To the Western mind these fearsome warriors-samurai, the masterless ronin, and the assassin ninja-have always been a source of mystery and wonder, combining the idealism of chivalry with military fanaticism. The Ways Of The Samurai digs beneath the myth and reveals a truth even more amazing about the men who practiced a discipline drawn from Zen and Confucian ethics-bushido, the way of the warrior.

    In this volume, first published in 1979, Krenov invites the reader into his workshop, where he shares his techniques and uncompromising approach to craftsmanship, along with thoughts about his work and its place in the world. Photo sequences show how Krenov composes a cabinet directly in the wood, without dimensioned drawings. He also discusses working with shop-sawn veneers, the technique of fitting curved doors, and the problems of accuracy and mistakes. The book concludes with a detailed exploration of three furniture projects: a curved showcase cabinet, a writing table with drawer, and a chess table.

    Today, says Francine Prose, the word has been weakened and is used almost exclusively to refer to the chic women who help fashion designers inform their latest lines. But in her scholarly account, Prose (a National Book Award finalist for her novel Blue Angel ) presents nine real women who moved men to greatness and who were not mere catalysts but worthy of note on their own, in many cases deserving a share of the credit for the work they helped create.Each chapter is a mini-biography of a woman's life and the way a male artist figured into it. We see the muse as prompter and creator in her own regard, like memoirist Hester Thrale, whose letters to Samuel Johnson helped form his later works. In Alice Liddell, the inspiration for Lewis Carroll's Alice's Adventures in Wonderland, the muse is at her most passive, asserting her independence of the child-loving author only by failing to remain seven years old forever. And with Yoko Ono, there is the muse as artist in her own right, who claimed not to have heard of the Beatles before meeting John Lennon, and whose avant-garde tendencies some blamed for his musical downfall.To hit the mystical nine, Prose stretches a bit. For every Suzanne Farrell collaborating on ballets with George Balanchine, or every Gala Dal� cosigning canvases with spouse Salvador, there are personae only a graduate student would be likely to know. We learn of "serial muse" Lou Andreas-Salom�'s involvement with Friedrich Nietzsche, Rainer Maria Rilke, and Sigmund Freud, and of how Charis Weston had to vie with a toilet for the attentions of her photographer husband, Edward. But these lesser-knowns help make the book a complete analysis of notable women who motivated men of achievement -- usually at the expense of their own -- and lived with the consequences. iKatherine Hottinger/i

    This celebration of nearly fifty years of groundbreaking performance art demonstrated once again that Marina Abramović is truly a force of nature.The child of Communist war-hero parents under Tito’s regime in postwar Yugoslavia, she was raised with a relentless work ethic. Even as she was beginning to build an international artistic career, Marina lived at home under her mother’s abusive control, strictly obeying a 10 p.m. curfew. But nothing could quell her insatiable curiosity, her desire to connect with people, or her distinctly Balkan sense of humor—all of which informs her art and her life. The beating heart of Walk Through Walls is an operatic love story—a twelve-year collaboration with fellow performance artist Ulay, much of which was spent penniless in a van traveling across Europe—a relationship that began to unravel and came to a dramatic end atop the Great Wall of China.Marina’s story, by turns moving, epic, and dryly funny, informs an incomparable artistic career that involves pushing her body past the limits of fear, pain, exhaustion, and danger in an uncompromising quest for emotional and spiritual transformation. A remarkable work of performance in its own right, Walk Through Walls is a vivid and powerful rendering of the unparalleled life of an extraordinary artist.

    Burning Fight draws upon the memories of more than 150 individuals, many who played influential roles in the nineties hardcore scene, to understand what made this era so unique in its ability to synthesize music, politics, social issues and spirituality into a powerful counter-cultural movement. Includes interviews with Los Crudos, Unbroken, Earth Crisis, Inside Out, Avail, Shelter, Texas Is The Reason, Mouthpiece, Trial, Swing Kids, Coalesce, Burn, & many more.

