A full-color art book showcasing the terrific and terrifying work of Sui Ishida, creator of the hit manga and anime Tokyo Ghoul. Tokyo Ghoul Illustrations: zakki features artwork and behind-the-scenes notes, commentary and ruminations from Tokyo Ghoul creator Sui Ishida. Discover the creative process that brought the hit manga and anime to life, in gloriously ghoulish full color. Features the artwork from the grotesque horror/action story about a reluctant monster that became the definitive smash hit of 2015. * Complete in one volume. * Main series concluded at volume 14 in August 2017 with the sequel Tokyo Ghoul: re launchedin October 2017. * The novels and manga volumes 1–11 have sold more than 400,000 copies ( US Bookscan 2/17). * Volumes 1–11 of the manga have consistently been at the top of both the Bookscan and NYT lists since release, often simultaneously. * Manga review: “...The manga continues to surprise me with its character development and extra backstory that it adds.� —Dustin Cabeal, Comic Book Bastards * Manga review: “This is a great series for anyone looking for unrelenting existential dread.� —Che Gilson, Otaku USA

Frida Kahlo is undoubtedly one of the most innovative and influential painters of the 20th century and is widely considered a style icon thanks to her eclectic taste and love for colour, print and hauls of jewellery. From a young age, Kahlo forged her own path, overcoming polio as a child, and stoically battling the after-effects of a tragic road accident that left her with lifelong injuries.

Pocket Frida Kahlo Wisdom is an inspiring collection of some of her best quotes on love, style, life, art and more, and celebrates the Mexican icon's immense legacy.

Some quotes from Frida Kahlo:

'Nothing is worth more than laughter. It is strength to laugh and to abandon oneself, to be light.'

'The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration.'

'I must fight with all my strength so that the little positive things that my health allows me to do might be pointed toward helping the revolution. The only real reason for living.'

'I am my own muse, I am the subject I know best. The subject I want to know better.'

Address book companion to the exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features Bodleian Libraries: A Readers' Delight. The Bodleian Library is one of the oldest libraries in Europe and is the main research library of the University of Oxford. It holds over 13 million printed items and this handsome trio of spines are just three examples of the beautiful objects in the Library's collection. With colourful illustrations and charming tales, these story anthologies showcase the sports and hobbies young people could enjoy during the 1930s.

From its foundation in 1957 to its self-dissolution in 1972, the Situationist International established itself as one of the most radical revolutionary organisations of the twentieth century. This book brings together leading researchers on the SI to provide a comprehensive critical analysis of the group's key concepts and contexts, from its relationship to earlier artistic avant-gardes, romanticism, Hegelianism, the history of the workers' movement and May '68 to the concepts and practices of 'spectacle', 'constructed situations', 'everyday life' and 'detournement'. The volume also considers historically underexamined areas of the SI, including the situation of women in the group and its opposition to colonialism and racism. With contributions from a broad range of thinkers including Anselm Jappe and Michael Loewy, this account takes a fresh look at the complex workings of a group that has come to define radical politics and culture in the post-war period.

A celebration of the richness of figurative painting over the last 100 years and a passionate critique of the accepted history of art in the 20th century. Figurative painting is due a reappraisal. In this passionately argued volume the distinguished writer and artist Timothy Hyman cuts a new path through the tangle of twentieth-century art. The World New Made explores the work of more than fifty individual painters, presenting a collective 'Resistance' who together offer a human-centred alternative to the dominance of the Abstract or the Conceptual in conventional narratives of modern art. Structured not as a survey but as in-depth studies of more than 130 specific artworks, this lavishly illustrated book brings these often marginalized artists centre-stage: not just Alice Neel and Balthus, Max Beckmann and Frida Kahlo, but also Marsden Hartley and Charlotte Salomon, Bhupen Khakhar and Jacob Lawrence. A rich cast is brought to life, partly through their own writings. As the author argues, 'All across the world, isolated artists found new idioms for human-centred painting in the midst of modern life.'

A landmark book documenting the first-ever art amusement park - launched in 1987 in Hamburg, Germany - in anticipation of its global reintroduction In the late 1980s, more than 30 of the era's most acclaimed artists - including Jean-Michel Basquiat, David Hockney, Roy Lichtenstein, Salvador Dali, and Keith Haring - designed unique and fully operational fairground attractions specifically for the original park, including rides, interactive sculptures, games, performances, and music. Each artist's contribution is documented in photographs that show the artist at work, with details of the artworks, and showing the art in the context of the exhibition. Giving access to rare artworks that have not been widely viewed in 35 years, this book is being published for the first time in English with an updated preface.

