An excellent, comprehensive overview of the life and work of the groundbreaking artist who broke down the boundaries between photography and graphic design with his innovative techniques.

    Bierut is widely considered the finest observer on design writing today. Covering topics as diverse as Twyla Tharp and ITC Garamond, Bierut's intelligent and accessible texts pull design culture into crisp focus. He touches on classics, like Massimo Vignelli and the cover of The Catcher in the Rye, as well as newcomers, like McSweeney's Quarterly Concern and color-coded terrorism alert levels. Along the way Nabakov's Pale Fire; Eero Saarinen; the paper clip; Celebration, Florida; the planet Saturn; the ClearRx pill bottle; and paper architecture all fall under his pen. His experience as a design practitioner informs his writing and gives it truth. In Seventy-nine Short Essays on Design, designers and nondesigners alike can share and revel in his insights.

    Around the turn of the 20th century, he founded the Photo-Secession, a progressive movement concerned with advancing the creative possibilities of photography, and by 1903 began publishing Camera Work, an avant-garde magazine devoted to voicing the ideas, both in images and words, of the Photo-Secession. Camera Work was the first photo journal whose focus was visual, rather than technical, and its illustrations were of the highest quality hand-pulled photogravure printed on Japanese tissue. This book brings together all photographs from the journal’s 50 issues.

    750 color illustrations.

    It begins with an overview of film production, moves on to a consideration of the formal elements and techniques, covers film criticism and concludes with a brief section highlighting the key moments in film history. Illustrated with over 500 frame enlargements, many in colour, "Film Art" has been updated to include analysis of some of the most interesting films of recent years including "Raging Bull" and "Desperately Seeking Susan".

    Born in 1908, he studied painting before embarking on a career in photography in the 1930s. In 1940 he was captured by the Germans and spent three years in prisoner-of-war camps before escaping to join the Paris underground. With Robert Capa, David Seymour and others, he founded the photographic agency Magnum in 1947. Since then his work has taken him all over the world - from Europe to India, Burma, Pakistan, China, Japan, Indonesia, Bali, Russia, the Middle East, Cuba, Mexico, the United States and Canada. This new collection of work by Cartier-Bresson, created on the occasion of his ninety-fifth birthday, provides the ultimate retrospective look at a lifetime's achievement. It includes the first photographs taken by him, a significant number of which have never been published, rarely seen work from all periods of his life, classic photographs that have become icons of the medium, and a generous selection of drawings, paintings and film stills. The book also features personal souvenirs of Cartier-Bresson's youth, his family and the founding of Magnum. Cartier-Bresson's extraordinary images are shaped by an eye a

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    Like a Wu Li Master who would teach us wonder for the falling petal before speaking of gravity, Zukav writes in beautifully clear language—with no mathematical equations—opening our minds to the exciting new theories that are beginning to embrace the ultimate nature of our universe...Quantum mechanics, relativity, and beyond to the Einstein-Podolsky-Rosen effect and Bell's theorem.At an Esalen Institute meeting in 1976, tai chi master Al Huang said that the Chinese word for physics is Wu Li, "patterns of organic energy." Journalist Gary Zukav and the others present developed the idea of physics as the dance of the Wu Li Masters--the teachers of physical essence. Zukav explains the concept further: The Wu Li Master dances with his student. The Wu Li Master does not teach, but the student learns. The Wu Li Master always begins at the center, the heart of the matter.... This book deals not with knowledge, which is always past tense anyway, but with imagination, which is physics come alive, which is Wu Li.... Most people believe that physicists are explaining the world. Some physicists even believe that, but the Wu Li Masters know that they are only dancing with it. The "new physics" of Zukav's 1979 book comprises quantum theory, particle physics, and relativity. Even as these theories age they haven't percolated all that far into the collective consciousness; they're too far removed from mundane human experience not to need introduction. The Dancing Wu Li Masters remains an engaging, accessible way to meet the most profound and mind-altering insights of 20th-century science. --Mary Ellen Curtin

    It grew out of a 15-year collaboration between an esteemed curator and a distinguished photographer. The work of such celebrated masters as Arget, Stieglitz, Cartier-bresson, Brassai, Walker Evans, Robert Frank and Garry Winogrand is presented here, along with extraordinary photos by complete unknowns. Colin Westerbeck's text illuminates each image and he has also contributed a new illustrated afterword for this paperback edition, which examines contemporary street photography.

