In 1984, photographers Martha Cooper and Henry Chalfant captured the imagination of a generation with Subway Art, a groundbreaking book documenting the work of graffiti writers who illegally painted subway cars in New York City. The 2009 edition of the book is now available in a new, slightly reduced format. Henry Chalfant's images of the trains retain their impact, while Martha Cooper's narrative pictures tell the story. In the introductions, the authors recall how they gained entry to the New York graffiti community in the 1970s and 1980s and describe the techniques that they used to photograph it. Afterwords report how the lives of the original subway artists have unfolded, and chronicle the end of the subway graffiti scene in the late 1980s and its unexpected rebirth as a global art movement. This is an essential book for all fans of graffiti, stunning photography and 1980s-cool.

With its bold colours, flashy imagery and ironic spirit, Pop Art trespasses the traditional boundaries separating high from low culture. Flavia Frigeri introduces us to a movement that focuses on everyday objects, from its beginnings in the post-war consumerism of America and Britain to its fascinating rise on a global scale in the 1960s. The work of well-known artists, such as Andy Warhol, Roy Lichtenstein, Richard Hamilton and Peter Blake, is set in dialogue with that of Japanese Ushio Shinohara, Venezuelan Marisol and Argentinian Marta Minujin, among others. Organized around key themes common to all Pop Art, including advertising, politics, the domestic realm, consumer goods, art history, celebrity culture, war and the space race, this is an essential introduction to the movement that transformed the `popular' into art. A reference section includes a useful timeline, glossary of Pop terms and suggestions for further reading.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Morgan Howell paints classic 7" singles and takes into account every crease, every tear, every imperfection-producing a one-off, truly unique artwork, almost identical to the owner's original copy, but blown up, supersize, to 70 by 70 cm, and three-dimensional, with the spindle in the centre, as if the record is ready to play. This completely original approach has resulted in Howell attracting a cult following amongst art collectors and musicians alike-with paintings commissioned by the likes of Neil Diamond, Jude Law, Edgar Wright, and The Stone Roses' Ian Brown, and major music labels selecting the artist's work for display in their headquarters, indeed, Howell's painting of David Bowie's The Jean Genie is displayed at the Sony Music Building in London, and Yesterday by The Beatles has been shown at the Capitol Building in L.A. Morgan Howell at 45 RPM, published by Black Dog Press, beautifully documents 95 of Howell's creations, from 'Tutti Frutti' by Little Richard to 'Heart of Glass' by Blondie, to 'Gimme Shelter' by The Rolling Stones, to 'Waterloo Sunset' by The Kinks. The artworks are shown in full, alongside evocative commentaries from fans of Howell's work, including The Smiths' Johnny Marr, Spandau Ballet's Gary Kemp, comedian Al Murray, journalist Tony Parsons, actress Kay Mellor, Happy Mondays' Shaun Ryder, producer William Orbit and composer Andrew Lloyd Webber. The book features Forewords by Sir Peter Blake and Andrew Marr, plus an in-depth interview with Morgan Howell, exploring his process as an artist and why, for him, music and art are intrinsically linked. With a format perfectly designed to fit on record shelves, this book is a must for vinyl junkies, music heads and art lovers everywhere.

The Concise Dictionary of Popular Culture covers the theories, media forms, fads, celebrities and icons, genres, and terms of popular culture. From Afropop and Anime to Oprah Winfrey and the X-Files, the book provides more than just accessible definitions. Each of the more than 800 entries is cross-referenced with other entries to highlight points of connection, a thematic index allows readers to see common elements between disparate ideas, and more than 70 black and white photos bring entries to life.

A central pillar of Daniel Lie's artistic practice is time - ranging from age-old memories to the beginning of the world, from the life span of a human being to the geological time of the elements. Lie's art explores concepts such as life, death, and decay, as well as biographical relationships and heritage, with an approach that centres around personal memories, family stories, cultural objects, and natural products that survive for a long time and are linked to memories of the past. Taking a lifetime as a comparative measure, the works are inspired by developmental processes and the transition from one state to another. Installations, sculptures, and a combination of different media reveal the performative qualities of the referential objects - time, transience, and presence. Lie turns a spotlight on these three aspects by creating complex installations and giving pride of place to organic elements that grow and age and have life cycles of their own, such as plants and fungi. Engaging in an interdisciplinary exchange with mycologists, archaeologists, and environmental specialists, Lie addresses the fault lines in binary thought patterns such as science and religion, past origins and present existence, life and death, while attempting to subvert them.