The fashion show and its spaces are sites of otherness, representing everything from rebellion and excess through to political and social activism. This conceptual and stylistic variety is reflected in the spaces they occupy, whether they are staged in an industrial warehouse, on a city street, or out in the open landscape. Staging Fashion is the first collection of essays about the presentation and staging of fashion in runway shows in the period from the 1960s to the 2010s. It offers a fresh perspective on the many collaborations between artists, architects and interior designers to reinforce their interdisciplinary links. Fashion, architecture and interiors share many elements, including design, history, material culture, aesthetics and trends. The research and ideas underpinning Staging Fashion address how fashion and the spatial fields have collaborated in the creation of the space of the fashion show. The 15 essays are written by fashion, interior, architecture and design scholars focusing on the presentation of fashion within the runway space, from avant-garde practices and collaboration with artists, to the most spectacular and commercial shows of recent years, from Prada to Chanel.

There has been a significant growth in initiatives involving theatre, drama and performance within a science communication context. Yet there is little scholarship exploring this phenomenon from a science communication perspective. Weitkamp and Almeida draw on their distinct experiences with theatre in the context of science communication to delve into initiatives created through dialogue between the arts and the sciences for the purpose of public engagement. Entering into the space where museums, universities and research centres operate, as well as the space of theatre practitioners, they explore the richness and plurality of this universe, combining theory and practice, as well as presenting context, knowledge gaps and new data. Acknowledging that the place of drama, theatre and performance within science communication is one which is uniquely influenced by local cultural practices, discourses and expectations, the authors take a global perspective. Firstly by analysing data from an international survey of practitioners and secondly by curating a collection of case studies on science-theatre projects undertaken around the world. The chapters illustrate the diversity of forms and content that comprises contemporary science-theatre in this context and characterise theatre produced within the scope of science communication, placing it more precisely in the broader context of science-theatre.

"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture. -- .

No other art movement has so profoundly influenced radical politics as the Situationist International. But beyond the clichés about its purported leader Guy Debord, the "society of the spectacle," détournement and dérive, lies a more complex story about key historical shifts in the composition of capital, work, labor, art, and revolutionary theory during the 1950s and 60s. With and Against reframes the history of the Situationist International as a struggle to come to terms with the then-emerging ideologies of cybernetics and automation. Through each of the book's four chapters, Dominique Routhier dissects Situationist pamphlets, documents, artworks, and objects that refract elements of a "cybernetic hypothesis": the theoretically hyperbolic belief that technological progress, computers and automation make class struggle and the idea of revolution obsolete. With equal attention to aesthetic detail and to the broader contours of political economy, this book serves as a critical intervention in art history as well a call to reconsider, more broadly, the contemporary lessons of the most political of all artistic avantgardes.

Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art. -- .

Key Moments in Art describes fifty pivotal moments some famous, others unfamiliar from the Renaissance to the present day. Vivid, colourful vignettes capture the excitement of their times: when Michelangelo s David or Marcel Duchamp s Fountain were unveiled for the first time; when chance meetings have spurred artists to create compelling new styles, such as Impressionism or Pop Art; or when exhibitions have caused a public sensation.

Lee Cheshire s storytelling approach is both entertaining and easy to remember. He celebrates artistic ingenuity and collaboration, but does not shy away from the arguments, fights and lawsuits that have dogged art s often-tu

Baroquemania explores the intersections of art, architecture and criticism to show how reimagining the Baroque helped craft a distinctively Italian approach to modern art. Offering a bold reassessment of post-unification visual culture, the book examines a wide variety of media and ideologically charged discourses on the Baroque, both inside and outside the academy. Key episodes in the modern afterlife of the Baroque are addressed, notably the Decadentist interpretation of Gianlorenzo Bernini, the 1911 universal fairs in Turin and Rome, Roberto Longhi's historically grounded view of Futurism, architectural projects in Fascist Rome and the interwar reception of Adolfo Wildt and Lucio Fontana's sculpture. Featuring a wealth of visual materials, Baroquemania offers a fresh look at a central aspect of Italy's modern art. -- .

