THE NEW YORK TIMES BESTSELLER David Lynch - co-creator of Twin Peaks and writer and director of groundbreaking films such as Eraserhead, The Elephant Man, Blue Velvet and Mulholland Drive - opens up about a lifetime of extraordinary creativity, the friendships he has made along the way and the struggles he has faced to bring his projects to fruition. Room to Dream is both an astonishing memoir told in Lynch's own words and a landmark biography based on hundreds of interviews, that offers unique insights into the life and mind of one of the world's most enigmatic and original artists.

For Now is the result of film-maker Michael Almereyda's year-long rummage through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising. Afterword by Michael Almereyda, with additional texts by Lloyd Fonvielle, Greil Marcus, Kristine McKenna and Amy Taubin.

'Dan is a national treasure and one of America s great songwriters. Elvis Costello. 'Dan s songs were funny, serious, and entertaining, and the combo of old-timey folk, country, and jazz knocked me out. Matt Groening, creator of The Simpsons. 'Dan Hicks is like lightning in a bottle. Bette Midler. Dan Hicks didn t have his heart set on a career in music. It all just sort of happened to him. It didn t hurt, of course, that he was in the right place at the right time San Francisco, 1966 and had a front-row seat for the birth and death of the counterculture. Among other things, this is a classic story of the 60s. More importantly, it s a story of musical genius. By the time the Summer of Love limped to a close in the fall of 67, Hicks had quit the Charlatans the pioneering psych-rock band with whom he played the drums and turned to jazz, the music he d secretly loved all along, as he began building his own band, the Hot Licks. 'I just started taking ingredients I liked and putting them together to see what came out, Hicks writes. What came out was an amazing blend of complex time signatures, unusual instrumentation, and intricate vocal harmonies that took him to the top of the 70s rock world but also into a downward spiral of drink and drug abuse. Emerging from a long wilderness, which he writes about here with wit and candour, the man described by Tom Waits as 'fly, sly, wily, and dry eventually returned to recording and performing, making a number of acclaimed albums, including Beatin The Heat, a set of duets with Waits, Costello, Rickie Lee Jones, and more. Along the way, his music continued to subtly permeate the culture, turning up everywhere from The Sopranos to commercials for Levi s and Bic. Hicks passed away in early 2016, but his music, and the stories he tells here, remain as fresh and irresistible as ever. I Scare Myself takes readers on a journey behind the music, and into the life and mind of the fantastic artist who created it.

David Lynch has always been in the spotlight as a filmmaker, directing some of the most iconic movies ever made, but as a visual artist, he is less widely known. Lynch delights in the physicality of painting and likes to stimulate all the senses in his work. This new paperback edition brings together Lynch’s paintings, photography, drawings, sculpture and installation, and stills from his films. Many of these works reveal the dark underpinnings behind Lynch’s often-macabre movies. Others explore his fascination with texture and collage. Throughout, Lynch’s characteristic style—surreal, stylish, and even humorous—shines through. An introduction by music journalist and Lynch biographer Kristine McKenna, along with a thought- provoking essay by curator Stijn Huijts, offers fascinating new information and perspectives on Lynch’s life and career. This book reveals an unexplored facet of Lynch’s oeuvre and affirms that he is as brilliant a visual artist as he is a filmmaker.

Samia Halaby: Centers of Energy will bring together approximately thirty-five of Halaby’s paintings, prints, and drawings in the first-ever American survey of her work. Rather than presenting a chronological development of her artistic approach to abstraction, the exhibition catalogue will examine formal and thematic relationships across bodies of work, considering simultaneously the influence of her time spent in the Midwest, her years of teaching, and her analytic approach to generating forms, both on canvas and in computer code. Halaby’s current explorations in large-scale painting will be explored alongside her earliest forays into abstraction, with examples of her prolific drawing practice permeating throughout. Significantly, her kinetic paintings will demonstrate the development of abstract forms into moving compositions of colour and texture. Halaby’s current explorations in large-scale painting will be explored alongside her earliest forays into abstraction, with examples of her prolific drawing practice permeating throughout. Significantly, her kinetic paintings will demonstrate the development of abstract forms into moving compositions of colour and texture. Samia Halaby (b. 1936) is widely recognized as a pioneer in twentieth-century abstraction and computer-generated art. She is a leading scholar on Palestinian art. In the last twenty years, Halaby has expanded her practice to larger, more ambitious paintings and canvas-based assemblages. She is an early practitioner of digital art, teaching herself programming languages and generating “kinetic paintings” of colourful shapes, sounds, and textures on a late 1980s Amiga computer. Throughout the 1990s, she developed a custom PC program that can generate moving shapes with live keyboard commands. With musicians Kevin Nathaniel Hylton and Hasan Bakr, she formed the Kinetic Painting Group and performed around the United States and in the Middle East. These kinetic paintings and performances, which Halaby has archived as digital video files, have been little studied and not yet exhibited.