The images of Pink Floyd album sleeves and the artwork they contain are the subject of Mind over Matter, a first-hand look at the music business and a consideration of where art ends and commerce begins.'

    Each essay charts some experience or remembrance of the past through the sieve of Tony Judt s prodigious mind. His youthful love of a particular London bus route evolves into a reflection on public civility and interwar urban planning. Memories of the 1968 student riots of Paris meander through the divergent sex politics of Europe, before concluding that his generation was a revolutionary generation, but missed the revolution. A series of road trips across America lead not just to an appreciation of American history, but to an eventual acquisition of citizenship. Foods and trains and long-lost smells all compete for Judt s attention; but for us, he has forged his reflections into an elegant arc of analysis. All as simply and beautifully arranged as a Swiss chalet—a reassuring refuge deep in the mountains of memory.

    He was Welsh to his fingertips, she an exotic mixture of English and Jewish. They divorced when he was five and Tony's relationship with his aloof glittering mother never recovered. His inventiveness was soon apparent, at Eton and then Cambridge, where as cox in 1950 he designed a new rudder for his (winning) Boat Race crew. The engagement of this motorbike-riding freelance photographer in 1960 to Princess Margaret was a bombshell. Friends privately predicted disaster, and so it proved. But meanwhile in the 1960s, mixing with actors, artists, and pop stars, they were the epitome of stylish and unstuffy arts-loving Royals. Along with John and Jackie Kennedy or Elizabeth Taylor and Richard Burton, they were one of the iconic glamorous couples of that era. Tony continued to work and both began to have affairs. They divorced in 1978, the first royal divorce since Henry VIII divorced Anne of Cleves in 1540. Snowdon married again but this marriage collapsed after the birth of a secret love-child in 1998 and the suicide in 1996 of his mistress of 20 years, Anne Hill. His low boredom threshold and waspish cruelty are balanced by his fabled charm and genuine concern for the disabled and underprivileged. One of the great British photographers, up there with Beaton, Bailey, and Parkinson, at 76 he now suffers from a recurrence of childhood polio and needs sticks or wheelchair to get around. But by any standards he has had an extraordinary life.Will throw new light upon many areas of his life—his difficult childhood, his relationship with Margaret, his many affairs, his cruelty, his creativity and achievements. His story here is based on wide range of sources: friends, courtiers, servants, girlfriends and ex-mistresses.

    It brings together leading avant-garde composers of the early postwar period such as Elliot Carter, Pierre Boulez and Karlheinz Stockhausen; pioneers of electroacoustic music such as Francois Bayle, Pauline Oliveros, Iannis Xenakis and Peter Zinovieff; minimalist and Fluxus-inspired artist-musicians such as Tony Conrad, Henry Flynt, Phil Niblock, Yoko Ono, Steve Reich and Terry Riley; and figures that have moved between classical/experimental realms and more pop terrain, such as Brian Eno, Kraftwerk, Howie B., Arto Lindsay and Caetano Veloso. Obrist's interviews map the evolution of the new music in Europe and America across all of its genres, from musique concrete to the recent hybridizations between pop and avant-garde, as techniques from both realms cross-pollinate. A Brief History of New Music is an ideal introduction to the experimental and new classical music of the past half-century.

    Now, for the first time, del Toro reveals the inspirations behind his signature artistic motifs, sharing the contents of his personal notebooks, collections, and other obsessions. The result is a startling, intimate glimpse into the life and mind of one of the world's most creative visionaries. Complete with running commentary, interview text, and annotations that contextualize the ample visual material, this deluxe compendium is every bit as inspired as del Toro is himself.Contains a foreword by James Cameron, an afterword by Tom Cruise, and contributions from other luminaries, including Neil Gaiman and John Landis, among others.

    "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?'"

    Alexander Liberman, the ambitious son of a prominent Russian Jew, was a gifted magazine editor and aspiring artist. As part of the progressive artistic Russian emigré community living in Paris in the 1930s, the two were destined to meet. They began a passionate affair, and the year after Paris was occupied in World War II they fled to New York with Tatiana's young daughter, Francine.There they determinedly rose to the top of high society, holding court to a Who's Who list of the midcentury's intellectuals and entertainers. Flamboyant and outrageous, bold and brilliant, they were irresistible to friends like Marlene Dietrich, Salvador Dalí, and the publishing tycoon Condé Nast. But to those who knew them well they were also highly neurotic, narcissistic, and glacially self-promoting, prone to cut out of their lives, with surgical precision, close friends who were no longer of use to them.Tatiana became an icon of New York fashion, and the hats she designed for Saks Fifth Avenue were de rigueur for stylish women everywhere. Alexander Liberman, who devotedly raised Francine as his own child from the time she was nine, eventually came to preside over the entire Condé Nast empire. The glamorous life they shared was both creative and destructive and was marked by an exceptional bond forged out of their highly charged love and raging self-centeredness. Their obsessive adulation of success and elegance was elevated to a kind of worship, and the high drama that characterized their lives followed them to their deaths. Tatiana, increasingly consumed with nostalgia for a long-lost Russia, spent her last years addicted to painkillers. Shortly after her death, Alexander, then age eighty, shocked all who knew him by marrying her nurse.Them: A Portrait of Parents is a beautifully written homage to the extraordinary lives of two fascinating, irrepressible people who were larger than life emblems of a bygone age. Written with honesty and grace by the person who knew them best, this generational saga is a survivor's story. Tatiana and Alexander survived the Russian Revolution, the fall of France, and New York's factory of fame. Their daughter, Francine, survived them.

