From fashion to music, Goth influences have crept into every area of pop culture, and nowhere is that influence creepier, more fascinating, and more playful than in the art world. Weirdo Noir is the follow-up volume to Weirdo Deluxe, the book that brought the once underground Low Brow art scene to prominence in the public eye. In these pages you'll find the latest and greatest work from 30 Low Brow arists who have embraced the dark side, employing gothic themes in their art. Spooky and witty, Weirdo Noir is destined to become a classic of the millennial Goth aesthetic.

    H. Gombrich, New York Review of Books"This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin"Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly"Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement

    Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

    Like a bizarro-world Norman Rockwell, he created magazine covers of Frankenstein, the Creature from the Black Lagoon. the Phantom of the Opera, and countless others in horrifying yet dazzling images throughout the 1960s and '70s. His intense colour and bold, impressionistic brushwork gave a unique sense of drama and sophistication to these iconic characters. Today, collectors fight over his original art--but, with this book, every fan can own glowing full-colour reproductions of his most famous work as well as many previously unpublished paintings and drawings.

    It's not an autobiography, though it does offer a revealing and highly personal inside view of contemporary culture. It's an essential tool kit for understanding the world around us. Deyan Sudjic studied architecture in Edinburgh, edited Domus in Milan, was the director of the Venice architecture biennale, and a curator in Glasgow, Istanbul and Copenhagen. The author of The Language of Things and The Edifice Complex, Deyan Sudjic is now Director of the Design Museum, London.

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)

    Artists such as Mariko Mori, Paul McCarthy, Matthew Barney and Forced Entertainment can now be seen in the context of previous innovators, from the Dadaists to Laurie Anderson.First published in 1979, now extensively updated and expanded, this pioneering book has been supplemented by the definitive account of the current technological, political and aesthetic shifts in performance art.

    What makes the Book of Kells such an extraordinary example of the illuminated manuscript? Why is Durer's self-portrait so iconic? How did Turner's Rain, Steam, Speed turn the art world on its head? What's so great about Jasper Johns's Flag? And who was Whistler's mother, anyway? Art history is filled with paintings that shocked, intrigued, enraged, and mystified their audiences--paintings that exemplified the period in which they were created and forever changed the way we think. Here, 100 examples of these icons of art are presented in beautiful, high-quality reproductions. Each spread features comparative illustrations and details as well as an engaging text that explains why that particular painting belongs in the pantheon of world-changing art.

    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.

    Since then, painting has been declared dead several times over, and contemporary art has now expanded to include just about any object, action, or event: dance routines, slideshows, functional hair salons, seemingly random accretions of waste. In the meantime, being an artist has gone from a join-the-circus fantasy to a plausible vocation for scores of young people in America.But why--and how and by whom--does all this art get made? How is it evaluated? And for what, if anything, will today's artists be remembered? In The Contemporaries, Roger White, himself a young painter, serves as our spirited, skeptical guide through this diffuse creative world.White takes us into the halls of the RISD graduate program, where students learn critical lessons that go far beyond how to apply paint to canvases. In New York, we meet the neophytes who assist established artists--and who walk the fine line between "assistance" and "making the art." In Milwaukee, White trails a group of friends trying to create a viable scene where rent is cheap, but where the spotlight rarely shines. And he gives us an intimate perspective on three wildly different careers: that of Dana Schutz, an emerging star who is revitalizing painting; Mary Walling Blackburn, whose challenging art defies market forces; and Stephen Kaltenbach, a '70s wunderkind who is back on the critical radar, perhaps in spite of his own willful obscurity.From young artists trying to elbow their way in to those working hard at dropping out, White's essential book offers a once-in-a-generation glimpse of the inner workings of the American art world at a moment of unparalleled ambition, uncertainty, and creative exuberance.

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    In this new and innovative series, Aperture works with the worlds top photographers, many of whom also teach, to publish their core thinking on photography making their experience, insight, and knowledge accessible to a wider audience, including students. Each title in the series will provide an essential primer on the photographers area of expertise and creative process. The key points of their practice are presented in the photographers own words, and will answer the questions they are asked most frequently. The commentary will accompany a selection of fifty photographs, iconic images by each featured photographer, as well as key images by others that have influenced their thinking and work.

    Confronted with an unprecedented amount of texts and language, writers have the opportunity to move beyond the creation of new texts and manage, parse, appropriate, and reconstruct those that already exist.In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins this recent work to practices that date back to the early twentieth century. Writers and artists such as Walter Benjamin, Gertrude Stein, James Joyce, and Andy Warhol embodied an ethos in which the construction or conception of a text was just as important as the resultant text itself. By extending this tradition into the digital realm, uncreative writing offers new ways of thinking about identity and the making of meaning.

    As relevant as when it was first published in 1968, groundbreaking director and cofounder of the Royal Shakespeare Company Peter Brook draws on a life in love with the stage to explore the issues facing a theatrical performance—of any scale. He describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht’s revolutionary alienation technique to the free form happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war. Passionate, unconventional, and fascinating, this book shows how theatre defies rules, builds and shatters illusions, and creates lasting memories for its audiences.

    Finally available in English, this unrivaled example of Panofsky's early method places him within broader developments in theories of knowledge and cultural change.Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of "archaeology" of Western representation that far surpasses the usual scope of art historical studies.Perspective in Panofsky's hands becomes a central component of a Western "will to form," the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world.Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.