This absorbing biography, often conveyed through Peter Selz's own words, traces the journey of a Jewish-German immigrant from Hitler's Munich to the United States and on to an important career as a pioneer historian of modern art. Paul J. Karlstrom illuminates key historical and cultural events of the twentieth-century as he describes Selz's extraordinary career - from Chicago's Institute of Design (New Bauhaus), to New York's Museum of Modern Art during the transformative 1960s, and as founding director of the University Art Museum at UC Berkeley. Karlstrom sheds light on the controversial viewpoints that at times isolated Selz from his colleagues but nonetheless affirmed his conviction that significant art was always an expression of deep human experience. The book also links Selz's long life story - featuring close relationships with such major art figures as Mark Rothko, Dore Ashton, Willem de Kooning, Sam Francis, and Christo - with his personal commitment to political engagement.

Scandinavian design is still seen as democratic, functional and simple, its products exemplifying the same characteristics now as they have done since the 1950s. But both the essence and the history of Scandinavian design are much more complex than this. "Scandinavian Design: Alternative Histories" presents a radically new assessment, a corrective to the persistent mythologies and reductive accounts of Scandinavian design.
The book brings together case studies from the early twentieth century to today. Drawn from fields as diverse as transport, engineering, packaging, photography, law, interiors, and corporate identity, these studies tell new or unfamiliar stories about the production, mediation and consumption of design. An alternative history is created, one much more alive to national and regional differences and to types of product.
"Scandinavian Design" analyses a century of design culture from Denmark, Finland, Norway and Sweden and, in so doing, presents a sophisticated introduction to Scandinavian design.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

The Albright-Knox Art Gallery in Buffalo is one of the oldest art museums in U.S., and its collection is one of the most prestigious American collections of modern and contemporary art.
This full-color catalog accompanies the first international tour ever organized by the gallery and features seventy paintings and sculptures that are icons of the twentieth century by more than sixty artists, including Salvador Dali, Edgar Degas, Paul Gauguin, Vincent van Gogh, Frida Kahlo, and many others.
Rich in illustrations, the volume emphasizes the remarkable vitality, salience, and subversiveness of the twentieth century's best art.
Insightful essays by leading scholars are illustrated with archival imagery and superb works from other areas of the Albright-Knox collection. A rich bibliography and an illustrated timeline complete the volume.

"Writing Design" provides a unique look at the process and consequences of converting the material properties of designed goods into verbal or textual description. It examines how we learn about the objects that surround us: we gather sensory information by viewing and using objects, but we also learn about objects through the written and spoken word, from product labels, store signage, and recommendations from friends, social media and traditional media.
Even as design commentators have become increasingly preoccupied with issues of mediation, the intersection of design and language has remained, heretofore, under-explored. Issues discussed in this book include the role of text in informing design consumption, designing with and through language, and the challenges and opportunities raised by design without language. Bringing together a wide range of scholars and practitioners, "Writing Design" reveals the difficulties, ethics and politics of writing about design.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Emilio Vedova's artistic career began in Venice in the mid-1930s. He immediately felt the deep allure of grand Venetian painting and sculpture and, guided by the restless agitation and dynamic mobility of the baroque, was soon plunged into total and extreme three-dimensional involvement. The work in "Emilio Vedova Scultore" originates precisely from his feeling of being a living and breathing part of the beloved spaces he encountered along his way, inexhaustible sources of stimuli and incitement, which he transformed into volumetric works of sculpture, architecture, opera and theatre. In his 1958 exhibition in Warsaw, the geometrical work mounted on the ceiling of the Zachenta Palace confirms Vedova's interest in sculpture and his penchant for articulating spatial implications.
This is followed in 1959 in Venice by the L-shaped teleri in the painting/ambient of Palazzo Grassi and then by his opera Intolleranza '60 (Intolerance '60) at the Teatro La Fenice, in collaboration with Luigi Nono. With the Plurimi (1961-1965), foreshadowed by the Rilievi (Reliefs, 1960-1964), Vedova removes the painting from the wall and installs it in the space of a fragmented, intersected set of surfaces somewhere between painting, sculpture and architecture. In Berlin he creates the Plurimi of the Absurdes Berliner Tagebuch '64, which found their natural development a few years later in Spazio/Plurimo/Luce (Space/Plurimo/Light), executed for Expo 1967 in Montreal. In this work, fourteen glass slides produced by the artist on Murano are projected simultaneously up to a height of 16 metres in the asymmetrical space by an equal number of large-format projectors. In 1977-1978, he works on the Plurimi/Binari from his Lacerazione (Laceration) cycle, where sliding, superimposed surfaces and black and white paintings squeezed into massive steel frames create images in continual transformation. In the same period he also dedicates himself to the Frammenti/Schegge (Fragments/Splinters) cycle - precarious, solitary and asymmetrical presences - and to the ... Cosiddetti Carnevali... (... So-called Carnivals...). Lastly, in the 1980s Vedova began his large installations of the Dischi (Discs) and Tondi - refound, vital and aggressive repossessions of space.
This book addresses the artist's entire career as a sculptor and includes a study of his series of models - his way of taking notes in three dimensions - which mark out his tireless daily quest for expression of the total work, towards which Emilio Vedova was inexorably drawn.