The exhibited works of Kurt Jackson (b.1961) do not necessarily reveal his day-to-day working practice. Behind his finished canvases are hundreds of sketchbooks borne out of his continual routine of making drawings, marks, notes, poems and scribbles. This book, newly available in paperback, examines the importance of the sketchbook to Jackson. For Jackson, sketchbooks are vital to the development and completion of his paintings. Often sketching while a painting evolves, the artist values each medium equally - the pages of his sketchbooks reveal how the hastily executed images can help him to work out what he wants to achieve on canvas, or simply capture a spontaneous image when there is not enough time to paint or draw properly. Illustrating mundane daily events and happenings as well as key moments, journeys and the overlapping ongoing project work, Jackson's sketchbooks are key to understanding his inspirations as an artist. Drawing on a selection of 20 sketchbooks, of differing sizes and a variety of media, this fascinating publication provides a rare insight in to the mind of a highly creative and original artist.

“We are all inside this thing—but how?” This book explores 21st century art’s reckonings with the technosphere. Almost unimaginable in its complexity and scale, a man-made megastructure surrounds all of us, and often seems inescapable. Outlining the poetics of encryption that attend to this infrastructural condition, Samman explores dramatic motifs including confinement, capture, and burial, as well as access and exclusion from secured domains. Poetics of Encryption excavates the art of our times as it quests through caves, cables, codes, satellites, and icons. Toggling between enlightened concern and occult dreaming it surveys a counter-intuitive aesthetic of the interface: Addressing those who cannot write code, this analogy in contemporary art stages its own ‘digital’, both virtually and analogue.

Landscape architecture is a form of high art for Erik Dhont, who has brought both nuance and sensitivity to various sites. Playing with flowers, grasses, shrubs or trees, he creates unique spaces, structures and textures. His timeless green paradises which are the result of true craftsmanship, are deeply rooted in the European garden tradition. They stand for longevity, evolution, dreams, and life. In this second monograph, Dhont presents his creations from over the last twenty years, combining photographs with abstract drawings, colorful planting plans, and sculptural models that reflect on his artistic approach. Intimate views of seminal creations such as the garden of fashion designer Dries van Noten immerse one into Dhont's creative and sensual universe.

The first comprehensive monograph on the work of Brazilian painter Lucas Arruda elucidates the artist's intricate, meditative compositions. Arruda has gained critical acclaim for atmospheric paintings that fluctuate between abstraction and figuration, imagination and reality. This monograph presents three groups of works loosely characterized as seascapes, jungles, and monochromes. Collectively titled Deserto-Modelo, they have an ephemeral, transient quality. Arruda's intimately sized paintings of seascapes and junglescapes are characterized by their subtle rendition of light. Painted from memory, they are devoid of specific reference points, instead achieving their variety through the depiction of atmospheric conditions. Verging on abstraction, the compositions are grounded by an ever-present, if sometimes faint, horizon line that offers a perception of distance. They appear at once familiar and imaginary. Through his often evocative and textured brushstrokes, Arruda foregrounds the materiality and physicality of paint, while also recalling his genres' historical associations with the notion of the romantic sublime. Alongside meticulous color plates and powerful details, author Will Chancellor offers a close reading of the work, raising questions about artifice, thresholds, and perception. Critic Barry Schwabsky unpacks the challenges posed by Arruda's mysterious painted surfaces. As a whole, this book provides a detailed introduction to the work of a uniquely thoughtful and inventive artist.

This book celebrates and seeks to understand the overlooked appearances of hybrid forms in visual culture; artefacts and practices that meld or interweave incongruous elements in innovative ways. And with an emphasis on the material aspects of such entities, the book adopts the term 'mixed form' for them. Focusing on key phenomena in the last half millennium such as the cabinet of curiosities, the broadside ballad and the chapbook as early forms of image-text, the scrapbook, assemblage, and, in digital times, so-called 'mixed reality,' the book argues that while the quality of inconsistency is traditionally dismissed, its expression nevertheless plays a vital role in social life. Crucially, Mixed Forms of Visual Culture relates its phenomena to the emergence of the division of labour under capitalism and addresses the shifting relationships between art and life, when singularity and uniformity are variously valued and dismissed in the two arenas, and at different points in history. Two of the book's chapters take the form of visual essays, with one comprising an anthology of found scrapbook pages and the other offering an analysis of artists' scrapbooks. The book is richly illustrated throughout.

What is contemporary art? What makes it 'contemporary'? What is it for? And why is it so expensive? The contemporary art world can be a baffling place, but Kyung An and Jessica Cerasi are on hand to bring you up to speed. From museums and the art market to biennales and the next big thing, Who's Afraid of Contemporary Art? offers concise and pointed insights into today's art scene, decoding 'artspeak', explaining what curators do, demystifying conceptual art, exploring emerging art markets and much, much more. The authors' playful explanations draw on key artworks, artists and events from around the globe, including Felix Gonzalez-Torres's 'Candy Spills', extreme Chinese performances, Damien Hirst and Kanye West. Packed with behind-the-scenes information and completely free of 'artspeak', Who's Afraid of Contemporary Art? is the perfect gallery companion and the go-to guide for when the next big thing leaves you stumped.

