THE NATIONAL BESTSELLER From the internationally bestselling artist that brought you the Morphia series, this incredible coloring book includes 96 double-sided pages of pure imagination in an all-new Kerby Rosanes universe. A new fantastic and super-detailed adult coloring book, in an entirely new world, from the prodigious bestselling illustrator. Colorists will find Kerby Rosanes's new creations to be hypnotic, with spread after dizzying spread featuring creatures, people, animals, and landscapes that blur the line between familiar and magical, between reality and imagination. Fans will be thrilled to see Kerby return with this 96-page book, providing an apparently endless coloring challenge for even his most dedicated and enthusiastic fans.

In Brave Birds, cut-paper artist and writer Maude White presents an entirely new collection of sixty-five stunning cut-paper birds. As a source of inspiration, each bird is paired with an original message of kindness and strength associated with its particular traits to encourage bravery and perseverance. Inside, you'll find birds for experiencing Joy, Creativity, Patience, Kindness, Resilience, Communication, Strength, Awareness, Action, and Transformation, and each composition, beautifully photographed by Laura Glazer, reflects thousands of intricate cuts, lending an astounding level of texture to these delicate and ethereal creatures. Appealing to any bird lover or collector of bird art, Brave Birds is a beautiful resource for those wishing to practice a life of kindness and empathy.

Paul Gruhler opened his first studio in 1962 at the age of 21 - a year later he had a solo show at the DeMena Gallery in lower Manhattan. From the beginning, Gruhler, a self-taught artist, was compelled by what came to be known as geometric abstraction, in which the deliberative arrangement of color, line, texture, and scale, in paintings and collage, evoke from these disparate elements a sense of meditative harmony. For sixty years, he has continued to explore the subtle differences that can be made from color and line. Gruhler was fortunate in the early years to have met and become good friends with three older artists who were also important teachers and mentors - first Michael Lekakis, then Harold Weston and Herb Aach. Lekakis, a celebrated sculptor, who already had had exhibitions at the Guggenheim Museum, the Whitney Museum of American Art, and the Museum of Modern Art's exhibition Americans 1963, took Gruhler under his wing, navigating him through New York's thriving avant-garde art scene. As Carolyn Bauer writes, "Michael Lekakis was instrumental in encouraging Gruhler to attend art events, while taking him to invite-only museum openings." He also introduced him to renowned artists - among them, Alexander Calder, Isamu Noguchi, Louise Nevelson, and Barnett Newman - whose works influenced the young Gruhler, as did such artists as Mark Rothko, Clyfford Still, and Ad Reinhardt. Lekakis was also instrumental in Gruhler's first show, giving titles to his paintings and writing catalog copy that drew upon his own abstract poetics. "These canvases," he wrote, are "multi colored fire densely cascades to suspension hanging a counterpoint of rhythmic patterns in space covering it like a shroud united by a golden fragmentation." Over these years Gruhler has had numerous solo and group shows in the U.S. in New York and Vermont, in Mexico, and abroad in Finland, Germany, Sweden, and The Netherlands. HARMONICS is both a retrospective and a current view of Paul Gruhler's intensive art. "My work," he says, "has been a meditative exploration of vertical and horizontal relationships in space, in order to achieve both harmony and tension within color, line and form." -- Paul Gruhler * Publisher *

Small Pieces is a collaboration between novelist Micheline Aharonian Marcom and writer and visual artist Fowzia Karimi, pairing Marcom’s short stories—miniatures as Marcom calls them—with Karimi's watercolors. The work is a conversation between two artists in text and image, side by side.

Disrupted Realism is the first book to survey the works of contemporary painters who are challenging and reshaping the tradition of Realism. Helping art lovers, collectors, and artists approach and understand this compelling new phenomenon, it includes the works of 38 artists whose paintings respond to the subjectivity and disruptions of modern experience. Widely published author and blogger John Seed, who believes that we are "the most distracted society in the history of the world," has selected artists he sees as visionaries in this developing movement. The artists' impulses toward disruption are as individual as the artists themselves, but all share the need to include perception and emotion in their artistic process. Six sections lay out and analyze common themes: "Toward Abstraction," "Disrupted Bodies," "Emotions and Identities," "Myths and Visions," "Patterns, Planes, and Formations," and "Between Painting and Photography." Interviews with each artist offer additional insight into some of the most incisive and relevant painting being created today.