"I am an object maker." Jim Dine Night Fields, Day Fields is a survey of Jim Dine's sculpture from 1959 to 2009. Dine is commonly seen as a prolific painter, printmaker and photographer whose central practice is drawing, but this book shows that sculpture is just as important in his oeuvre. Here we discover Dine's favourite and reoccurring motifs: hearts, tools, skulls, and Pinocchio, as well as Classical sculpture in the form of Venus de Milo and Winged Victory. Dine's media are as diverse as his themes and include bronze, wood, glass and found objects. His styles are similarly manifold, testament to an artist who has shrugged off the trappings of Pop Art to develop an eclectic body of styles that is unique and authoritative in contemporary art. Born in 1935 in Cincinnati, Ohio, Jim Dine completed a Bachelor of Fine Arts at the University of Ohio in 1957, and has since become one of the most profound and prolific contemporary artists. Dine's unparalleled career spans fifty years and his work is held in numerous private and public collections. His books at Steidl include Birds (2001), The Photographs, so far (2003), and Hot Dream (52 Books) (2008).

"Fertility Experiments in Auschwitz-Birkenau: The Perpetrators and Their Victims" offers a historical examination of fertility experiments conducted by the Nazis. This dissertation tells the story of both the victims and perpetrators, often in their own words. Drawing on material that has only recently become available, this dissertation emphasizes the subjective dimension of fertility experiments by focusing on how the victims experienced the procedures and on how the perpetrators justified their crimes. Through in-depth analysis of testimonies made over the last 60 years - from witness statements at the Nuremberg Doctors Trial in 1947 to statements made for compensation programs such as the Claims Conference's recently closed Fund for Victims of Medical Experiments and Other Injuries, as well interviews conducted specifically for this dissertation - "Fertility Experiments in Auschwitz-Birkenau" aims to portray the life of the victims and perpetrators of Nazi fertility experiments during and after Auschwitz.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

New York is a centre of creative production for an exciting, emerging generation of women artists. Their work investigates themes such as the body as medium and subject matter; the deconstruction of the existing patriarchal order of the art world; the appropriation of earlier art historical references; and the use of so-called abject and everyday materials. New York New Wave investigates the relevance of earlier feminist practice for this 'new' generation, asking: Does gender difference still play a role in today's practice? How can younger women artists embrace a radical political ideology and yet remain market friendly? How far have these artists diverged from the established feminist "tradition"? Artists discussed include: Firelei Baez, EV Day, Ruby LaToya Fraser, Diana Al-Hadid, K8 Hardy, Valerie Hegarty, Cindy Hinant, Dawn Kasper, Anya Kielar, Liz Magic Laser, Narcissister, Alix Pearlstein, Aurel Schmidt, AL Steiner and W.A.G.E.

After retiring from a career as a small town businessman in Oklahoma, the late Mack Stanley spent almost twenty years writing a newspaper column titled "Hometown Tales." Every week Mack delighted readers with his collection of humorous, heart-felt short stories accounting his memories of small town life in Midwestern America during the first half of the 20th century. In Volume I Mack tells humorous stories of his friends and family from his youth, including some of his favorite Holiday Tales. Then in Volume II Mack updates us on "where they are now." Augmenting the stories for the books is Mack's long-time colleague, and career small town newspaper journalist John Clark. Together, Stanley & Clark have delivered a compilation of stories that take readers on an entertaining, nostalgic journey back to days past.

