"Herzog is headed into provocative territory."-Christopher Knight "At the nexus of critical information theory, disjunctive librarianship, and gender and technology studies, ... Herzog's work is a cybernetic handle for us to use, like Palinurus' rudder, to cut through information landscapes across time and space."-Amelia Acker "In our computer age, after the impact of mechanical reproduction has been absorbed into our bodies and psyches, Herzog manufactures unique paintings that communicate with each other and with the Other of technology. These pieces address the power of words and information to be things that physically affect us. Replicating / doubling /embodying / one-step-furthuring that power, she makes them into things, with the effect that the viewer is put into the position of both experiencing the thing and becoming enlightened as to the process of how the information becomes a thing."-Andrew Choate Katie Herzog's cross-disciplinary practice addresses information economies utilizing painting as a mode of representing, producing, and deconstructing knowledge in the public sphere. For her solo exhibition, Object-Oriented Programing, at the Palo Alto Research Center in 2012 (PARC, a Xerox company), Herzog exhibited over fifty paintings in the hallways and lobbies of one of the most storied institutions in the history of information technology. Object-oriented programming is a computer programming paradigm that was introduced by PARC in the early 1970's. This new language used "objects" as the basis for computation (capable of receiving messages, processing data, and sending messages to other objects), as opposed to the conventional programming model, in which a program is seen as a list of tasks. Herzog's exhibition utilizes this concept as a conceptual and epistemic basis for how her paintings function as a language to develop meaning, where "programming" in the exhibition title connotes both contextualized computer programming as well as public programming. Works in the show provide expressive, symbolic, and conceptual narratives of an information era, including "If I Die My Email Password Is," "Documents (Heads You Lose)," and "Information Overload Syndrome," among others. Herzog's practice embodies a unique visionary approach to painting, knowledge production, and artistic research, through a multifaceted engagement of civil service, disjunctive librarianship, and animal-assisted literacy. Katie Herzog received a Bachelor of Fine Arts at the Rhode Island School of Design, a Master of Fine Arts at UC San Diego, and studied Library and Information Science at San Jose State University. She currently serves as Director of the Molesworth Institute and is based in Los Angeles, California. This exhibition was made possible by a grant from the Center for Cultural Innovation.

Denis Williams, painter, teacher, novelist, archaeologist, and cultural administrator, is one of the founding fathers of modern Guyana. His involvement in several of the country's key cultural institutions and his pioneering work on Guyana's founding peoples ensures him a special place in the country's history books. Williams also contributed to the outpouring of literature that accompanied the awakening consciousness of Caribbean nations and their drive for independence. His literary work is seminal in depicting the character of the Caribbean person and landscape, and the nature of ancestral (African and Afro-Caribbean) identities. His studies of African art and culture encouraged the young nation of Guyana to turn away from Western epistemologies and to pay serious intellectual attention to other origins. His research into the archaeology and culture of the Amerindian population of Guyana and beyond laid the pathway for further scholarship. The essays assembled here bring together eminent scholars and commentators to offer authoritative analyses of the various aspects of Williams's work - artistic, academic, and literary - and capture the rationale for, the interconnections between, and the evident trajectory of Williams's life work as the epitome of the changing nature of the Caribbean condition. As well as wide-ranging biographical essays, and studies of Williams's activities as a painter, the collection contains a comprehensive primary and secondary bibliography, a generous selection of colour plates, and individual essays devoted to the published novels ("Other Leopards"; "The Third Temptation") and other published and unpublished fiction, and to Williams's archaeological masterpiece, "Prehistoric Guiana." Contributors: Ulli Beier, Vibert Cambridge, David Dabydeen, Charles Gore, Stanley Greaves, Wilson Harris, Louis James, Andrew Jefferson-Miles, Nicholas Laughlin, Andrew Lindsay, John Picton, Leon Wainwright, Anne Walmsley, Charlotte Williams, Evelyn A. Williams, Jennifer Wishart.

A comprehensive monograph on the work of KAWS, one of the most sought-after artists and creative forces of our time Drawing from Pop art traditions, KAWS's work straddles the line between fine art and popular culture, crossing the mediums of painting and sculpture, along with fashion, merchandise, vinyl toys, and, most recently, augmented reality. This book, made in close collaboration with the artist, features his most well-known works alongside sketches, preparatory drawings, and never-before-seen images of KAWS at work, revealing the meticulous process behind his iconic artworks. Accompanying a major retrospective exhibition at the Brooklyn Museum, it captures the artist's unique ability to reshape the ways we think about contemporary art and culture today.