Georgia O'Keeffe spent almost 40 years of her life in the American Southwest. Her two houses in New Mexico; at Ghost Ranch and Abiquiu and the landscapes around them became essential elements in her paintings. The mountains and arroyos, the skulls and the Jimson weeds, a ladder against a wall, a door; all transformed by her genius into a quintessentially American art. Astonishingly, the history of these houses has never before been written. In this volume, Barbara Buhler Lynes and Agapita Judy Lopez create a vibrant picture of O'Keeffe at home. Drawing on O'Keeffe's correspondence, Lynes and Lopez set forth their fascinating story. An essay by architect Beverly Spears describes the distinctive characteristics of adobe architecture and its construction, and the many individuals involved with the house are identified. An appendix provides valuable information about the materials used in resorting the Abiquiu house. Photographs made especially for this book show the houses as they are today, plus dozens of photographs made by major photographers during her life show her living in the houses. Photographs of her painting and specific architectural components of the Abiquiu house are also included. These photographs and their accompanying texts offer for the first time a compelling picture of O'Keeffe's life in New Mexico, how each house satisfied different aspects of the artist's personal and professional needs and how O'Keeffe gradually transformed these Spanish Pueblo Revival style houses to reflect her modernist aesthetic.

The first major publication devoted to weaver and designer Dorothy Liebes, reinstating her as one of the most influential American designers of the twentieth century At the time of her death, Dorothy Liebes (1897–1972) was called “the greatest modern weaver and the mother of the twentieth-century palette.� As a weaver, she developed a distinctive combination of unusual materials, lavish textures, and brilliant colors that came to be known as the “Liebes Look.� Yet despite her prolific career and recognition during her lifetime, Liebes is today considerably less well known than the men with whom she often collaborated, including Frank Lloyd Wright, Henry Dreyfuss, and Edward Durrell Stone. Her legacy also suffered due to the inability of the black-and-white photography of the period to represent her richly colored and textured works. Extensively researched and illustrated with full-color, accurate reproductions, this important publication examines Liebes’s widespread impact on twentieth-century design. Essays explore major milestones of her career, including her close collaborations with major interior designers and architects to create custom textiles, the innovative and experimental design studio where she explored new and unusual materials, her use of fabrics to enhance interior lighting, and her collaborations with fashion designers, including Clare Potter and Bonnie Cashin. Ultimately, this book reinstates Liebes at the pinnacle of modern textile design alongside such recognized figures as Anni Albers and Florence Knoll. Published in association with Cooper Hewitt, Smithsonian Design Museum  Exhibition Schedule: Cooper Hewitt, Smithsonian Design Museum (July 7, 2023–February 4, 2024)  

A dazzling celebration of the clothes that made America's favorite doll and the incredible woman behind them, timed to the movie release of Barbie, starring Margot Robbie and Ryan Gosling and directed by Greta Gerwig. If you've ever had a Barbie doll, or you know someone who did, chances are that Barbie was dressed in one of the thousands of designs created by Carol Spencer during her unparalleled reign as a Barbie fashion designer spanning more than thirty-five years. Illustrated with more than 100 full-color photographs, including many never-before-seen images of rare and one-of-a-kind pieces from Spencer's private archive, Dressing Barbie is a treasure trove of some of the best and most iconic Barbie looks from the early 1960s until the late 1990s. Along with behind-the-scenes stories of how these designs came to be, Spencer reminisces about her thrilling time at Mattel working with legendary figures such as Ruth Handler, Barbie's creator, and Charlotte Johnson, the original Barbie designer, for a full, inside look into life with the beloved doll. Over the course of her career, Spencer won many accolades. She was the first designer to have her signature on the doll, the first to go on a signing tour, the first to design a limited-edition Barbie for collectors, and the designer of the biggest-selling Barbie of all time. Now, she is the first member of the inner circle to reveal the fashion world of the quintessential California girl as never before.

The definitive book on a creative force who continues to influence sculpture and installation art.