The Artwork of Shea Justice: Volume 1 is a compilation of twenty years of his work. It covers a variety of media that includes watercolor, drawing and collage. The book also is a celebration of important figures in African American History of which there are many portraits shown. Next to some of the illustrations there is information on some individuals that the readers may not be familiar with, including names, dates and their contributions to society. In addition to the portraits there are collaged images that deal with the political as well as the social impact black people have had on the American landscape. Along with being a book of art, it is also an historical document available for those interested in learning more about Black History.

Artist Raphael Soyer (1899-1987), whose Russian Jewish family settled in Manhattan in 1912, was devoted to painting people in their everyday urban lives. He came to be known especially for his representations of city workers and the down-and-out, and for his portraits of himself and his friends. Although Soyer never identified himself as a ""Jewish artist,"" Samantha Baskind, in the first full-length critical study of the artist, argues that his work was greatly influenced by his ethnicity and by the Jewish American immigrant experience. Baskind examines the painter's art and life in the rich context of religious, cultural, political, and social conditions in the twentieth-century United States. By promoting an understanding of Soyer as a Jewish American artist, she addresses larger questions about the definition and study of modern Jewish art. Whereas previous scholars have defined Jewish art simply as art produced by people who were born Jewish, Baskind stresses the importance of an artist's cultural identity when defining ethnic art. As Baskind explains how Soyer negotiated his Jewish identity in changing ways over his lifetime, she offers new strategies for identifying and interpreting Jewish art in general. Her analysis of Soyer's work places the artist in a necessary context and provides a valuable new approach to the study of modern Jewish art.

S i THOMAS MODERN ART THE MEN - Y . THE MOVEMENTS THE MEANING NEW YORK SIMLN AND SCHUSTER 4 ALL RIGHTS RESERVED COPYRIGHT, 1Q34, BY THOMAS CRAVEN PUBLISHED BY SIMON AND SCHUSTER, 386 FOURTH AVENUE, NEW YORK MANUFACTURED IN THE UNITED STATES OF AMERICA BY H. WOLFF ESTATE, NEW YORK, N. Y. Designed by Robert Josephy R J Jt 21 34 TO AILEEN CONTENTS INTRODUCTION XIX 1. BOHEMIA 1 The magic of Paris. The authors adventures in the Latin Quarter. The French spirit. Bohemianism an economic asset, a patriotic industry. Civiliz ing influence of the cafe. The Left Bank from Abelard to Murger. Villon. La Vie de Boheme, and the Golden Age. Montmartre, past and present. The Romantic Movement. Bohemia an anti-bourgeois world. Whistler and his snobbish Bohemian creed. The women. System of compulsory cohabitation. In praise of the girls of Paris. The mythical grisette. Effect of Bohemianism on art. Verlaine. Toulouse-Lautrec. Paris produces the stereotype. The arti ficial prolongation of youth. 2. THE NEW CENTURY 35 The little people violently unsettled. The bourgeois machine. Politics in France. Jew-baiting. Anti-Semitic feeling in art. A Frenchman writes a letter. Universal Exhibition of 1900. Architectural horrors. The exotic craze the belly dancers. Loie Fuller, idol of Paris. The new age. French taste. Fashions of 1900. The French monopoly on styles. Invention of lingerie. The well dressed gentleman. No baths. Home life in France. The sordid household. French writers. High-life. The cult of Proust. The artists. Not a decent artist in the Exhibition. Rodins strategy. The academic mills. The impending storm. Revolt in Montmartre. French intolerance. The State and the Bohemians. g . TWO KINDS OF ART 6 1France afraid of original art. All good men persecuted. The Academicians officially controlled. Old Bouguereau and his tribe. Impressionism its history and significance. Daumier. Courbet. Manet. Specialists in sunlight. Seurat. Renoir a real painter. Cezanne his life and work. His enormous influence. Cezanne and Poussin. Final estimate of Cezanne. The new men. 4. VAN GOGH 9 1 The home of Pastor Van Gogh. Vincents repugnant face. His youth in a boarding school. Spiritual agitations-. Assistant in an art gallery at The Hague. Model employee. Transferred to London. A painful love affair. Signs of lunacy. Escapes to Paris. London slums. Prepares for the Church. Evan gelist among the miners of Belgium. Terrible suffering. Turns to art. Un selfish devotion of his brother. In love again. Despised by women. He lives with a prostitute. Paints with maniacal industry. Studies in Paris. Mont martre and the skeptics. Drink and over-work. The South and the sun. The yellow house at Aries. Gauguin and the severed ear. The hospital and the asylum. Auvers and the final madness. He kills himself and is buried among the sunflowers. vii 5-GAUGUIN ll A study in abdication. Born with a grievance against the world. His bad blood Half-breed and half-artist. Strange childhood in Peru. Jesuit sem inary Three years before the mast. Prosperous banker for ten years. His marriage a failure. Restless and embittered, he turns to art as an escape from life Deserts wife and family, and retires to Brittany to paint. His many talents. His hatred of civilization. Fails to conquer Paris and sails to the South Seas. Life in Tahiti. The tropical paradise exposed. Marries a mulatto girl. A pseudo-savage. Makes a holy show ofhimself in Paris. The white mans curse. His Javanese mistress. Returns to Tahiti. Quarrels and degradation, disease and death. The cult of the primitive. 6. WILD ANIMALS 1 43 Van Gogh, his work, his influence, his limitations. Gauguin, his art a French instrument tattooed with savagery. The philosophy of escape. The impetus to pattern-making. Sensational uprising in art. Review of the forces precipitating Modernism. The new movement the culmination of anti bourgeois tendencies. A Bohemian revolt hatched in Montmartre. Picasso and his crew...

