World-renowned visionary artist John Harris' unique concept paintings capture the Universe on a massive scale, featuring everything from epic landscapes and towering cities to out-of-this-world science fiction vistas.
This collection focuses on his wide variety of futuristic art, as well as his striking covers for a variety of esteemed SF authors, including Arthur C Clarke, John Scalzi, Ben Bova, Hal Clement, Jack McDevitt, Frederik Pohl, Orson Scott Card's Enders books and many more.

The largest presentation of works by Banksy, the world’s most enigmatic yet highly sought-after artist, including iconic works, installation objects, ephemera, and memorabilia all in one volume.

Banksy is the world’s most discussed artist of recent decades, and this seminal collection features hundreds of works including Girl with Balloon, Pulp Fiction, Love Is in the Air, Barcode, and Monkey Queen. It also includes scores of paintings, serigraphs, stencils, and installation objects as well as a selection of memorabilia―many of which have never been published previously. Created with the cooperation of Pest Control, the group that manages all things Banksy, this is as official and authorized as any Banksy publication could be.
 
Banksy is the world’s greatest practitioner of street art. His work has always been political, involving pointed critiques of inequality, injustice, consumerism, and the establishment, yet no one knows his identity. He is an exemplary case of fame and notoriety built upon absence and anonymity. His relationship with the art market is also complex: marked by mocking hostility while being one of the most marketable and most collected contemporary artists.

Throughout this book we discover what our idea of memory would be without the moving image. This thought provoking analysis examines how the medium has informed modern and contemporary models of memory. The book examines the ways in which cinematic optic procedures inform an understanding of memory processes. Critical to the reciprocity of mind and screen is forgetting and the problematic that it inscribes into memory and its relation to contested histories. Through a consideration of artworks (film/video and sound installation) by artists whose practice has consistently engaged with issues surrounding memory, amnesia and trauma, the book brings to bear neuro-psychological insight and its implication with the moving image (as both image and sound) to a consideration of the global landscape of memory and the politics of memory that inform them. The artists featured include Kerry Tribe, Shona Illingworth, Bill Fontana, Lutz Becker, Yervant Gianikian and Angela Ricci Lucchi, Harun Faorcki, and Eyal Sivan.

Despite the prevalence of video games set in or inspired by classical antiquity, the medium has to date remained markedly understudied in the disciplines of classics and ancient history, with the role of women in these video games especially neglected. Women in Classical Video Games seeks to address this imbalance as the first book-length work of scholarship to examine the depiction of women in video games set in classical antiquity. The volume surveys the history of women in these games and the range of figures presented from the 1980s to the modern day, alongside discussion of issues such as historical accuracy, authenticity, gender, sexuality, monstrosity, hegemony, race and ethnicity, and the use of tropes. A wide range of games of different types and modes are discussed, with particular attention paid to the Assassin's Creed franchise's 21st-century ventures into classical antiquity (first in Origins (2017), set in Hellenistic Egypt, and then in Odyssey (2018), set in classical Greece), which have caught the imagination not only of gamers, but also of academics, especially in relation to their accompanying educational Discovery Modes. The detailed case studies presented here form a compelling case for the indispensability of the medium to both reception studies and gender studies, and offer nuanced answers to such questions as how and why women are portrayed in the ways that they are.

Robert Crumb first began drawing record covers in 1968 when Janis Joplin, a fellow Haight Ashbury denizen, asked him to provide a cover for her album Cheap Thrills. It was an invitation the budding artist couldn't resist, especially since he had been fascinated with record covers-particularly for the legendary jazz, country, and old-time blues music of the 1920s and 1930s-since he was a teen. This early collaboration proved so successful that Crumb went on to draw hundreds of record covers for both new artists and largely forgotten masters. So remarkable were Crumb's artistic interpretations of these old 78 rpm singles that the art itself proved influential in their rediscovery in the 1960s and 1970s. Including such classics as Truckin' My Blues Away, Harmonica Blues, and Please Warm My Weiner, Crumb's opus also features more recent covers done for CDs. R. Crumb: The Complete Record Cover Collection is a must-have for any lover of graphics and old-time music.

