• This catalog includes a careful and beautiful selection of sculptures that Picasso produced throughout his extensive artistic career. • Matter and Body covers the almost infinite plurality of styles used by the artist to represent human body forms, deconstructing it through different formats and genres. • Written by renowned experts as the curator Carmen Gimenez, Diana Widmaier Picasso, French art historian specialized in modern art and the maternal granddaughter of Pablo Picasso, and Pepe Karmel, Professor of Art History at New York University. • The book celebrates the 50th anniversary of the death of a great genius and revolutionary artist. • Includes photographs taken by his contemporary photographer Brassai. • A great monograph published on occasion of the exhibition at the Guggenhiem Museum in Bilbao and Museo Picasso in Málaga.

The Long Devotion is a collection of poems, essays, and writing prompts that celebrates motherhood and creates a space, as poet Molly Spencer has written, to "tell an unlovely truth about family life and not have to take it back." The poets in this book represent and describe a wide range of experiences. They write about encountering the world anew through their children; intersections of parenting and race; single parenting; adoptive, foster, and step-parenting; life with chronic illness, mental illness, and disability; and the choice to remain childless. The book is divided into four parts. "Difficulty, Ambivalence, and Joy" considers the wonder and challenges of parenting-including infertility, pregnancy, miscarriage, and life with children-and trying to write in the midst of those demands. "The Body and the Brain" explores the cerebral and bodily labor of caregiving and writing. "In the World" brings parents and their children into contact with the natural and political landscape. Finally, "Transitions" looks at how parenting and writing change as children grow up. Poems range from linear narratives and imagistic lyric to poetry comics, speculative futures, and experimental forms. Essays and poems suggest ways to write through the disruptions and chaos of family life. Prompts invite readers to use the work in this book as a starting point for their own poetry. As candid accounts of motherhood become more prevalent across literary, pop culture, and digital spaces, the way we talk about writing and mothering is changing. Poets have long challenged traditional motherhood narratives. This book brings together a new generation of exciting and provocative voices for the first time.

Some 40 carefully chosen juxtapositions of masterpieces by both artists trace a dialogue that ranks among the most fascinating in art history. This publication brings Pablo Picasso's (1881-1973) encounter with the Cretan-born old master Domenikos Theotokopoulos, better known as El Greco (1541-1614), vividly to life. El Greco's unmistakable painting style won him considerable fame in his day. Soon after his death, however, his work was largely forgotten. It was only around 1900 that an El Greco revival was launched, with Picasso serving on the front lines. His engagement with the Greek-Spanish master not only went far deeper than has previously been assumed but also lasted much longer. From his first encounter with El Greco's works shortly before 1900 until the end of his life, Picasso not only referenced but engaged in a fascinating artistic dialogue with the old master.

Cruel Futures is a witchy confessional and wildly imagistic volume that examines subjects as divergent as Alzheimers, Medusa, mumblecore, and mental illness in sharp-witted, taut poems dense with song. Chronicling life on an endangered planet, in a country on the precipice of profound change compelled by a media machine that produces our realities, the book is a high-energy analysis of popular culture, as well as an exploration of the many social roles that women occupy as mother, daughter, lover, and the resulting struggle to maintain personhood-all in a late capitalist America. Praise for Cruel Futures: "Gimenez Smith seeks release from the pressures of societal expectations in this collection of brief yet powerful poems. ... Gimenez Smith's crisp lyrics and imagery highlight ever-present threats to female personhood and autonomy."-Publishers Weekly "Cruel Futures is one of those rare books, rare pieces of art, that manages to be extremely intimate, vulnerable and close while also doing a kind of searing cultural critique. The poems can be tender or ironic, and sometimes a blending of the two, which is not easy."-Ross Gay "In the body, through the lyric, and twitching with every sense of the word 'nerve,' this book sings a mongrel nation into and across its cruel futures. Like Neruda in his Plenos Poderes/Full Powers, Gimenez Smith has all the mastery she needs to cast a cold eye on her positioning, and ours. In this way Cruel Futures is an autobiography that won't stay in its genre or premise, caring less to author a self than to follow turns of magic in words that might soothe our 'collisions with the living.'"-Farid Matuk "Declamatory anthems to no nation, these songs stride as they deal and wheel with skin and kin: history, catastrophe, the body, love. 'Upturned and defiant, all types of shade, no outskirt, / vital like a saint,' the poems in Cruel Futures shimmer with Gimenez Smith's lyric attention: full of grit, sharp and knowing."-Hoa Nguyen