This sumptuously illustrated volume, edited by eminent war historian Joanna Bourke, offers a comprehensive visual, cultural and historical account of the ways in which armed conflict has been represented in art. Covering the last two centuries, the book shows how the artistic portrayal of war has changed, from a celebration of heroic exploits to a more modern, truthful depiction of warfare and its consequences. Featuring illustrations by artists including Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Francis Bacon, Kathe Kollwitz, Yves Klein, Robert Rauschenberg, Dora Meeson, Otto Dix and many others, as well as those who are often overlooked, such as children, women, non-European artists and prisoners of war, this extensive survey is a fitting and timely contribution to the understanding, memory and commemoration of war, and will appeal to a wide audience interested in warfare, art, history or politics. Introduction by Joanna Bourke, with essays by Jon Bird, Monica Bohm-Duchen, Joanna Bourke, Grace Brockington, James Chapman, Michael Corris, Patrick Crogan, Jo Fox, Paul Gough, Gary Haines, Clare Makepeace, Sue Malvern, Sergiusz Michalski, Manon Pignot, Anna Pilkington, Nicholas J. Saunders, John Schofield, John D. Szostak, Sarah Wilson and Jay Winter.

Alfred Orage was one of those mysterious figures in our cultural history who was in his lifetime extremely influential, and after his death almost forgotten. He was the man who co-founded the Leeds Arts Club, possibly the only genuine manifestation of Expressionism in pre-second world war Britain, which promoted the philosophy of Nietzsche, the mystical socialism of the early Labour movement and suffragette feminism, as well as literary and artistic modernism. He turned the weekly newspaper the New Age from a failing organ of the Christian Socialism movement into the British equivalent of Germany's Der Sturm, and the most widely read cultural periodical of its age. And he was the first mentor of one of the most important writers on modern art of the twentieth century, Herbert Read, helping to shape his philosophy of art, and through him the direction of international modernism. In this book Tom Steele follows Orage's career alongside the history of the Leeds Arts Club, showing that modernism in Britain was not wholly a London-centred affair. Whilst Roger Fry and Bloomsbury were following and promoting French modernism in the first two decades of the twentieth century, Orage and other figures associated with the Leeds Arts Club, including Holbrooke Jackson, Arthur Penty, Michael Sadler, Frank Rutter and of course Herbert Read, were engaged in the far more radical modernist ideas coming out of Germany, with Sadler even collecting paintings by Wassily Kandinsky in Leeds as early as 1913.

This unique series of paintings takes the viewer on a graphic, visionary journey through the physical, metaphysical, and spiritual anatomy of the self. From anatomically correct rendering of the body systems, Grey moves to the spiritual/energetic systems with such images as "Universal Mind Lattice," envisioning the sacred and esoteric symbolism of the body and the forces that define its living field of energy.

Includes essays on the significance of Grey's work by Ken Wilber, the eminent transpersonal psychologist, and by the noted New York art critic, Carlo McCormick.

The Story of Dada revives some of the most revolutionary art historical events of the 20th Century and introduces the notion of the "Dada-Gene," which enhances creativity.

