Focusing on this American period, Conversations with Mies van der Rohe, the latest addition to our Conversations series, gives fresh credence to this claim by presenting the architect's most important design concerns in his own words. In this collectionof interviews Mies talks freely about his relationship with clients, the common language he aimed for in his architecturalprojects, the influences on his work, and the synthesis of architecture and technology that he advanced in his designs and built works.Conversations with Mies van der Rohe makes an important contribution to the corpus of Mies scholarship. It presents a vivid picture of a master of modernism, bringing his artistic biography to a close while completing the scope of his style in terms of techniques, scale, use of materials, and typology. An essay by Iaki balos provides a context for these interviews and looks at Mies's legacy from a contemporary perspective.

    Granddaughter of a local hero, Mercy Bennington moves out of the shadow of her elder brother to become a leader of the protestors, finding the strength to confront the enemies who endanger the survival of her village and her own life. Yet the violence wreaked upon the fragile fenlands unleashes a force no one can control – flood.

    These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty.In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and function: the beauty of everyday things.

    There's a foppish wizard named Howl, a vain witch from the wastelands, an anthropomorphic chimney fire and a young girl who carries a most unusual curse. And, of course, there's the moving castle…a towering, omnipresent structure that dominates the landscape. Already a smash success in Japan, Howl's Moving Castle finally comes to U.S. theatres this spring. To coincide with its Stateside release, VIZ is proud to present The Art of Howl's Moving Castle, a hardbound, prestige format book which acts as an essential companion to the film. A generous collection of concept sketches, fully rendered character and background drawings, paintings and cell images, The Art of Howl's Moving Castle brings the movie into your library. Along with the stunning visuals, the book also presents interviews and comments with the production staff, including key points directly from the director.There's more than one way to book passage on the moving castle. See the movie, but don't forget to reserve a copy of the book, as well. The Art of Howl's Moving Castle is a great way to preserve the magic of the next great anime classic from Hayao Miyazaki.Shortly after reaping the rewards from his movie Spirited Away, a project that earned him an Academy Award in 2003, director Hayao Miyazaki set his sites on his next film, Howl's Moving Castle.Based on the novel by British author Diana Wynne Jones, Howl's Moving Castle gave the internationally renowned director an opportunity to bring to life a fantastical time in 19th century Europe when science and magic defined the popular zeitgeist.Veering slightly from its source material, the new Miyazaki movie nonetheless retains all the novel's principal characters. There's a foppish wizard named Howl, a vain witch from the wastelands, an anthropomorphic chimney fire and a young girl who carries a most unusual curse. And, of course, there's the moving castle…a towering, omnipresent structure that dominates the landscape. Already a smash success in Japan, Howl's Moving Castle finally comes to U.S. theatres this spring. To coincide with its Stateside release, VIZ is proud to present The Art of Howl's Moving Castle, a hardbound, prestige format book which acts as an essential companion to the film. A generous collection of concept sketches, fully rendered character and background drawings, paintings and cell images, The Art of Howl's Moving Castle brings the movie into your library. Along with the stunning visuals, the book also presents interviews and comments with the production staff, including key points directly from the director.There's more than one way to book passage on the moving castle. See the movie, but don't forget to reserve a copy of the book, as well. The Art of Howl's Moving Castle is a great way to preserve the magic of the next great anime classic from Hayao Miyazaki.

    It collects 209 fantasy-themed illustrations, paintings, and computer graphics created by Shirow between 1992 and May 1998, none of which have been published in the U.S. before. It also contains detailed commentary (in both Japanese and English) on each work, and an "info-box" that explains the techniques used to produce each piece.

    Fully illustrated and featuring three-dimensional replicas of rare memorabilia, this unprecedented book truly brings Barbie to life in full-color, and fabulous style. With the full support of Mattel, the publication of All Dolled Up is a highlight among nationwide Barbie events and marketing initiatives being staged for the anniversary.In five decades, the influence of Barbie on girls and the world of fashion has never faded. Now devoted collectors, baby boomers reminiscing about the doll's classic beauty, moms still dreaming of the pink Corvette of the '80s, and children just discovering her will relive the magic of Barbie through key eras in her development—her debut in 1959, the Mod Era of the late '60s, the big, bold '80s, the Totally Hair '90s, and up to today. Original doll packaging, Barbie comic books, designer's sketches, and an official fan club membership card and welcome letter are among the rare Barbie ephemera that have been reproduced. The narrative combines historical detail with contributions from moms, daughters, and fashion celebrities including Diane Von Furstenburg, Christian Dior, Versace, Armani, Bob Mackie, and Vera Wang. It's Barbie doll's birthday and no one wants to be left out of the party!