Jessica Stockholder has long broken down the boundaries between painting, sculpture, and architecture to explore the body in social and cultural space - using found objects intertwined with profusions of vivid colours. This revised, updated edition spotlights the extraordinary evolution of her career, and examines the pivotal role she has played in shaping some of the most fundamental ideas around which contemporary sculpture and painting revolve today.

Hong Seung-Hye has garnered a unique position in the Seoul art scene with her bravado in defying conventional borders. She sees no restraints in crisscrossing the border between the abstract and the figurative, the plane and the three-dimensional. Nor does she shy away from employing public spaces just as freely as she experiments inside a white cube. This first monograph on Hong traces the trajectory of her prolific oeuvre. It features four essays written by distinguished Korean critics, curators and educators who have closely witnessed and worked alongside Hong throughout the past two decades. Originally written in context with solo exhibitions, each of which marking a milestone in her career, they offer individual starting points to delve into and read Hong's art. Ranging from her earliest paper collages to the most recent videos reinterpreting Snoopy from iconic comic strip The Peanuts, this book illustrated with some 200 colour plates provides a comprehensive survey of Hong's versatility.

Petro-modernity is a local phenomenon essential to the history of Kuwait, while also a global experience and one of the prime sources of climate change. The book investigates petroleum's role in the visual culture of Kuwait to understand the intersecting ideologies of modernization, political representation, and oil. The notion of iridescence, the ambiguous yet mesmerizing effect of a rainbowlike color play, serves as analytical-aesthetic concept to discuss petroleum's ambiguous contribution to modernity: both promise of prosperity and destructive force of socio-cultural and ecological environments. Covering a broad spectrum of historical material from aerial and color photography, visual arts, postage stamps, and master plans to architecture and also contemporary art from the Gulf, it dismantles petro- modernity's visual legacy.

This volume presents for the first time in English a curated selection of writings by the design thinker Gui Bonsiepe from the 1960s to the present day. Addressing as it does questions of non-Western design and a design practice that is both radical and democratic, Bonsiepe's work has assumed new importance for current debates inspired by global political and environmental crises. Structured into three sections, the anthology first addresses Bonsiepe's work on design theory and practice, particularly in relation to the history and contemporary relevance of the Ulm design school, where Bonsiepe was a professor in the 1960s. A second section then represents Bonsiepe's writings after his move to South America in the 1960s and '70s, where he worked as a design consultant for the Allende government in Chile before the military takeover. In writings from the period, Bonsiepe explores the concept of design 'at the periphery' and the relationship of national design traditions and practices in Latin American countries to those of 'the core' - Western European and American design. The final section comprises selections of Bonsiepe's writings on design in relation to literacy and language, visuality and cognition. This indispensable volume includes new interviews with Bonsiepe as well as his original, previously unpublished texts.

"Imagining Science "brings together internationally recognized artists, scientists, and social commentators to feature a body of original artwork and essays which explores the complex legal, ethical, and social concerns about advances in biotechnology, such as stem cell research, cloning, and genetic testing. Many important questions and themes emerge from this exchange, highlighting the linkages between scientific and creative research. This collaboration also stresses the vital role art can play in critiquing these biomedical technologies, particularly as advancements in science begin to challenge our ethical boundaries.

Marlene Dumas's work is widely admired for its emotionally-charged portrayal of the human figure and its potent combination of drama, humor and sexuality. Born in South Africa in 1953 and based in Amsterdam, Dumas is a highly-skilled ?painter's painter?; her work comments on the state of painting today while asking what it means to be a woman working within the predominantly male genre of Expressionist art. Dumas's work is collected and exhibited internationally, and since the publication of the first edition of this book, her following has continued to grow. This revised edition, with a new essay by Ilaria Bonacossa and new writings by Dumas, has been expanded by 80 pages to include the artist's most recent work.

FOLLOWING FROM THE ENORMOUS SUCCESS OF WORDS AND PICTURES AND BEYOND THE PAGE , THIS THIRD VOLUME CONTINUES A NARRATIVE OF VISUAL ADVENTURES OF UNUSUAL DIVERSITY. Pens Ink & Places contains a wealth of new material, ranging from touching series of vignettes for Great Ormond Street Hospital to gigantic drawings for the Jerwood Gallery in Hastings; from the sombre apocalyptic landscapes of Riddley Walker to the energetic fantasy of Billy and the Minpins. This beautiful volume also includes Blake's unique illustrations made to accompany accompany the works of John Ruskin, La Fontaine, Lucius Apuleius and Beatrix Potter. Blake's commentary - straight, as it were, from the drawing board - explores the challenges and opportunities in the creation of drawings known around the world, as well as others seen here for the first time. It is clear from every page of this informative and richly illustrated volume that there has been no slackening of brio in the scratchy pen nib of an artist who has been called the `Godfather of Illustration'.