This book demonstrates that numerous prominent artists in every period of the modern era were expressing spiritual interests when they created celebrated works of art. This magisterial overview insightfully reveals the centrality of an often denied and misunderstood element in the cultural history of modern art.

Art = New Vision. This formula shaped the avant-garde. With moving images abruptly expanding the boundaries of the visible world, new printing techniques triggering a pictorial turn in graphic art, and literature becoming almost inseparable from visual media, we still regard the avant-garde as heyday for modernism's obsession with the eye. But what are the blind spots of this optocentrism? Focusing on the gestures of giving, touching, showing, and handcrafting, this study examines key scenes of tactile interaction between subject and artifact. Hand movements, manual maneuvers and manipulations challenge optics and expose the crises of a visually dominated perspective on the arts. The readings of this book call for a revision of an optically obscured aesthetics and poetics to include haptic experience as an often overlooked but pivotal part of the making, as well as the perception, of literature and the arts.

The effort to go beyond given knowledge in different domains - artistic, scientific, political, metaphysical - is a characteristic driving force in modernism and the avant-gardes. Since the late 19th century, artists and writers have frequently investigated their medium and its limits, pursued political and religious aims, and explored hitherto unknown physical, social and conceptual spaces, often in ways that combine these forms of critical inquiry into one and provoke further theoretical and methodological innovations. The fifth volume of the EAM series casts light on the history and actuality of investigations, quests and explorations in the European avant-garde and modernism from the late 19th century to the present day. The authors seek to answer questions such as: How have modernism and the avant-garde appropriated scientific knowledge, religious dogmas and social conventions, pursuing their investigation beyond the limits of given knowledge and conceptions? How have modernism and avant-garde created new conceptual models or representations where other discourses have allegedly failed? In what ways do practises of investigation, quest or exploration shape artistic work or the formal and thematic structures of artworks?

Published in its entirety, Frida Kahlo's amazing illustrated journal documents the last ten years of her turbulent life. These passionate, often surprising, intimate records, kept under lock and key for some 40 years in Mexico, reveal many new dimensions in the complex personal life of this remarkable Mexican artist. The 170-page journal contains the artist's thoughts, poems, and dreams-many reflecting her stormy relationship with her husband, artist Diego Rivera-along with 70 mesmerizing watercolor illustrations. The text entries, written in Frida's round, full script in brightly colored inks, make the journal as captivating to look at as it is to read. Her writing reveals the artist's political sensibilities, recollections of her childhood, and her enormous courage in the face of more than 35 operations to correct injuries she had sustained in an accident at the age of 18. This intimate portal into her life is sure to fascinate fans of the artist, art historians, and women's culturalists alike.

The postsocialist contemporary joins a growing body of scholarship debating the definition and nature of contemporary art. It comes to these debates from a historicist perspective, taking as its point of departure one particular art programme, initiated in Eastern Europe by the Hungarian-American billionaire George Soros. First implemented in Hungary, the Soros Center for Contemporary Art (SCCA) expanded to another eighteen ex-socialist countries throughout the 1990s. Its mission was to build a western 'open society' by means of art. This book discusses how network managers and artists participated in the construction of this new social order by studying the programme's rise, evolution, impact and broader ideological and political consequences. Rather than recounting a history, its engages critically with 'contemporary art' as the aesthetic paradigm of late-capitalist market democracy. -- .

David Hockney is possibly the world's most popular living painter, but he is also something else: an incisive and original thinker on art. Here are the fruits of his lifelong meditations on the problems and paradoxes of representing a three-dimensional world on a flat surface. How does drawing make one `see things clearer, and clearer, and clearer still', as Hockney suggests? What significance do different media - from a Lascaux cave wall to an iPad - have for the way we see? What is the relationship between the images we make and the reality around us? How have changes in technology affected the way artists depict the world? The conversations are punctuated by wise and witty observations from both parties on numerous other artists - Van Gogh or Vermeer, Caravaggio, Monet, Picasso - and enlivened by shrewd insights into the contrasting social and physical landscapes of California, where Hockney lives, and Yorkshire, his birthplace. Some of the people he has encountered along the way - from Henri Cartier-Bresson to Billy Wilder - make entertaining appearances in the dialogue.