    It is, to me, the most interesting place to hunt for stories." So begins this stunningly realized and beautifully rendered new work from master storyteller and artist Iain McCaig. McCaig is best known for his work as a principal designer on the three Star Wars prequels, including the iconic characters Queen Amidala and Darth Maul, as well as his work on many major motion pictures, television, and video games. His work can be seen in such acclaimed films as Terminator 2, Hook, Francis Ford Coppola's Dracula, Interview with a Vampire, and Harry Potter and the Goblet of Fire. Shadowline presents a stunning portfolio of more than two decades of McCaig's masterful concept designs and storyboards, cover art and illustrations, as well as his private sketchbooks and personal paintings, all woven together within the confines of an engrossing, otherworldly tale.

    The Cenobites soon returned, and their leader, the chilling Pinhead (played by Doug Bradley), became an worldwide icon.The Hellraiser Chronicles is a beautifully produced, full colour photographic companion to Hellraiser, Hellbound: Hellraiser II and Hellraiser III: Hell on Earth. It features stunning, specially shot portrait photography unavailable elsewhere, plus script extracts, design sketches, behind-the-scenes stills and interviews. The only official Hellraiser book, it is a must for all fans of the series.Time to play"

    You'll also find character profiles, promotional artwork, rare concept art, and a detailed look at the origins of the "Blue Blur".

    Her "floating abstractions," in which lines and free bands of color emerge almost imperceptibly, can be reproduced only with difficulty. Her writings, on the other hand--although certainly not intended as programmatic statements--offer valuable clarity regarding her own works and poetic insight about art in general. Since its original publication in 1991, this volume of Martin's writings has been a fundamental document for libraries of artists, collectors, and critics. Rather than identifying herself with her Minimalist peers, Martin has aligned herself with the ancient Greeks, Egyptians, and Chinese, asserting that "the function of art work is . . . the renewal of memories of moments of perfection." In combination with illustrations of her works, these texts--including lectures, stories recorded by critic Ann Wilson, passages ostensibly arranged in associative sequences, and "fragmentary ideas"--form an eloquent artist's statement by the creator of "silent paintings."

    And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

     What do all these people have in common? Fame, of course, and undeniable talent. But most of all, they were cool. Birth of the Cool is a stunningly illustrated, brilliantly written cultural history of the American avant-garde in the 1940s and 1950s -- the decades in which cool was born. From intimate interviews with cool icons like poet Allen Ginsberg, bop saxophonist Jackie McLean, and Living Theatre cofounder Judith Malina, award-winning journalist and poet Lewis MacAdams extracts the essence of cool. Taking us inside the most influential and experimental art movements of the twentieth century -- from the Harlem jazz joints where Dizzy Gillespie and Charlie Parker invented bebop to the back room at Max's Kansas City when Andy Warhol was holding court to backstage at the Newport Folk Festival the night Bob Dylan went electric, from Surrealism to the Black Mountain School to Zen -- MacAdams traces the evolution of cool from the very fringes of society to the mainstream. Born of World War II, raised on atomic-age paranoia, cast out of the culture by the realities of racism and the insanity of the Cold War, cool is now, perversely, as conventional as you can get. Allen Ginsberg suited up for Gap ads. Volvo appropriated a phrase from Jack Kerouac's On the Road for its TV commercials. How one became the other is a terrific story, and it is presented here in a gorgeous package, rich with the coolest photographs of the black-and-white era from Robert Doisneau, Henri Cartier-Bresson, Man Ray, and many others. Drawing a direct line between Lester Young wearing his pork-pie hat and his crepe-sole shoes staring out his hotel window at Birdland to the author's three-year-old daughter saying "cool" while watching a Scooby-Doo cartoon at the cusp of a new millennium, Birth of the Cool is a cool book about a hot subject...maybe even the coolest book ever.

    Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. Memoirs of the Blind is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, Memoirs of the Blind extends and deepens the meditation on vision and painting presented in Truth and Painting. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.

    But a courageous and visionary young woman-Katharine Kuh-defied the odds and opened a gallery in Chicago, where she exhibited such relatively unknown artists as Fernand L ger, Paul Klee, Joan Mir, Ansel Adams, Marc Chagall, and Alexander Calder, to name but a few. Not only did Kuh survive these rocky early years but most of the artists became increasingly famous. In 1954, the Art Institute of Chicago named her its first curator of modern painting and sculpture. Kuh's prestigious position at the museum led to friendships with Marcel Duchamp, Mark Rothko, Mies van der Rohe, and Edward Hopper. In writing her memoir, she hoped to offer intimate portraits of these luminaries and contribute to a fuller understanding of their achievements. Her book also reveals how and why America became a major force in the world of contemporary art.After Katharine Kuh's death, Avis Berman-noted art historian and Kuh's close friend and literary executor-selected, edited, and completed her writings for this book.

    Like its highly successful companion volumes, Art in Theory, 1815–1900 and Art in Theory, 1900–1990, its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.Harrison, Wood, and Gaiger have collected writing by artists, critics, philosophers, literary figures, and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch, and Latin sources is also provided, including many new translations.Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.