Library is a collection of paintings by two of Canada s most influential contemporary artists, Michael Dumontier and Neil Farber. From the simple premise of the book title comes a series of images that are laugh-out-loud funny. A collection of book covers adorned with titles painted in simple handwritten fonts are displayed on brightly coloured hardboard. Each book forms part of an ongoing series Dumontier and Farber started in 2009. In Dumontier and Farber s Library, titles like I Lost the Human Race, Change Your Relationship to Your Unchangeable Past, and I Have a Medical Condition That Makes It So I Don t Have to Talk to You offer surprising and astute observations, all in the duo s characteristic deadpan style. The simplicity of the shapes and text evokes an immediate but lasting profundity, with each piece causing one to wonder about the thoughts that roam their consciousness, and the books that take up residence on their and our shelves. Dumontier and Farber are founding members of the influential art collective the Royal Art Lodge, and have been collaborating on art projects for more than fifteen years, exhibiting internationally. Library is playful and insightful as it pokes and prods at the human condition.

FAUXLOSOPHY by Ron English, is a compelling collection of the artist's sayings with his accompanying iconic images. It is a light read with indelible images bringing to life wit and wisdom to live by through art, humor and ironic inspiration. Ron English is one of the most prolific and recognisable American artists alive today. Considered the Godfather of Street Art, he has appeared in movies such as Exit through the Gift Shop and Supersize Me and as a character of himself in the Simpsons. One of the most prolific and recognizable artists alive today, Ron English has bombed the global landscape with unforgettable images, on the street, in museums, in movies, books and television. English coined the term POPaganda to describe his signature mash-up of high and low cultural touchstones.

In this book, contributors identify and explore a range of iconic works - "Mistress-Pieces" - that have been made by feminists and gender activists since the 1970s. The first volume for which the defining of iconic feminist art is the raison d'etre, its contributors interpret a "Mistress-Piece" as a work that has proved influential in a particular context because of its distinctiveness and relevance. Reinterpreting iconic art by Alice Neel, Hannah Wilke and Ana Mendieta, the authors also offer important insights about works that may be less well known - those by Natalia LL, Tanja Ostojic, Swoon, Clara Meneres, Diane Victor, Usha Seejarim, Ilse Fuskova, Phaptawan Suwannakudt and Tracey Moffatt, among others. While in some instances revealing cross influences between artists working in different frameworks, the publication simultaneously makes evident how social and political factors specific to particular countries had significant impact on the making and reception of art focused on gender. The book will be of interest to scholars working in art history, visual studies and gender studies.

This volume is dedicated to the international artist Kata Legrady's graphic work, through a selection of drawings, sketches and preparatory studies published on the occasion of the exhibition at Fondazione Mudima in Milan. Through the graphic work gathered in this volume, we discover her creative praxis which, according to Arturo Schwarz, "is determined, to a great extent, by her unconscious; the work has a playful dimension; she observes the world with a gaze that has conserved the innocence, curiosity and inventiveness of childhood". Finally, an essay by Bazon Brock brings a deep insight on the importance of drawing in the practice of contemporary art.

Transnational Perspecives on Feminism and Art, 1960-1985 is a collection of essential essays that bring transnational feminist praxis into conversation with histories of feminist art in the 1960s, 1970s, and early 1980s. The artistic practices and processes examined within these pages all centre on gender and sexual politics as they variously intersect with race, class, sovereignty, Indigeneity, citizenship, and migration at particular historical moments and within specific geopolitical contexts. The book's central premise is that reconsidering this period from transnational feminist perspectives will enable new thinking about the critical commonalities and differences across heterogeneous and geographically dispersed practices that have contributed to the complex and multifaceted relationship between feminism and art today. The book will be of interest to scholars working in art history, cultural studies, visual culture, material culture, and gender studies.