A groundbreaking and essential survey of the art of Lynette Yiadom-Boakye, offering an in-depth discussion of the development of the artist and positioning her work within a wider history of portraiture. Lynette Yiadom-Boakye: Fly In League With The Night celebrates the work of one of the most significant and acclaimed figurative painters of her generation. Fact and fiction fuse in Yiadom-Boakye's paintings: they appear to be portraits, yet the people she depicts are not real but invented. Created from a composite of found images and her own imagination, her characters seem to exist outside of a specific time or place: they feel at once familiar yet mysterious. This ambiguity resonates again in the enigmatic titles she gives to her artworks. The artist is also a writer of poetry and prose, and for her, the two forms of creativity complement each other: 'The things I can't paint, I write, and the things I can't write, I paint.' This perceptive and engaging publication provides a comprehensive account of Yiadom-Boakye's practice over the past two decades. With contributions by the celebrated poet Elizabeth Alexander and curators Andrea Schlieker and Isabella Maidment, alongside new writing by Yiadom-Boakye, Fly In League With The Night reflects the dual aspects of the artist's career as both a painter and a writer and offers an intimate insight into her creative process.

In Disability, Public Space Performance and Spectatorship: Unconscious Performers, Bree Hadley examines the performance practices of disabled artists in the US, UK, Europe and Australasia who re-engage, re-enact and re-envisage the stereotyping they are subject to in the very public spaces and places where this stereotyping typically plays out.

Isaac Cordal ...is a sculpture artist from London. His sculptures take the form of little people sculpted from concrete in 'real' situations. Cordal manages to capture a lot of emotion in his vignettes, in spite of their lack of detail or colour. He is sympathetic toward his little people and we empathise with their situations, their leisure time, their waiting for buses and their more tragic moments such as accidental death, suicide or family funerals. His sculptures can be found in gutters, on top of buildings and bus shelters - in many unusual and unlikely places in the capital. This book is the first time his images have been shown in together in one book dedicated to his work, many images never seen before. Cordal's concrete sculptures are like little magical gifts to the public that only a few lucky people will see and love but so many more will have missed. Left to their own devices throughout London, what really makes these pieces magical is their placement. They bring new meaning to little corners of the urban environment. They express something vulnerable but deeply engaging.

Sounding the Gallery explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images in a quick and easy manner. But video not only provided artists and composers with the opportunity to produce unprecedented forms of audiovisuality; it also allowed them to create interactive spaces that questioned conventional habits of music and art consumption. Early video's audiovisual synergy could be projected, manipulated and processed live. The closed-circuit video feed drew audience members into the heart of the audiovisual experience, from where they could influence the flow, structure and sound of the video performance. Such activated spectatorship resulted in improvisatory and performative events in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial experience. Many believed that such audiovisual video work signalled a brand-new art form that only began in 1965. Using early video work as an example, this book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together, acting as a conduit that facilitated the fusion and manipulation of pre-existing elements. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.

The lovely ladies and lads of Street Fighter take a break from fist fights and tournaments to hit up the world's hottest beaches, pools, volleyball courts, and more! Everyone from Chun-Li to Poison to Guile shows off their favorite swimwear, plus guest appearances from the cast of Darkstalkers, Rival Schools, and Final Fight! This beautiful hardcover tome gathers four years of UDON’s Street Fighter Swimsuit and Pin-up specials in an over-sized art book format, including rare covers and never-before-seen rough concepts.

This book offers a comprehensive account of the audiovisual translation (AVT) of humour, bringing together insights from translation studies and humour studies to outline the key theories underpinning this growing area of study and their applications to case studies from television and film. The volume outlines the ways in which the myriad linguistic manifestations and functions of humour make it difficult for scholars to provide a unified definition for it, an issue made more complex in the transfer of humour to audiovisual works and their translations as well as their ongoing changes in technology. Dore brings together relevant theories from both translation studies and humour studies toward advancing research in both disciplines. Each chapter explores a key dimension of humour as it unfolds in AVT, offering brief theoretical discussions of wordplay, culture-specific references, and captioning in AVT as applied to case studies from Modern Family. A dedicated chapter to audio description, which allows the visually impaired or blind to assess a film's non-verbal content, using examples from the 2017 film the Big Sick, outlines existing research to date on this under-explored line of research and opens avenues for future study within the audiovisual translation of humour. This book is key reading for students and scholars in translation studies and humour studies.