    Escher, I am absolutely crazy about your work. In your print Reptiles you have given such a striking illustration of reincarnation.' I replied, 'Madame, if that's the way you see it, so be it, '" An engagingly sly comment by the renowned Dutch graphic artist Maurits Cornelis Escher (1898-1972)--the complex ambiguities of whose work leave hasty or single-minded interpretations far behind. Long before the first computer-generated 3-D images were thrilling the public, Escher was a master of the third dimension. His lithograph "Magic Mirror" dates as far back as 1946. In taking that title for this book, mathematician Bruno Ernst is stressing the magic spell Escher's work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire oeuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst's account was meticulously scrutinized and made accurate by the artist himself. Escher's work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain. Why did he create the pictures? How did he construct them? What preliminary studies were necessary before he could arrive at the final version? And how are the various images Escher created interrelated? This book, complete with biographical data, 250 illustrations, and explications of mathematical problems, offers answers to these and many other questions, and is an authentic source text of the first order.

    Air Guitar pioneered a kind of plain-talking in cultural criticism, willingly subjective and always candid and direct. A valuable reading tool for art lovers, neophytes, students and teachers alike, Hickey's book--now in its eighth printing--has galvanized a generation of art lovers, with new takes on Norman Rockwell, Robert Mapplethorpe, Stan Brakhage, Andy Warhol and Perry Mason. In June 2009, Newsweek voted Air Guitar one of the top 50 books that "open a window on the times we live in, whether they deal directly with the issues of today or simply help us see ourselves in new and surprising ways," and described the book as "a seamless blend of criticism, personal history, and a deep appreciation for the sheer nuttiness of American life."Dave Hickey (born 1939) is one of today's most revered and widely read art writers. He has written for Rolling Stone, Art News, Art in America, Artforum and Vanity Fair among many others.

    For what Ingo Walther and his international team have done is to make sense of this most explosive of artistic centuries. Who could possibly have forecast on New Year's Eve 1899 that, one hundred years later, painting and sculpture would be only options, not prerequisite disciplines for modern artists, constantly questioning both the technical and thematic definitions of their work? The infinite laboratory of experiment that the visual arts have become over the last decades highlights not only the inherent potential for human creativity and representation, but also shows the way individuals and groups have responded to the huge social, political and technological changes of this most turbulent of times. Ranging across the full spectrum of disciplines available, including photography and new media, and thematically chaptered to highlight relationships between works and movements, this readable and encyclopaedic masterwork does just what it says on the cover. Whether you want Surrealism or Land Art, Fluxus or Bauhaus, your art book purchases can stop once you buy this. Warning: it will not fit on your coffee table!

    It is essentially a conversation among hundreds of women of all nationalities—famous, anonymous, religious, secular, married, single, young, old—on the subject of clothing, and how the garments we put on every day define and shape our lives. It began with a survey. The editors composed a list of more than fifty questions designed to prompt women to think more deeply about their personal style. Writers, activists, and artists including Cindy Sherman, Kim Gordon, Kalpona Akter, Sarah Nicole Prickett, Tavi Gevinson, Miranda July, Roxane Gay, Lena Dunham, and Molly Ringwald answered these questions with photographs, interviews, personal testimonies, and illustrations. Even our most basic clothing choices can give us confidence, show the connection between our appearance and our habits of mind, express our values and our politics, bond us with our friends, or function as armor or disguise. They are the tools we use to reinvent ourselves and to transform how others see us. Women in Clothes embraces the complexity of women’s style decisions, revealing the sometimes funny, sometimes strange, always thoughtful impulses that influence our daily ritual of getting dressed.