'The great picture-galleries may be likened to the temples of art... but every day and all day long we breathe the atmosphere of ornament.' Originally published in 1882, Every-Day Art is a series of essays on design and decoration in daily life by Lewis Foreman Day (1845-1910), a pioneering member of the Arts and Crafts movement. Day trained as a stained glass maker before becoming a celebrated designer of textiles, ceramics, wallpaper and furniture. Sharing with his contemporary William Morris the belief that objects could be both useful and beautiful, Day considers questions of taste, the past, interiors, nature and craftsmanship. Progressive yet undeniably Victorian, he offers pithy comment on the elevated status of so-called high art compared to the decorative arts, and has sage advice for 'Ladies and Amateurs' considering artistic careers. His entertaining and perceptive essays are anchored by a strong belief that craft and honestly acquired skill should win out over the whims and excesses of fashion.

In "City/Art," anthropologists, literary and cultural critics, a philosopher, and an architect explore how creative practices continually reconstruct the urban scene in Latin America. The contributors, all Latin Americanists, describe how creativity--broadly conceived to encompass urban design, museums, graffiti, film, music, literature, architecture, performance art, and more--combines with nationalist rhetoric and historical discourse to define Latin American cities. Taken together, the essays model different ways of approaching Latin America's urban centers not only as places that inspire and house creative practices but also as ongoing collective creative endeavors themselves. The essays range from an examination of how differences of scale and point of view affect people's experience of everyday life in Mexico City to a reflection on the transformation of a prison into a shopping mall in Uruguay, and from an analysis of Buenos Aires's preoccupation with its own status and cultural identity to a consideration of what Miami means to Cubans in the United States.

Contributors delve into the aspirations embodied in the modernist urbanism of Brasilia and the work of Lotty Rosenfeld, a Santiago performance artist who addresses the intersections of art, urban landscapes, and daily life. One author assesses the political possibilities of public art through an analysis of subway-station mosaics and Julio Cortazar's short story "Graffiti," while others look at the representation of Buenos Aires as a "Jewish elsewhere" in twentieth-century fiction and at two different responses to urban crisis in Rio de Janeiro. The collection closes with an essay by a member of the Sao Paulo urban intervention group Arte/Cidade, which invades office buildings, de-industrialized sites, and other vacant areas to install collectively produced works of art. Like that group, "City/Art "provides original, alternative perspectives on specific urban sites so that they can be seen anew.

"Contributors." Hugo Achugar, Rebecca E. Biron, Nelson Brissac Peixoto, Nestor Garcia Canclini, Adrian Gorelik, James Holston, Amy Kaminsky, Samuel Neal Lockhart, Jose Quiroga, Nelly Richard, Marcy Schwartz, George Yudice

Tanaka Yasuo's Nantonaku, kurisutaru (Somehow, Crystal, 1980) and Yoshimoto Banana's Kitchin (Kitchen, 1987) have been denigrated as emblematic of a so-called "bastardized line" of Japanese literature, characterized by an unabashed celebration of a "late-capitalist" consumerist ethos. Close readings of these works are undertaken in order to demonstrate that, while these works are reflective of late-capitalist postmodern Japan (the development of which is delineated prior to the readings), they nonetheless posit uniquely postmodern strategies for critically engaging issues of identity formation and maintenance, and the creation of meaning as they appear in the contemporary Japanese socio-cultural nexus. I argue that if such strategies are not immediately apparent, it is because they hold to what critic Fredric Jameson, in his discussion of the requisites for a "new political art," calls "the truth of postmodernism." This work will interest those concerned with postwar and contemporary Japanese culture, society and literature, as well as those engaged in the study of "global culture."

This book is about a nation's journey of cultural transformation, a process undertaken by the Republic of Turkey soon after gaining its independence in 1923. Mustafa Kemal Ataturk, Turkey's acknowledged father and first president, envisioned this process. It is still ongoing. There is no certainty as to its conclusion, but to date, the progress has been monumental and mostly irreversible. Ataturk's objective was the modernization and westernization of Turkey's culture as it pertained to the country's nation-building agenda. Provided are little known insights. They deal with the visual arts and their impact on Turkey's society. They address vital and under-stressed aspects of European cultural imperialism that were willingly accepted and in fact invited into the young republic. The impact of the changes in visual arts is still felt in Turkish society. It has relevance to Turkeys' economy, and to many current public policy debates worldwide. *Book also available in hardcover by contacting BookSurge Customer Service.

