Maurice Sendak is the widely acclaimed American children's book author and illustrator. This critical study focusses on his famous trilogy, Where the Wild Things Are, In the Night Kitchen and Outside Over There, as well as the early works and Sendak's superb depictions of Grimms' fairy tales in The Juniper Tree. L.M. Poole begins with a chapter on children's book illustration, in particular the treatment of fairy tales. Sendak's work is situated within the history of children's book illustration, and he is compared with many contemporary authors. This new edition includes a new introduction, a new bibliography and many more illustrations. The text has been completely revised and updated.

About Red Social Red Social by Alejandro Garcia-Lemos and Cynthia Boiter is a visual and literary art book that evolved from a 2012 art exhibition of work by Garcia-Lemos at the Goodall Gallery at Columbia College in Columbia, SC. The title of the book and exhibition, Red Social, translates to Social Network in Garcia-Lemos's native Spanish. As he approached this body of work, which is made up of 24 unique portraits, Garcia-Lemos who is a native of Bogota, Colombia, focused on relationship-building and the community of fellow artists and arts lovers he had become enmeshed in in his new home of Columbia, SC. The sitters for each portrait, almost all of whom were close members of his newly formed community, were asked to bring symbolic icons for their sitting and many went so far as to collaborate on their specific portraits. (Several fellow-artists made actual artistic contributions to their portraits.) "The creative space that opened during these sessions provided an atmosphere of candor which mimicked that of the therapist," the artist says. "I came to realize the importance of a comfort level between the artist and subject and I chose people who have been supportive of me and are truly friends and family." Once the series was complete and had been exhibited, Garcia-Lemos hoped to continue in the collaborative spirit so he approached local writer and editor, Cynthia Boiter. It was his idea to have Boiter create short fictional stories about the characters in the portraits-whether she was personally familiar with the characters or not-based on nothing but the title of the portrait and the various icons represented. Boiter says that, "Many of the friends about whom I wrote had to become strangers before they could become subjects about whose inner lives-their worries, fantasies, and insecurities-I could write. But as unconnected as these stories are to the portrait models who inspired them, they are still real stories, I'm sure, that belong to someone else out there." The result is a fascinating reverse-process of illustration. Based upon Garcia-Lemos's paintings, Boiter uses fiction to illustrate the portrait subjects. Each piece of short fiction-few are over 250 words in length-tells the tale of a unique individual with subject matters ranging from love to loss to issues of gender roles, new roles, and throwing off the roles society attempts to impose upon all of us.

Laura Knight (1877-1970) was one of the most distinguished women artist of the early 20th century with an international reputation. This highly readable and objective biography covers her early years in Nottingham, her relationship with her husband Harold, life in the artists colonies of Staithes on the North Yorkshire coast, her immersion in the world of ballet, the circus and theatre and her travels in Europe and America. It also examines her role as Official War Artist during World War II and recorder of the Nuremberg Trials in 1945-46. This revised and updated book offers so much more than just an account of an artist's work, it allows the reader to experience the vibrant personality of the artist as well as the darker shades of her personality. It gives this portrait of an artist depth and perspective.

Joy Postle Blackstone was best known for her vivid murals, often depicting the jubilant wading birds of Florida. When she died in 1989, the world lost a wonderful artist but Joy was much more than a painter. Joy s father died when she was only three; her childhood was spent nurtured by her mother and brother, until she began her career at the Chicago Art Institute.

After graduation, her life changed, as she and her family moved to rural Idaho to live on the family homestead. There, she met her husband, Bob, and so began their three-year honeymoon, in the midst of the Great Depression. Joy painted and Bob promoted. They lived a vagabond life. They eventually settled in Florida, where Joy made friends with the birds who would make her murals legend.

"Joy Cometh in the Morning" traces an artist s life from 1896 through to her death in 1989. Joy Postle Blackstone harbored the psychological scars of abortion, infidelity, childlessness, death, and the eventual limitations of advanced age; yet, as the Bible says, Weeping may endure for a night, but joy cometh in the morning. Through feast or famine, hope or despair, Joy persevered, and she did it with a smile.

The book is a straight forward account of Alexander Russo's adventurous journey in the Naval Reserve, serving with Naval Intelligence and as combat artist during WWII. He was the fi rst and youngest of Naval personnel to volunteer and engage in the landings in Sicily and Normandy, the graphic results of which form part of the Navy's Historical Records of World War II. The book also continues with the development and challenges of the artist in post-war years, which provides valuable insights for anyone pursuing a career in the fi ne arts. The book also continues with the development and challenges of the artist in post-war years, which provides valuable insights for anyone pursuing a career in the fine arts.

Since they began collaborating in 1993. John Wood and Paul Harrison have accumulated a series of playful and beguiling video works which are distinguished as much by their droll sense of humour as their unerring economy of execution. Played out against a minimalist, monochrome backdrop, or within the sealed-off space of the monitor itself, each of the works involves the presence of one of the artists, either as the butt of an extended sight-gag or as the trigger for a spiralling, visually surprising conceit. This publication, which features an essay by Charles Esche, documents Wood and Harrison's work to date, including single-screen works and installations.