Henri Michaux is widely recognized as a major twentieth-century French poet and painter. Although his fascination with universal languages has attracted the attention of several of his critics, it has up until now been treated as a marginal concern. Henri Michaux: Poetry, Painting, and the Universal Sign argues that his ideas on what might constitute a universal language are central to an understanding of his works. It suggests that both his ambivalent articulation of his relationship to the languages and literary traditions of his native Belgium and adoptive France, and his efforts simultaneously to exacerbate and subvert the differences between words and images, are rooted in Enlightenment theories of the relationship of the self to nature and its language
Rigaud-Drayton's study makes a substantial and original contribution to the study of this complex artist, exploring the intricate relationships between word and image in his poetry and paintings, and his quest for a single, unifying language or sign.

"A career in music ... is a calling with such a strong pull; you'd think a tide was sucking you under. It becomes an intense obsession of such great intensity that you can almost think of nothing else, it drives you with a fever and fervor."

In the early 70s, an idealistic young man - Brian Torff - arrived in New York to pursue his passion for music. During an excursion to Long Island, Brian found his dream instrument: a 1775 re-built Nicola Galliano bass.

Such was the beginning of a career that led Torff from Cafe Carlyle to Carnegie Hall, Lincoln Center, the Kennedy Center, and the White House. He has toured worldwide with the greatest: from Frank Sinatra, Mel Torme, George Shearing, and Erroll Garner to Stephane Grappelli, Benny Goodman, Mary Lou Williams, and Marian McPartland.

As Brian notes, "bass players do a lot of observing from the back of the bandstand." It is this supportive role that qualifies Torff to share his insight into jazz music, and its many personalities. Torff takes us beyond the music by adding depth with his vision of American music, and paints vivid portraits of the musicians with whom he played.

Torff's memoir is one of creativity, and determination mixed with timing, and plain good luck. His sharp narrative not only brings the legends of jazz to life, but reading about them here will certainly motivate you to add some music to your collection.

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.

Rocking the Wall explores the epic Bruce Springsteen concert in East Berlin on July 19, 1988, and how it changed the world. Erik Kirschbaum spoke to scores of fans and concert organizers on both sides of the Berlin Wall, including Jon Landau, Springsteen's long-time friend and manager, to unearth this fascinating story. With lively behind-the-scenes details from eyewitness accounts, magazine and newspaper clippings, TV recordings, and even Stasi files, as well as photos and memorabilia, this gripping book transports you back in the middle of those heady times shortly before the Berlin Wall fell and gives you a front-row spot at one of the biggest and most exciting rock concerts ever, anywhere. It takes you to an unforgettable journey with Springsteen through the divided city, to his hotel, and his dressing room at the open air concert grounds in Weissensee, where The Boss, live on stage, delivered a courageous speech against the Wall to a record-breaking crowd of more than 300,000 delirious young East Germans full of joy and hope. Their thunderous reaction to his speech was so intense that it even briefly brought tears to Springsteen's eyes. And their tremendous, powerful cry for freedom became the "final nail in the coffin" of the Communist regime and subsequently helped fuel the uprising that brought down the Wall.

Erik Kirschbaum, a native of New York City and long-time Springsteen fan, has lived in Germany for more than twenty-five years and in Berlin since 1993. He is a correspondent for the Reuters international news agency and has written about entertainment, politics, sports, economics, as well as disasters and climate change in nearly thirty countries. He is a devoted father of four, an enthusiastic cyclist, a solar power entrepreneur and an unabashed crusader for renewable energy. Rocking the Wall is his third book.

Praise for Rocking The Wall

Inside this book is as clear a statement of the power of this music as anyone, ever, has come up with." -Dave Marsh

"An illuminating and impressively detailed examination of a frequently overlooked moment in the nexus of rock music and political liberation. I learned a great deal and enjoyed doing so." -Eric Alterman

"Looking for Calvin and Hobbes" is an affectionate and revealing book about uncovering the story behind this most uncommon trio - a man, a boy and his tiger. From the get-go, it was obvious that this was no ordinary comic strip. Calvin was named after the 16th-century Protestant theologian who believed in predestination, Hobbes after the philosopher a century later who once observed that life is 'nasty, brutish and short'. Watterson injected real philosophical questions into his strip and coupled his commentaries with groundbreaking artwork. His lavish half-page Sunday strips completely re-envisioned the potential of the comics, while never detracting from his poignant humor. Bill Watterson was completely different from most comic strip creators because he never wanted to see Calvin & Hobbes turn into a commercial monolith. A longtime liberal and former political cartoonist, he staunchly refused to have the characters merchandised - a decision which could have netted him millions of additional dollars in income per year - and rarely made public appearances or granted interviews. When Steven Spielberg called him to talk about making an animated Calvin & Hobbes movie, Watterson didn't take the call. As a result, dozens of bootleg items have flooded the market. There were only 3,160 strips ever produced, but Watterson has left behind an impressive legacy. Calvin & Hobbes references litter the pop culture landscape and his fans are as varied as they are numerable.

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.

Michelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo's art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist's formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace. Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. Hall

"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. "