    It deals…with that fine, forgotten art of playing a poor hand well…Texas Hold 'Em is a state of mind, a spiritual survival technique, a way of holding on to things that might just be important in this ever-changing world." --from the introduction to Texas Hold 'Em The irrepressible, future Governor of Texas is back with a crusade to stop the wussification of the Lone Star State. He never thought he'd see the day when he'd miss gun racks in the back windows of pickup trucks, but he almost does. He misses the days when cowboy shirts never had buttons and coffee with a friend was still a dime. Many of the stubborn, dusty, weather-beaten little towns, roads, trucks, jeeps, people and animals are gone now. Like it or not, the peaceful, scenic bucolic Hill Country of his childhood is being dragged kicking and screaming into the 21st Century. His is at his outrageous best as he gives Americans a look at the state made famous by the Alamo, the armadillo, Willie Nelson, and, well, Kinky Friedman. Texas Hold 'Em is composed of provocative essays, including autobiographical pieces that are at times bittersweet and at other hilarious, profiles of such stellar Texans as his friend, Willie Nelson, as you've never seen him before, George W. Bush, and Racehorse Haynes, and a treasure trove of lists, quizzes , including: If the Ten Commandments Were Written by a TexanTex My rideTexas FirstsWhat Kind of Texas Driver Are you? As an added diversion, the book is decorated with cartoons by the brilliant John Callahan, particularly appealing to those whose lives are spiraling downward into tailspins of despair. Texas Hold 'Em is the way in which the Kinkster plays the game of life. To him, Texas Hold' Em means holding on to what is dear to him, to the things that made him who he is, always remembering that the most important things in life aren't things. An old cowboy philosophy of life sums it up -- "hang on tight, spur hard, and let 'er buck."

    A study of German culture between the two wars, the book brilliantly traces the rise of the artistic, literary, and musical culture that bloomed ever so briefly in the 1920s amid the chaos of Germany's tenuous post-World War I democracy, and crashed violently in the wake of Hitler's rise to power. Despite the ephemeral nature of the Weimar democracy, the influence of its culture was profound and far-reaching, ushering in a modern sensibility in the arts that dominated Western culture for most of the twentieth century. Vivid and eminently readable, Weimar Culture is the finest introduction for the casual reader and historian alike.

    Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. -- subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture -- the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field -- her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book: an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. Boundaries is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.

    It is proof that, 'if you go looking for trouble, you'll probably find it'. Over nearly 40 years as a journalist and foreign correspondent, Hugh Riminton has been shot at, blown up, threatened with deportation and thrown in jail. He has reported from nearly 50 countries, witnessed massacres in Africa, wars and conflicts on four continents, and every kind of natural disaster. It has been an extraordinary life. From a small-town teenager with a drinking problem, cleaning rat cages for a living, to a multi-award-winning international journalist reporting to an audience of 300 million people, Hugh has been a frontline witness to our times. From genocide in Africa to the Indian Ocean tsunami, from wars in Iraq and Afghanistan, to slave-trading in Sudan, Hugh has seen the best and worst of human behaviour. In Australia, he has covered political dramas, witnessed the Port Arthur Massacre and the Thredbo disaster and broke a major national scandal. His work helped force half-a-dozen government inquiries.Entertaining, deeply personal and quietly wise, MINEFIELDS is a compelling exploration of a foreign correspondent's life. 'His story is a triumph' SYDNEY MORNING HERALD

    A box of buttons, mother-of-pearl and plastic, metal and glass, rattling and untethered. A hundred-year-old pin, forgotten in a hem. Fragile silks and fugitive dyes, fans and crinolines, and the faint mark on leather from a buckle now lost. Claire Wilcox has worked as a curator in Fashion at the Victoria & Albert Museum for most of her working life. Down cool, dark corridors and in quiet store rooms, she and her colleagues care for, catalogue and conserve clothes centuries old, the inscrutable remnants of lives long lost to history; the commonplace or remarkable things that survive the bodies they once encircled or adorned. In Patch Work, Wilcox deftly stitches together her dedicated study of fashion with the story of her own life lived in and through clothes. From her mother's black wedding suit to the swirling patterns of her own silk kimono, her memoir unfolds in luminous prose the spellbinding power of the things we wear: their stories, their secrets, their power to transform and disguise and acts as portals to our pasts; the ways in which they measure out our lives, our gains and losses, and the ways we use them to write our stories.

    Now with a new preface and illustrations, this "scrapbook" of their work—along with Andrea Weiss' lively commentary—highlights the political, social, and artistic lives of the renowned lesbian and bisexual Modernists, including Colette, Djuna Barnes, Gertrude Stein, Alice B. Toklas, Sylvia Beach, and many more.Painstakingly researched and profusely illustrated, it is an enlightening account of women who between wars found their selves and their voices in Paris. A wealth of photographs, paintings, drawings, and literary fragments combine with Weiss' revealing text to give an unparalleled insight into this extraordinary network of women for who Paris was neither mistress nor muse, but a different kind of woman.