Keith Haring was a revolutionary artist, who transformed the art world during his short but impactful life. Brought to life by Simon Doonan, Creative Director for Barneys New York, this new pocket-sized biography tells his inspirational story.

Revolutionary and renegade, Keith Haring was an artist for the people, creating an instantly recognisable repertoire of symbols - barking dogs, space-ships, crawling babies, clambering faceless people - which became synonymous with the volatile culture of 1980s. Like a careening, preening pinball, Keith Haring playfully slammed into all aspects of this decade - hip-hop, new-wave, graffiti, funk, art, style, gay culture - and brought them together.

Haring's fanatical drive propelled him into the orbit of the most interesting people of his time: Jean Michel Basquiat envied him; Warhol, William Boroughs and Grace Jones collaborated with him. Madonna and he shared the same tastes in men. Famous at 25, dead from AIDS at 31, Keith Haring is remembered as a Pied Piper, an unpretentious communicator who appeared happiest when mentoring a gang of kids, arming them with brushes and attacking the nearest wall.

A series of brief biographies of the great artists, Lives of the Artists takes as its inspiration Giorgio Vasari's five-hundred-year-old masterwork, updating it with modern takes on the lives of key artists past and present. Focusing on the life of the artist rather than examining their work, each book also includes key images illustrating the artist's life. Hardbound, but pocket-sized, the books each sport a specially-commissioned portrait of their subject on the half-jacket.

Seeing the Apocalypse: Essays on Bird Box is the first volume to explore Josh Malerman's best-selling novel and its recent film adaptation, which broke streaming records and became a cultural touchstone, emerging as a staple in the genre of contemporary horror. The essays in this collection offer an interdisciplinary approach to Bird Box, one that draws on the fields of gender studies, cultural studies, and disability studies. The contributors examine how Bird Box provokes questions about a range of issues including the human body and its existence in the world, the ethical obligations that shape community, and the anxieties arising from technological development. Taken together, the essays of this volume show how a critical examination of Bird Box offers readers a guide for thinking through human experience in our own troubled, apocalyptic times.

A free open access ebook is available upon publication. Learn more at www.luminosoa.org. Many recent works of contemporary art, performance, and film turn a spotlight on sleep, wresting it from the hidden, private spaces to which it is commonly relegated. At the Edges of Sleep considers sleep in film and moving image art as both a subject matter to explore onscreen and a state to induce in the audience. Far from negating action or meaning, sleep extends into new territories as it designates ways of existing in the world, in relation to people, places, and the past. Defined positively, sleep also expands our understanding of reception beyond the binary of concentration and distraction. These possibilities converge in the work of Thai filmmaker and artist Apichatpong Weerasethakul, who has explored the subject of sleep systematically throughout his career. In examining Apichatpong's work, Jean Ma brings together an array of interlocutors-from Freud to Proust, George Melies to Tsai Ming-liang, Weegee to Warhol-to rethink moving images through the lens of sleep. Ma exposes an affinity between cinema, spectatorship, and sleep that dates to the earliest years of filmmaking, and sheds light upon the shifting cultural valences of sleep in the present moment.

Bridget Riley, one of the leading abstract painters of her generation, holds a unique position in contemporary art. She has developed and extended the range of her interests ever since her first success in the 1960s, creating a body of work which is both consistent and highly varied. This volume, now fully revised and updated, reveals the mind behind this remarkable aachievement, drawing together the most important texts and interviews of the last fifty years. Riley's writings show a passionate engagement with her subjects and a great insight paired with a freshness of approach and an exceptional clarity of expression. Quite apart from providing a key to understanding her own work, this book is a fascinating document reflecting the issues and problems facing an artist in the 21st century.