Rachel Owen's hauntingly beautiful illustrations for Dante's Inferno take a radically new approach to representing the world of Dante's famous poem. The images combine the artist's deep cultural and historical understanding of 'The Divine Comedy' and its artistic legacy with her unique talent for collage and printmaking. These illustrations, casting the viewer as a first-person pilgrim through the underworld, prompt us to rethink Dante's poem through their novel perspective and visual language. Owen's work, held in the Bodleian Library and published here for the first time, illustrates the complete cycle of thirty-four cantos of the Inferno with one image per canto. The illustrations are accompanied by essays contextualising Owen's work and supplemented by six illustrations intended for the unfinished Purgatorio series. Fiona Whitehouse provides details of the techniques employed by the artist, Peter Hainsworth situates Owen's work in the field of modern Dante illustration and David Bowe offers a commentary on the illustrations as gateways to Dante's poem. Jamie McKendrick and Bernard O'Donoghue's translations of episodes from the 'Inferno' provide complementary artistic interpretations of Dante's poem, while reflections from colleagues and friends commemorate Owen's life and work as an artist, scholar and teacher. This stunning collection is an important contribution to both Dante scholarship and illustration.

Cv/VAR 94 gathers interviews, reviews and recollections of the great American artist Andy Warhol (1928-1987) including an eye witness account by New Zealand artist Billy Apple[registered] of the first Campbell's Soup Can in progress; a visit to Warhol's Office in Broadway 1976, and an interview with model Magdalena Wasiura, responding to an exhibition of Warhol's portraits of Brigitte Bardot, that encapsulate the original beauty and mystery of their fabulous subject.

"Harry's Art" is fine art for the twenty-first century revealed by the artist himself in his own style. This is how he designed his own multifaceted world of art. He brings his own advanced technology for a perfect presentation. This art book is unique because it combines art and architecture. It's a vividly authentic book. For example, "The Citadel" depicts a real-world masterpiece. "We Are One" is a celebration of love. "The ICU Code" is a glimpse at a very painful and personal event in the artist's life. "Synchronized Stretch" depicts the magnificence of the human body while exercising. "Negro" embodies the power of black people, and "The Human Bridge" exemplifies the beautiful balance of art and architecture. The artist invites all passionate art lovers to understand his philosophy in "Harry's Art. "

The early 1980s saw a revolution in mainstream comics--in subject matter, artistic integrity, and creators' rights--as new methods of publishing and distribution broadened the possibilities. Among those artists utilizing these new methods, Chester Brown (b. 1960) quickly developed a cult following due to the undeniable quality and originality of his Yummy Fur (1983-1994). Chester Brown: Conversations collects interviews covering all facets of the cartoonist's long career and includes several pieces from now-defunct periodicals and fanzines. It also includes original annotations from Chester Brown, provided especially for this book, in which he adds context, second thoughts, and other valuable insights into the interviews. Brown was among a new generation of artists whose work dealt with decidedly nonmainstream subjects. By the 1980s comics were, to quote a by-now well-worn phrase, ""not just for kids anymore,"" and subsequent censorious attacks by parents concerned about the more salacious material being published by the major publishers--subjects that routinely included adult language, realistic violence, drug use, and sexual content--began to roil the industry. Yummy Fur came of age during this storm and its often-offensive content, including dismembered, talking penises, led to controversy and censorship. With Brown's highly unconventional adaptations of the Gospels, and such comics memoirs as The Playboy (1991/1992) and I Never Liked You (1991-1994), Brown gradually moved away from the surrealistic, humor oriented strips toward autobiographical material far more restrained and elegiac in tone than his earlier strips. This work was followed by Louis Riel (1999-2003), Brown's critically acclaimed comic book biography of the controversial nineteenth-century Canadian revolutionary, and Paying for It (2011), his best-selling memoir on the life of a john.

This memoir takes a look into the heart and mind of one man who suffers from schizoaffective and bipolar disorders.

Jeffrey Hochstedler's life has seen its share of twists and turns-a culmination of the many choices and decisions made at any one time. In this memoir, he shares revelations and meditations from events in his daily life and how these occurrences shaped the man he is today.

Written in diary format, "Forty Days from the Diary of a Delusional Man" illustrates how his mind thinks, feels, and perceives. He reveals details from many parts of his life-his birth in 1957; growing up in Indiana with his parents and brother; battling depression in his teen years; enlisting in the Army in 1981; dealing with his relationships and his schizoaffective and bipolar disorders; and finding solace in art.

With many examples of Hochstedler's art included, "Forty Days from the Diary of a Delusional Man" shows how he was affected by confusion and despair. But it also communicates how he leaned on art and God to survive each day.

ANDY GOLDSWORTHY: TOUCHING NATURE DESCRIPTION

A new and revised edition of our best-selling book on Andy Goldsworthy. A completely rewritten exploration of the sculptor, updated to include recent works such as Night Path (2002) and Chalk Stones (2003) in Sussex, Three Cairns (2002) on the American East and West coasts, Stone Houses (2004) and Garden of Stones (2003) in Gotham, Passage (2005) in London, and Slate Domes (2005) in Washington, DC.