How to read a poem. A lot of books want to teach you just that. How is this one different? Think of it less as an instructional book and more as an invitation. For the reader new to poetry, this guide will open your senses to the combined craft and magic known as "poems." For the well versed, if you will, this book might make you fall in love again. "How to Read a Poem" uses images like the mouse, the hive, the switch (from the Billy Collins poem "Introduction to Poetry")-to guide readers into new ways of understanding poems. Excellent teaching tool. Anthology included.

Showing some forty juxtapositions of masterworks by both artists, the catalogue illuminates the encounter of Pablo Picasso (1881-1973) with the old master El Greco (1541- 1614), born Domenikos Theotokopoulos in Crete. El Greco's unmistakable painting style won him considerable fame in his day. Soon after his death, however, his work was largely forgotten. It was only around 1900 that an El Greco revival was launched, with Picasso serving on the front lines. His engagement with the Greek-Spanish master not only went far deeper than has previously been assumed but also lasted much longer. From his first encounter with El Greco's works shortly before 1900 until the end of his life, Picasso not only referenced but engaged in a fascinating artistic dialogue with the old master.

Adding to the Latina tradition, Carmen Gimenez Smith, politically aware and feminist-oriented, focuses on general cultural references rather than a sentimental personal narrative. She speaks of sexual politics and family in a fierce, determined tone voracious in its opinions about freedom and responsibility.
The author engages in mythology and art history, musically wooing the reader with texture and voice. As she references such disparate cultural figures as filmmaker Lars Von Trier, Annie from the film Annie Get Your Gun, Nabokov's Lolita, facebook entries and Greek gods, they appear as part of the poet's cultural critique.
Phrases such as "the caustic domain of urchins" and "the gelatin shiver of tea's surface" take the poems from lyrical images to comic humor to angry, intense commentary. On writing about "downgrading into human," she says, "Then what? Amorality, osteoporosis and not even a marble estuary for the ages."
Gimenez Smith's poetic arsenal includes rapier-sharp wordplay mixed with humor, at times self-deprecating, at others an ironic comment on the postmodern world, all interwoven with imaginative language of unexpected force and surreal beauty. Revealing a long view of gender issues and civil rights, the author presents a clever, comic perspective. Her poems take the reader to unusual places as she uses rhythm, images, and emotion to reveal the narrator's personality. Deftly blending a variety of tones and styles, Gimenez Smith's poems offer a daring and evocative look at deep cultural issues.

The celebrated Spanish sculptor Juan Munoz (1953-2001) died at the height of his powers, when he was considered "one of the most complex and individual artists working today" (Guardian). His challenging, enigmatic works almost inexorably draw in viewers. "The spectator," Munoz said about his installations, "becomes very much like the object to be looked at, and perhaps the viewer has become the one who is on view." This handsome book, distinguished by more than 30 stunning photographs, documents a group of Munoz installations at the Sterling and Francine Clark Art Institute. Representing the full range of Munoz's sculptures-from First Banister (1987), which reflects the artist's early use of architectural language, to Conversation Piece (2001), a work that shows his later interest in the human figure-the book demonstrates how Munoz invented a mode of storytelling through objects that spoke to space, memory, and displacement. David Breslin contributes a reflection on notions of interiority and exteriority, and of perception and absorption, as expressed in Munoz's work. Distributed for the Sterling and Francine Clark Art Institute