    The margins sometimes spill over with hurriedly scrawled shopping lists and phone numbers. The cover may be travel-worn and the pages warped from watercolors. Open the book, and raw creativity seeps from each color and line. The intimacy and freedom on its pages are almost like being inside the artist's mind: You get a direct window into risks, lessons, mistakes, and dreams.The private worlds of these visual journals are exactly what you'll find inside An Illustrated Life. This book offers a sneak peak into the wildly creative imaginations of 50 top illustrators, designers and artists. Included are sketchbook pages from R. Crumb, Chris Ware, James Jean, James Kochalka, and many others. In addition, author Danny Gregory has interviewed each artist and shares their thoughts on living the artistic life through journaling.Watch artists—through words and images—record the world they see and craft the world as they want it to be. The pages of An Illustrated Life are sometimes startling, sometimes endearing, but always inspiring. Whether you're an illustrator, designer, or simply someone searching for inspiration, these pages will open a whole new world to you.

    Less stress. Less distraction. Less everything. In less comes the freedom of letting go. This thoughtful and surprising book shows us how to get there, by paring down not just the jumble of things around us, but the clutter in our heads, too. And to help, interact with special paper goodies, including a one-thought-a-day diary, a foldout tiny house to let you imagine the pleasures of living in a small and cozy space, and art posters that depict a beautiful picture of what it means to do less, not more. Paper goodies from The Big Book of Less include:2 journalsA dot journal poster4 art posters1 foldout tiny house with 20 accessoriesAnd even more hidden treasures  Decluttering your life and mind makes room for more—more listening, more focus, more wisdom, more time. More life.

    Told through an examination of animal and plant life today - with occasional juxtapositions of extinct fossil forms to reveal the origin of living creatures - "Life on Earth" is an astonishing pageant of life, with a cast of characters drawn from the whole range of living animals the world over. Attenborough's perceptive, dynamic approach to the evolution of some four million species of living organisms that populate the planet is to trace the most significant thread in the history of each major group. He then proceeds to explain from the evidence of living representatives and fossil remains why certain animals adapted and survived, evolved to more complex and "higher" forms of life, while others, by some inherent limitation imposed by their physiology or structure, failed and became extinct. "Life on Earth" is a book of wonders. A model of clarity and ease as a guide, Attenborough takes the reader around the world with him into jungles where orchids have petals that "impersonate" wasps to attract pollinating insects; to Australia, where honeypot ants force feed nectar to workers of a special caste, then hang them up by their forelegs like living storage jars; to remote mountains in Japan where little monkeys called macaques have learned to combat the winter snows by bathing in hot volcanic springs.

    Ordinary art. Ordinary art means something like: all art not made by Mozart. After all, art is rarely made by Mozart-like people; essentially-statistically speaking-there aren't any people like that. Geniuses get made once-a-century or so, yet good art gets made all the time, so to equate the making of art with the workings of genius removes this intimately human activity to a strangely unreachable and unknowable place. For all practical purposes making art can be examined in great detail without ever getting entangled in the very remote problems of genius."--from the Introduction

    0-8109-4964-4$60.00 / Harry N. Abrams, Inc.

    They're called "Generation Debt" and "Generation Broke" by the media -- people in their twenties and thirties who graduate college with a mountain of student loan debt and are stuck with one of the weakest job markets in recent history. The goals of their parents' generation -- buy a house, support a family, send kids to college, retire in style -- seem absurdly, depressingly out of reach. They live off their credit cards, may or may not have health insurance, and come up so far short at the end of the month that the idea of saving money is a joke. This generation has it tough, without a doubt, but they're also painfully aware of the urgent need to take matters into their own hands.The Money Book was written to address the specific financial reality that faces young people today and offers a set of real, not impossible, solutions to the problems at hand and the problems ahead. Concisely, pragmatically, and without a whiff of condescension, Suze Orman tells her young, fabulous & broke readers precisely what actions to take and why. Throughout these pages, there are icons that direct readers to a special YF&B domain on Suze's website that offers more specialized information, forms, and interactive tools that further customize the information in the book. Her advice at times bucks conventional wisdom (did she just say use your credit card?) and may even seem counterintuitive (pay into a retirement fund even though your credit card debt is killing you?), but it's her honesty, understanding, and uncanny ability to anticipate the needs of her readers that has made her the most trusted financial expert of her day.Over the course of ten chapters that can be consulted methodically, step-by-step, or on a strictly need-to-know basis, Suze takes the reader past broke to a secure place where they'll never have to worry about revisiting broke again. And she begins the journey with a bit of overwhelmingly good news (yes, there really is good news): Young people have the greatest asset of all on their side -- time.