William Morris was an outstanding character of many talents, being an architect, writer, social campaigner, artist and, with his Kelmscott Press, an important figure of the Arts and Crafts movement. Many of us probably know him best, however, from his superb furnishings and textile designs, intricately weaving together natural motifs in a highly stylized two-dimensional fashion influenced by medieval conventions. William Morris Masterpieces of Art offers a survey of his life and work alongside some of his finest decorative work.

A pictorial chronology of Professional Fine Artist Sandy Garnett's First 1000 Career Paintings.

An in-depth exploration of Malevich's pivotal painting, its context and its significance Kazimir Malevich's painting Black Square is one of the twentieth century's emblematic paintings, the visual manifestation of a new period in world artistic culture at its inception. None of Malevich's contemporary revolutionaries created a manifesto, an emblem, as capacious and in its own way unique as this work; it became both the quintessence of the Russian avant-gardist's own art-which he called Suprematism-and a milestone on the highway of world art. Writing about this single painting, Aleksandra Shatskikh sheds new light on Malevich, the Suprematist movement, and the Russian avant-garde. Malevich devoted his entire life to explicating Black Square's meanings. This process engendered a great legacy: the original abstract movement in painting and its theoretical grounding; philosophical treatises; architectural models; new art pedagogy; innovative approaches to theater, music, and poetry; and the creation of a new visual environment through the introduction of decorative applied designs. All of this together spoke to the tremendous potential for innovative shape and thought formation concentrated in Black Square. To this day, many circumstances and events of the origins of Suprematism have remained obscure and have sprouted arbitrary interpretations and fictions. Close study of archival materials and testimonies of contemporaries synchronous to the events described has allowed this author to establish the true genesis of Suprematism and its principal painting.

Those who know Kurt Vonnegut as one of America's most beloved and
influential writers will be surprised and delighted to discover that he was also a
gifted graphic artist. This book brings together the finest examples of his funny,
strange, and moving drawings in an inexpensive, beautifully produced gift
volume for every Vonnegut fan.
Kurt Vonnegut's daughter Nanette introduces this volume of his never before
published drawings with an intimate remembrance of her father. Vonnegut always
drew, and many of his novels contain sketches. "Breakfast of Champions" (1973)
included many felt-tip pen drawings, and he had a show in 1983 of his drawings at
New York's Margo Feiden Gallery, but really got going in the early 1990s when he
became acquainted with the screenprinter Joe Petro III, who became his partner in
making his colorful drawings available as silkscreens.
With a touch of cubism, mixed with a Paul Klee gift for caricature, a Calder-like ability
to balance color and line, and more than a touch of sixties psychedelic sensibility,
Vonnegut's aesthetic is as idiosyncratic and defiant of tradition as his books. While
writing came to be more onerous in his later years, making art became his joyful
primary activity, and he made drawings up until his death in 2007. This volume, and a
planned touring exhibition of the drawings, will introduce Vonnegut's legion of fans to
an entirely new side of his irrepressible creative personality.

In 1971, after buying their acreage in a very remote area of the Colorado Mountains, the Wood family began to develop their dream ranch. The history and wild life of the area provides a fascinating backdrop for their story of adventure and discovery in the wilderness. From the first Americans to the mining era and the building of the railroads, Colorado is steeped in the glorious history of the Wild West. The property was located in the middle of a cow pasture with only marginal access and the closest electrical lines were over twelve miles away. With no means of communication and the closest town twenty-two miles away, the family had their work cut out for them. After surviving a devastating blizzard with thirty people in their home, they understood the importance of understanding survival techniques. Their crazy but true experiences are recounted with frankness and humor. By sharing his experiences and newly-gained knowledge, Wood has saved many of his friends hundreds of dollars, offering his advice on energy systems and the challenges of building in a remote area. Through perseverance and good old-fashioned hard work, he and his family built their dream ranch in the beautiful mountains of Colorado.

Elegant, haunting and arresting, the film and video works of Jane and Louise Wilson have attracted increasing acclaim and attention, culminating in a nomination for the 1999 Turner Prize. The twins specialise in supremely vivid evocations or a particular spirit-of-place, drawing on cinematic conventions and allusions to conjure a heightened, often uncanny atmosphere. This monograph, which features a specially commissioned essay by Jeremy Millar covers their career to date, encompassing their various short tapes and films as well as the powerful, hypnotic projection installations that have made their names.

This important publication accompanies a major exhibition at The Courtauld Gallery, London, of paintings by Edvard Munch, one of the world's greatest modern artists. The exhibition and catalogue showcase 18 major works from the collection of KODE Art Museums in Bergen. The works span the most significant part of Munch's artistic development and have never before been shown as a group outside of Scandinavia. KODE houses one of the most important collections of paintings by Edvard Munch (1863-1944) in the world. The collection was assembled at the beginning of the 20th century by the Norwegian industrialist, mill owner and philanthropist Rasmus Meyer (1858-1916), who was one of the first significant early collectors of Munch's work. Meyer knew Munch personally and was astute in acquiring major canvases by the artist that chart his artistic development. Edvard Munch: Masterpieces from Bergen explores this group of remarkable works in detail and considers the important role of Rasmus Meyer as a collector. The exhibition and publication include seminal paintings from Munch's early 'realist' phase of the 1880s, such as Morning (1884), which was made when the artist was just twenty years old, and Summer Night (1889), a pivotal work that shows the artist's move towards the expressive and psychologically charged work for which he became famous. These paintings launched Munch's career and set the stage for his renowned, highly expressive paintings of the 1890s when his compositions became powerful projections of his emotions and imaginative states. Such works are a major feature of the exhibition that includes remarkable canvases from Munch's famous 'Frieze of Life' series, such as Evening on Karl Johan (1892), Melancholy (1894-96) and At the Death Bed (1895). Through his 'Frieze of Life' works, Munch intended to address profound themes of human existence, from love to death. The artist used his own experiences as source material to make visceral depictions of the human psyche, which he hoped would help others understand their own life. Munch's powerful use of colour and form to convey his subjects marked him out as one of the most radical painters at the turn of the 20th century. This fully illustrated publication includes a catalogue of the works, with contributions by leading experts in their fi eld from KODE and The Courtauld.

"Martin Bailey has written some of the most interesting books on Vincent's life in France, where he produced his greatest work" - Johan van Gogh, grandson of Theo, the artist's brother Studio of the South tells the story of Van Gogh's stay in Arles, when his powers were at their height. For Van Gogh, the south of France was an exciting new land, bursting with life. He walked into the hills inspired by the landscapes, and painted harvest scenes in the heat of summer. He visited a fishing village where he saw the Mediterranean for the first time, energetically capturing it in paint. He painted portraits of friends and locals, and flower still life paintings, culminating in the now iconic Sunflowers. He rented the Yellow House, and gradually did it up, calling it 'an artist's house', inviting Paul Gauguin to join him there. This encounter was to have a profound impact on both of the artists. They painted side by side, their collaboration coming to a dramatic end a few months later. The difficulties Van Gogh faced led to his eventual decision to retreat to the asylum at Saint-Remy. Based on extensive original research, the book reveals discoveries that throw new light on the legendary artist and give a definitive account of his fifteen months in Provence, including his time at the Yellow House, his collaboration with Gauguin and its tragic and shocking ending.

Joan Eardley was one of the best-loved Scottish artists of the twentieth century. Her observations of children in the back streets of Glasgow as well as her expressionistic drawings and oils of the elements on the north-east coast of Scotland have caught the imagination of the Scottish public. Eardley is cherished as a painter of the Scottish identity in both town and country, who had a unique ability to sum up a community and the timeless drama of the natural world. This book examines Eardley's ouevre and its place in the international and British context and her reputation. It includes paintings and drawings from private collections, which have not been seen for many years, and works from the collection of the Scottish National Gallery of Modern Art, which also holds the Joan Eardley Archive.

'Ought to become a classic. It is an enshrinement of [Meades's] intense baroque and catholic cleverness' Roger Lewis, The Times 'One of the foremost prose stylists of his age in any register . . . Probably we don't deserve Meades, a man who apparently has never composed a dull paragraph' Steven Poole, Guardian 'There are more gems in this wonderful book than I could cram into a dozen of these columns' Simon Heffer, Daily Telegraph 'Such a useful and important critic . . . He is very much on the reader's side, bringing his full wit to bear on every single thing he writes' Nicholas Lezard, Spectator This landmark publication collects three decades of writing from one of the most original, provocative and consistently entertaining voices of our time. Anyone who cares about language and culture should have this book in their life. Thirty years ago, Jonathan Meades published a volume of reportorial journalism, essays, criticism, squibs and fictions called Peter Knows What Dick Likes. The critic James Wood was moved to write: 'When journalism is like this, journalism and literature become one.' Pedro and Ricky Come Again is every bit as rich and catholic as its predecessor. It is bigger, darker, funnier and just as impervious to taste and manners. It bristles with wit and pin-sharp eloquence, whether Meades is contemplating northernness in a German forest or hymning the virtues of slang. From the indefensibility of nationalism and the ubiquitous abuse of the word 'iconic', to John Lennon's shopping lists and the wine they call Black Tower, the work assembled here demonstrates Meades's unparalleled range and erudition, with pieces on cities, artists, sex, England, France, concrete, faith, politics, food, history and much, much more.

In 1977, Dave Sim (b. 1956) began to self-publish Cerebus, one of the earliest and most significant independent comics, which ran for 300 issues and ended, as Sim had planned from early on, in 2004. Over the run of the comic, Sim used it as a springboard to explore not only the potential of the comics medium but also many of the core assumptions of Western society. Through it he analyzed politics, the dynamics of love, religion, and, most controversially, the influence of feminism--which Sim believes has had a negative impact on society. Moreover, Sim inserted himself squarely into the comic as Cerebus's creator, thereby inviting criticism not only of the creation, but also of the creator. What few interviews Sim gave often pushed the limits of what an interview might be in much the same way that Cerebus pushed the limits of what a comic might be. In interviews Sim is generous, expansive, provocative, and sometimes even antagonistic. Regardless of mood, he is always insightful and fascinating. His discursive style is not conducive to the sound bite or to easy summary. Many of these interviews have been out of print for years. And, while the interviews range from very general, career-spanning explorations of his complex work and ideas, to tightly focused discussions on specific details of Cerebus, all the interviews contained herein are engaging and revealing.