    This first full-fledged critical biography presents and evaluates the work of a man who has almost single-handedly transformed contemporary architecture in his innovative use of materials, design, and form, and who is among the very few architects in history to be both respected by critics as a creative, cutting-edge force and embraced by the general public as a popular figure.Building Art shows the full range of Gehry’s work, from early houses constructed of plywood and chain-link fencing to lamps made in the shape of fish to the triumphant success of such late projects as the spectacular art museum of glass in Paris. It tells the story behind Gehry’s own house, which upset his neighbors and excited the world with its mix of the traditional and the extraordinary, and recounts how Gehry came to design the Guggenheim Museum in Bilbao, Spain, his remarkable structure of swirling titanium that changed a declining city into a destination spot. Building Art also explains Gehry’s sixteen-year quest to complete Walt Disney Concert Hall, the beautiful, acoustically brilliant home of the Los Angeles Philharmonic. Although Gehry’s architecture has been written about widely, the story of his life has never been told in full detail. Here we come to know his Jewish immigrant family, his working-class Toronto childhood, his hours spent playing with blocks on his grandmother’s kitchen floor, his move to Los Angeles when he was still a teenager, and how he came, unexpectedly, to end up in architecture school. Most important, Building Art presents and evaluates Gehry’s lifetime of work in conjunction with his entire life story, including his time in the army and at Harvard, his long relationship with his psychiatrist and the impact it had on his work, and his two marriages and four children. It analyzes his carefully crafted persona, in which a casual, amiable “aw, shucks” surface masks a driving and intense ambition. And it explores his relationship to Los Angeles and how its position as home to outsider artists gave him the freedom in his formative years to make the innovations that characterize his genius. Finally, it discusses his interest in using technology not just to change the way a building looks but to change the way the whole profession of architecture is practiced. At once a sweeping view of a great architect and an intimate look at creative genius, Building Art is in many ways the saga of the architectural milieu of the twenty-first century. But most of all it is the compelling story of the man who first comes to mind when we think of the lasting possibilities of buildings as art.

    The team behind the inspirational design sites Gardenista.com and Remodelista.com presents an all-in-one manual for making your outdoor space as welcoming as your living room. Tour personality-filled gardens around the world and re-create the looks with no-fail planting palettes. Find hundreds of design tips and easy DIYs, editors’ picks of 100 classic (and stylish) objects, a landscaping primer with tips from pros, over 200 resources, and so much more.

    A central figure of the Renaissance, no one had painted or drawn the world like him. Dürer drew hares and rhinoceroses in the way he painted saints and madonnas. The wing of a bird or the wing of an angel; a spider crab or a bursting star like the augury of a black hole, in Dürer's art, they were part of a connected world. Everything had meaning. But now he was in crisis. He had lost his patron, the Holy Roman Emperor. He was moorless and filled with wanderlust. In the shape of the whale, he saw his final ambition. Dürer was the first artist to truly employ the power of reproduction. He reinvented the way people looked at, and understood, art. He painted signs and wonders; comets, devils, horses, nudes, dogs, and blades of grass so accurately that even today they seem hyper-real, utterly modern images. Most startling and most modern of all, he painted himself, at every stage of his life. But his art captured more than the physical world, he also captured states of mind. Albert and the Whale explores the work of this remarkable man through a personal lens. Drawing on Philip’s experience of the natural world, and of the elements that shape our contemporary lives, from suburbia to the wide open sea, Philip will enter Dürer's time machine. Seeking his own Leviathan, Hoare help us better understand the interplay between art and our world in this sublimely seductive book.

    Fold-out pages featuring photographs of their early work, their studios and materials, as well as sketches and finished art create an exuberant feast for the eye that will attract both children and adults. Self-portraits of each illustrator crown this important anthology that celebrates the artists and the art of the picture book. An event book for the ages. Proceeds from the book will benefit the Eric Carle Museum of Picture Book Art in Amherst, MA.

    As a young woman, Madeleine got her training by working in a family restaurant in Touraine and in the kitchens of France'¬?s most respected regional cooks, who nourished her appetite for the tradition, rigor, and personal nature of cooking. Her exuberant and colorful memoir of that time-originally published over 25 years ago-tells of collecting mussels at the shore, churning butter from the milk of village cows, gathering mushrooms in nearby woods, and then transforming them into glorious food under the tutelage of her informal mentors. Over 250 recipes for the simple dishes she learned at their sides illustrate her evocative reminiscences of a bygone era in rural France. Part travelogue, part social history, part instruction manual, this classic is required reading for anyone who wants to know more about the life, times, and tastes of a woman who has helped shape American cooking.

    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.

    The second book from Brandon Boyd which follows up the successful White Fluffy Clouds, From the Murks of the Sultry Abyss comes in a special outer box, a limited edition #d sheet of stickers of artwork from Boyd, and the book itself comes sealed.

    But what about the elements that make up a picture? Using the tale of Little Red Riding Hood as an example, Molly Bang uses boldly graphic artwork to explain how images -- and their individual components -- work to tell a story that engages the emotions: Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold?