And given his total lack of coordination and failure to grasp even the most basic spying skills, Ben begins to wonder what he’s doing here in the first place.Luckily, through a series of hilarious misadventures, Ben realizes he could actually become a halfway decent spy…if he can survive all the attempts being made on his life!Ideal for newcomers to the series and loyal fans alike, this collection includes paperback editions of Spy School, Spy Camp, Evil Spy School, Spy Ski School, and Spy School Secret Service.

    

    Today, museums are staging exhibitions of encaustic art, workshops in the technique are thriving, and art collectors and dealers are assimilating encaustic art into their collections and galleries. The word encaustic is taken from the Greek and means “to burn in.” In the encaustic process, pigmented wax is applied and then fused to a surface with heat. The result is a broad range of surface effects and a luminous translucency that is unique to the encaustic medium. Encaustic Art is a complete resource for artists who wish to learn to create fine art with wax. It features step-by-step techniques with easy-to-understand instructions and detailed illustrations, stunning examples of encaustic works of art (including sculpture), along with practical advice and thoughtful aesthetic observations from more than 60 professional artists working in the encaustic medium.

    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 full-length, exhaustively researched account of the thrash kings' career recaps and reevaluates the years guitar hero Jeff Hanneman and drum legend Dave Lombardo were in the group. Over the course of 59 chapters, 400 footnotes and three appendices, it profiles the members and presents dramatic scenes from 32 years in the Abyss: A fresh look at the group's early days. Reign in Blood tours. A European invasion. The Palladium riot. The seat cushion chaos concert. Newly unearthed details from Lombardo's turbulent history with the band. Historical artwork and photos never seen in public before. The entire diabolical discography. Hanneman’s hard times. The Big Four’s big year. Lombardo’s final exit. The top 11 Hanneman tributes. The mosh memorial service. Untold stories. Updates. And relevant digressions, including a contrasting look at other contemporaries and cutting-edge extreme bands. Over decades, Slayer experience triumph and loss, but never defeat, whether it's at the hands of rivals, peers, America's most infamous church, or the United States government itself. In addition to extensive archival material, this book features original content from the band, key affiliates, and firsthand witnesses, including Metal Blade CEO Brian Slagel, former tour manager Doug Goodman, engineer Bill Metoyer, former Metal Blade exec William "DJ Will" Howell, and cover artist Albert Cuellar (who went on to work with Tim Burton, Sublime, and Sir Mix-A-Lot). It also includes Jeff Hanneman's original diagram for the Live Undead picture disc (spoiler: it's a stick-figure sketch). Slayer fans will never see — or hear — the thrash metal champions the same way. 33 photos and 11 illustrations include lost artwork by Hell Awaits artist Albert Cuellar and stunning exclusive pictures by Harald Oimoen (of Murder in the Front Row renown). Written by D.X. Ferris, an Ohio Society of Professional Journalists Reporter of the Year and author of "Slayer's Reign in Blood," which is book no. 57 in Bloomsbury Academic's prestigious 33 1/3 series. The bargain-priced e-book edition features extensive interactive content, and can be read on any smart phone, tablet, computer, or portable communications device (with free Kindle software).

    Found everywhere from wine labels and high-end bar accessories to major motion pictures (Teacher's Pet, the upcoming Pink Panther), the visibility of this dynamic work has rapidly increased in the last few years to worldwide recognition and acclaim. Weirdo Deluxe is the first significant manifesto of the genrea riotous blend of pop culture, street culture, pop art, and surrealismand includes profiles of and interviews with 23 leading artists and hundreds of outrageous examples of their work. Special features include an expansive timeline, and peeks at the artists' collections and influences. Weirdo Deluxe is at once a primer and lowbrow art sourcebook as well as a visual homage to pop culture.