Known as a land, earth, nature or environmental artist, Andy Goldsworthy works with(in) nature. He uses natural materials in natural shapes and forms often set in natural contexts (but also in cities, towns, parks, sculpture parks, and many spaces created or adapted by people). FROM THE INTRODUCTION

In the 1990s, Andy Goldsworthy s art began to rise in popularity: the glossy coffee table book Stone became a bestseller (bear in mind it was then priced at $55). In 1994 Goldsworthy took over some West End galleries with a large one-man show. In 1995 he was part of an intriguing group show at the British Museum (Time Machine), creating sculptures, along with Richard Deacon, Peter Randall-Page and others, in amongst the monumental statuary of the famous Egyptian Hall. Also in 1995, Goldsworthy designed a set of Royal Mail stamps (and again in 2003). Digne in France became an increasingly important Goldsworthy location, with shows in 1995, 1997 and 2000). Prestigious commissions occurred in the US from the mid-1990s onwards. For instance: the giant Wall at Storm King Art Center in 1998; the Three Cairns on the East and West Coasts and Iowa in 2001-02; the stone houses at the Metropolitan Museum in Gotham in 2004; the monument to the Holocaust (also in New York) in 2003; and the slate domes in Washington, DC in 2005. Goldsworthy continues to work in countries such as Japan, Australia, Holland, Canada, North America and France (with France and the US becoming primary centres of Goldsworthy activity), but his home ground of Dumfriesshire in Scotland remains (at) the heart of his work.

AUTHOR BIOGRAPHY

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas s books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

One of the most distinctive voices in mainstream comics since the 1970s, Howard Chaykin (b. 1950) has earned a reputation as a visionary formal innovator and a compelling storyteller whose comics offer both pulp-adventure thrills and thoughtful engagement with real-world politics and culture. His body of work is defined by the belief that comics can be a vehicle for sophisticated adult entertainment and for narratives that utilize the medium's unique properties to explore serious themes with intelligence and wit.

Beginning with early interviews in fanzines and concluding with a new interview conducted in 2010 with the volume's editor, "Howard Chaykin: Conversations" collects widely ranging discussions from Chaykin's earliest days as an assistant for such legends as Gil Kane and Wallace Wood to his recent work on titles including "Dominic Fortune," "Challengers of the Unknown," and "American Century." The book includes 35 line illustrations selected from Chaykin, as well. As a writer/artist for outlets such as DC Comics, Marvel Comics, and "Heavy Metal," he has participated in and influenced many of the major developments in mainstream comics over the past four decades. He was an early pioneer in the graphic novel format in the 1970s, and his groundbreaking sci-fi satire "American Flagg " was an essential contribution to the maturation of the comic book as a vehicle for social commentary in the 1980s.

Brett Charles Seiler lives and works in Cape Town, South Africa, where he also graduated from the Ruth Prowse School of Art in 2015. Seiler's work has elements of painting, installation, and object art, with a strong emphasis on the use of text and language. Sometimes poetic, nostalgic, or romantic, it is an integral part of his art or stands on its own as a piece as well. In his paintings, the space is indeterminate, the figures are not located and sketchily fleeting, the writing elements seem spontaneous like statements from street art. The colour scheme moves in a narrow spectrum between black, grey, white and brown tones, often using wood. His themes are sexual interaction, oppression, homosexuality, gender, men. Originally from Zimbabwe, a state where human rights violations are commonplace, his work also makes a mark in the struggle for equal sexual orientation in education, media, and institutions. "[My work] is a deep longing for understanding. It is from the point of view of something that I've missed, something that I cannot go back to. It's a process of research." Text in English and German.

Frank Lloyd Wright is one of the 20th century's best-known architects. Over 40 years after his death, historical and critical comment and debate are increasing and controversy continues to surround him. This volume is a chronologically arranged, annotated bibliography of English- and foreign-language sources including over 3,500 primary entries, with thousands more connected references, presented alphabetically by decades and genres. The book documents not only the literature on Wright from 1886 to the present, but also his own extensive writings. It covers source books, monographs, anthologies, exhibition catalogues, book and exhibition reviews, periodical articles, and obituaries. All references are indexed by personal names, buildings, and projects. There is also a photo-essay comprised entirely of images published here for the first time, and a comprehensive chronology of the architect's life and career, which spanned 70 years and produced about 450 buildings and almost 550 unrealized architectural projects. The book will be of great value to scholars, students, and practitioners.

Devoted wife and mother. Acclaimed novelist, illustrator, and interpreter of the American West. At a time when society expected women to concentrate on family and hearth, Mary Hallock Foote (1847-1938) published twelve novels, four short story collections, almost two dozen stories and essays, and innumerable illustrations. In "Mary Hallock Foote, " Darlis A. Willer examines the life of this gifted and spirited woman from the East as she adapted herself and her artistic vision to the West.

Foote's images of the American West differed sharply from those offered by male artists and writers of the time. She depicted a more gentle West, a domestic West of families and settlements rather than a Wild West of soldiers, American Indians, and cowboys. Miller examines how Foote's career was molded by the East-West tensions she experienced throughout her adult life and by society's expectations of womanhood and motherhood.

This biography recounts Foote's Quaker upbringing; her education at the School of Design for Women at Cooper Union, New York; her marriage to Arthur De Wint Foote, including his alcohol problems; her life in Boise, Idaho, and later Grass Valley, California; her grief over the early death of daughter Agnes Foote; and the previously unexplored last two decades of her life.

Miller has made extensive use of every major archive of letters and documents by and about Foote. She sheds light on Foote's numerous stories, essays, and novels. And examines all pertinent sources on Foote's life and works.

Anyone interested in the American West, women's history, or life histories in general will find Miller's biography of Mary Hallock Foote fascinating,