Celebrate more than three decades of filmmaking by diving into the brilliant, twisted mind of Quentin Tarantino, and discover the artistic process of an Oscar-winning legend. Born in Knoxville, Tennessee, in 1963, Quentin Tarantino spent many Saturday evenings during his childhood accompanying his mother to the movies, nourishing a love of film that was, over the course of his life, to become all-consuming. The script for his first movie took him four years to complete: My Best Friend's Birthday (1987), a seventy-minute film in which he both acted and directed. The script for his second film, Reservoir Dogs (1992), took him just under four weeks to complete. When it debuted, he was immediately hailed as one of the most exciting new directors in the industry. Known for his highly cinematic visual style, out-of-sequence storytelling, and grandiose violence, Tarantino's films have provoked both praise and criticism over the course of his career. They've also won him a host of awards--including Oscars, Golden Globes, and BAFTA awards--usually for his original screenplays. His oeuvre includes the cult classic Pulp Fiction, bloody revenge saga Kill Bill Vol. 1 and Vol. 2, and historical epics Inglorious Basterds, Django Unchained, The Hateful Eight, and Once Upon a Time...In Hollywood. Featuring an all-new chapter on the director's latest award-winning film Once Upon a Time...In Hollywood, this stunning retrospective catalogs each of Quentin Tarantino's movies in fascinating detail. The book is a tribute to a unique directing and writing talent, celebrating an uncompromising, passionate director's enthralling career at the heart of cult filmmaking.

A powerful portrait of the greatest humanitarian emergency of our time, from the director of Human Flow In the course of making Human Flow, his epic feature documentary about the global refugee crisis, the artist Ai Weiwei and his collaborators interviewed more than 600 refugees, aid workers, politicians, activists, doctors, and local authorities in twenty-three countries around the world. A handful of those interviews were included in the film. This book presents one hundred of these conversations in their entirety, providing compelling first-person stories of the lives of those affected by the crisis and those on the front lines of working to address its immense challenges. Speaking in their own words, refugees give voice to their experiences of migrating across borders, living in refugee camps, and struggling to rebuild their lives in unfamiliar and uncertain surroundings. They talk about the dire circumstances that drove them to migrate, whether war, famine, or persecution; and their hopes and fears for the future. A wide range of related voices provides context for the historical evolution of this crisis, the challenges for regions and states, and the options for moving forward. Complete with photographs taken by Ai Weiwei while filming Human Flow, this book provides a powerful, personal, and moving account of the most urgent humanitarian crisis of our time.

This is the first book to survey the work of painter and printmaker Tom Hammick (b.1963). It sets Hammick's art within the context of contemporary debates about painting while relating it to the two-centuries-old Romantic tradition. Julian Bell explores in depth the artist's working processes, imagery and career to date, arguing that Hammick's work constitutes one of the richest imaginative achievements in late 20th- and early 21st-century British art. Many of Hammick's pictures respond to the landscape of South-East England, where he has spent much of his life. Others are inspired by his encounter with the wilderness of Canada's remote maritime provinces, a regularly revisited imaginative resource that has given his work much of its distinctive flavour. Hammick has spent three periods in Canada: as both a student and later visiting lecturer in Painting and Printmaking at Nova Scotia College of Art and Design, Halifax between 1989 and 2002, and in 2005 after being awarded a residency at the Art Gallery of Newfoundland and Labrador, now called the Rooms. Informed by the author's sustained contact with Hammick over many years, illustrated with over 120 carefully selected images, and produced in close collaboration with the artist, Tom Hammick: Wall, Window, World will appeal to the artist's collectors and wide popular audience, as well as students, art-world professionals and painting enthusiasts. It is available also in a special edition incorporating the three-part colour etching Fallout, created by the artist specially for this publication in an edition of 60.

What was it like to grow up in a Modernist residence? Did these radical environments shape the way that children looked at architecture later in life? The oral history in this book paint a uniquely intimate portrait of Modernism. The authors conducted interviews with people, who spent their childhood in radical Modernist domestic spaces, uncovering both serene and poignant memories. The recollections range from the ambivalence of philosopher Ernst Tugendhat, now 90 years old, who lived in the famous Mies van der Rohe house in Brno (1930) to the fond reminiscing of the youngest daughter of the Schminke family, who still dreams of her Scharoun-designed ship-like villa in Loebau (1933). The book offers a unique, private and often refreshing perspective on these icons of the avant-garde.