A sumptuous monograph presenting for the first time the extraordinarily imaginative and delightful work of visionary artist Renaldo Kuhler (American, 1931-2013). The Secret World of Renaldo Kuhler catapults a thrilling new discovery into the pantheon of the most accomplished visionary-or "outsider"-artists. Like Henry Darger, Howard Finster, George Widener, and Adolf Woelfli, Renaldo Kuhler was an exceptionally gifted artist and possessed an imagination all his own. By day Kuhler was a self-taught scientific illustrator under the employ of the North Carolina Museum of Natural Sciences, for which he created thousands of wonderfully precise illustrations of myriad natural history specimens-reptiles, fish, turtles, and the like. Renaldo Kuhler was an unusual individual, as was instantly clear from his appearance alone. Six-foot-four, with a white beard and ponytail, he wore a custom-tailored uniform consisting of a sleeveless Kelly green suit jacket with wide, black, notched lapels, epaulets, and brass buttons, a matching suit vest, yellow flannel dress shirt, a fleur-de-lis Boy Scout neckerchief, and tight-fitting knee-length shorts ("cotton-blend lederhosen"). However, unbeknownst even to family, friends, and coworkers, Kuhler was more than an eccentric, gifted scientific illustrator. He was a prolific visionary artist, who, as a teenager in the late 1940s, invented an imaginary country he named Rocaterrania-after Rockland County, New York, where he had lived as a child. For the next sixty years, in secret, he illustrated the nation's entire history and the prominent characters of its populace. Rocaterrania is a fantastical world, a richly illustrated amalgam of Kuhler's personal cultural and aesthetic fascinations. Situated just north of the Adirondacks in New York, at the Canada-United States border, Rocaterrania is a sovereign nation of immigrants, from Scandinavia to Eastern Europe. Kuhler invented a complete world populated by a royal family and a succession of leaders resembling historical Russian figures, Women reminiscent of Marlene Dietrich and Janet Leigh play important roles as do bearded men of a seeming Hasidic Jewish heritage, men bearing curious physical similarities to American presidents, and neutants-individuals neither male nor female. Amid forests, mountains, lakes, and rivers, Kuhler's imaginary country is made up of provinces and cities filled with distinctive Rocaterranian architecture and well-planned railroad and metro systems. Its government is unique, and it has its own religion, Ojallism, and its own evolving language and alphabet. With an organized labor service, a prison system (modeled after a New Jersey state penitentiary), a university system, a Rocaterranian Olympics, and an independent movie industry, Rocaterrania is a nation bustling with dozens of characters and their intrigues. Initially meant to be an escape, Kuhler's Rocaterrania became a secret lifelong obsession, an intricately coded, metaphorical account through Rocaterrania's tumultuous history, which dovetailed with Kuhler's own struggles for independence and freedom. Renaldo was the son of the German-born industrial designer Otto Kuhler, renowned for his Art Deco-era streamlined trains; his Belgian mother had little patience for her son, who was ostracized and bullied throughout his life for being "different." The Kuhler family moved in 1948 from Rockland County, New York, to a remote cattle ranch in the Colorado Rockies-an unbearably isolated environment for the teenaged Renaldo. Retreating to his sketchbooks, journals, and watercolors to invent his imaginary nation of Rocaterrania, young Kuhler wrote, "The ability to fantasize is the ability to survive." The Secret World of Renaldo Kuhler is filled with more than 400 illustrations in pencil, ink, acrylic, oil, gouache, watercolor, colored pencils, and markers, demonstrating Kuhler's phenomenal draftsmanship and wide range of style-from delicately shaded graphite works to comic-book ink drawings. Complementing Kuhler's impressive artistry is his gift for analogical thinking, which flowered in his appropriation and reimagining of personalities, places, and events from world history to form a cohesive and fully imagined world. After decades of secrecy, Kuhler eventually first shared his work and the story of his imaginary country with filmmaker Brett Ingram, whom he met by chance in the mid-1990s. In 2009 Ingram released Rocaterrania, a feature-length documentary with prized footage of Kuhler at home and at work, and talking about his creation. With The Secret World of Renaldo Kuhler Ingram has written the complete story of Rocaterrania as relayed to him over time by Kuhler, resulting in a fascinating, highly entertaining first and major book about this rare, newly discovered, full-blown visionary outsider artist.