    Even today remembered primarily as the mentor and lover of Robert Mapplethorpe, the once infamous photographer, Wagstaff, in fact, had an incalculable—and largely overlooked—influence on the world of contemporary art and photography, and on the evolution of gay identity in the latter part of the twentieth century.  Born in New York City in 1921 into a notable family, Wagstaff followed an arc that was typical of a young man of his class. He attended both Hotchkiss and Yale, served in the navy, and would follow in step with his Ivy League classmates to the "gentleman's profession," as an ad executive on Madison Avenue. With his unmistakably good looks, he projected an aura of glamour and was cited by newspapers as one of the most eligible bachelors of the late 1940s. Such accounts proved deceiving, for Wagstaff was forced to live in the closet, his homosexuality only revealed to a small circle of friends. Increasingly uncomfortable with his career and this double life, he abandoned advertising, turned to the formal study of art history, and embarked on a radical personal transformation that was in perfect harmony with the tumultuous social, cultural, and sexual upheavals of the 1960s.Accordingly, Wagstaff became a curator, in 1961, at Hartford's Wadsworth Atheneum, where he mounted both "Black, White, and Gray"—the first museum show of minimal art—and the sculptor Tony Smith's first museum show, while lending his early support to artists Andy Warhol, Ray Johnson, and Richard Tuttle, among many others. Later, as a curator at the Detroit Institute of Arts, he brought the avant-garde to a regional museum, offending its more staid trustees in the process.After returning to New York City in 1972, the fifty-year-old Wagstaff met the twenty-five-year-old Queens-born Robert Mapplethorpe, then living with Patti Smith. What at first appeared to be a sexual dalliance became their now historic lifelong romance, in which Mapplethorpe would foster Wagstaff's own burgeoning interest in contemporary photography and Wagstaff would help secure Mapplethorpe's reputation in the art world. In spite of their profound class differences, the artistic union between the philanthropically inclined Wagstaff and the prodigiously talented Mapplethorpe would rival that of Stieglitz and O’Keefe, or Rivera and Kahlo, in their ability to help reshape contemporary art history.Positioning Wagstaff's personal life against the rise of photography as a major art form and the simultaneous formation of the gay rights movement, Philip Gefter's absorbing biography provides a searing portrait of New York just before and during the age of AIDS. The result is a definitive and memorable portrait of a man and an era.

    For easy use, the lists are organized into ten sections, given here with a sample from each: All About Art ("Elements of Art") ... Art History ("Timelines of Art History") ... For the Art Teacher ("The National Visual Arts Standards") ... Art Materials ("Things to Do with Collage") ... Painting, Drawing & Printmaking ("All About Color Pigment") ... Sculpture ("Master Sculptors & Their Work")... Architecture ("Great Architects of the World")... Fine Arts & Folk Art ("African American Crafts") ... Technology & Art ("The Evolution of Photography") ... Museums ("Museums Devoted to the Work of One Artist").

    High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years.

    It asks what would have happened if Damien Hirst had never arrived? If someone else had become the most notorious and influential young British artist? And what if that someone had been more talented, more provocative, more outrageous? And far, far funnier?Early on in this bravura debut we are informed that Hirst was hit and killed by a train in 1989 (“apparently when drunk”) – and the focus of everyone’s attention falls instead on Randall. Randall – a big, lumbering ape of a man – is a genius of language as much as art, supremely able to baffle, bemuse and amuse the press, public and all around him. He makes a fortune, causes chaos, changes the art world – the whole world – and provides brilliant quips every step of the way: “There’s only two things you can do with art: make it, and buy it. Everything else – talking about it, thinking about it, selling it, looking at it – either comes under one of those two, or doesn’t count.”

    The demand for vintage trailers-the smaller the better-has risen dramatically in recent years, with the most in-demand trailers being "teardrops," first manufactured in the 1930s and containing just indoor sleeping space and an outdoor exterior kitchen. Also profiled in the book are "canned ham" trailers, whose shape resembles the profile of a can of ham; small-size examples of America's most beloved vintage trailer, the Airstream; miniscule gypsy caravans in Europe; and fiberglass trailers made in Canada. Two hundred color photographs showcase these trailers' sleek exteriors, retro-styled interiors, and, in many cases, the restored classic cars that tow them. Teardrops and Tiny Trailers includes a resource section chock-full of places to locate vintage trailers, clubs to join, and rallies to attend.

    Gayford’s journeys, often to fairly inaccessible places, involve frustrations and complications, but also serendipitous encounters and outcomes, which he makes as much a part of the story as the final destination. In chapters that are by turns humorous, intriguing, and stimulating, Gayford takes us to places as varied as Brancusi’s Endless Column in Romania; prehistoric caves in France; the museum island of Naoshima in Japan; the Judd Foundation in Marfa, Texas; and an exhibition of Roni Horn’s work in Iceland.Interwoven with these tales are journeys to meet artists—Henri Cartier-Bresson in Paris, Marina Abramovic´ in Venice, Robert Rauschenberg in New York—and travels with artists, such as a trip to Beijing with Gilbert George. These encounters not only provide fascinating insights into the way artists approach and think about their art, but reveal the importance of their personal environments.A perceptive, amusing, and knowledgeable companion, in The Pursuit of Art Gayford takes readers on a tour of art that is immensely entertaining, informative, and eminently readable.