"Like the bestselling Infinite City: A San Francisco Atlas, this book is a brilliant reinvention of the traditional atlas, one that provides a vivid, complex look at the multi-faceted nature of New Orleans, a city replete with contradictions. More than twenty essays assemble a chorus of vibrant voices, including geographers, scholars of sugar and bananas, the city's remarkable musicians, prison activists, environmentalists, Arab and Native voices, and local experts, as well as the coauthors' compelling contributions. Featuring 22 full-color two-page-spread maps, Unfathomable City plumbs the depths of this major tourist destination, pivotal scene of American history and culture and, most recently, site of monumental disasters such as Hurricane Katrina and the BP oil spill. The innovative maps' precision and specificity shift our notions of the Mississippi, the Caribbean, Mardi Gras, jazz, soils and trees, generational roots, and many other subjects, and expand our ideas of how any city is imagined and experienced. Together with the inspired texts, they show New Orleans as both an imperiled city-by erosion, crime, corruption, and sea level rise-and an ageless city that lives in music as a form of cultural resistance. Compact, lively, and completely original, Unfathomable City takes readers on a tour that will forever change the way they think about place. "--

Edward Hopper's paintings are icons of American culture. His representations of gas stations, storefronts, cafeterias and hotel rooms embody the solitude of travel and adult life in the America of the thirties, forties and fifties. Because of the familiarity of his subject matter, Hopper has been pigeon-holed both historically, as an American realist, and thematically, as an artist of alienation. Mark Strand, recent poet laureate and writer of many books of award-winning poetry, approaches Hopper's work with a fresh eye, exploring the aesthetic principles behind the paintings. Strand, whose poems move through a terrain similar to that portrayed by Hopper, possesses a unique and powerful understanding of what makes the paintings so moving and memorable. He writes with his distinctive clarity and grace, examining twenty-three of Hopper's most important works. He cites aesthetic reasons for Hopper's continuing ability to deeply move people in an America that has grown considerably more complex both politically and socially since mid-century.

Peek behind the curtain into the making of Happy Days , the ultimate American sitcom, in this detailed season-by-season history written by two of the show’s longest-serving writer-producers . One of the most successful TV shows of all time, Happy Days drew in 30 million viewers weekly at its peak and launched the careers of stars like Ron Howard, Henry Winkler, and Robin Williams. Now, just in time for its 50th anniversary, tune in for exclusive access, as writers Brian Levant and Fred Fox Jr. chronicle life on set and examine the evolution of a television show that made history. Featuring new interviews with the creators, cast, and crew of the show and a foreword by The Fonz himself, explore rarely-seen photographs and personal anecdotes on a season-by-season journey behind the scenes. A PHOTOGRAPHIC TREASURE TROVE: This coffee-table art book includes stunning, full-color photos of candid moments between cast and crew, lovingly preserved scenes from the show, exclusive shots that capture the energetic set, and a look at some of the vintage collectibles that brought the sitcom into fans’ homes. REVELATIONS ABOUT THE CREATIVE TALENT BEHIND THE SCENES: Explore the strategies and big gambles that fueled one of the most successful shows of all time, as told by the individuals who made it happen. EXCLUSIVE INTERVIEWS: Gather anecdotes straight from Ron Howard, Henry Winkler, Anson Williams, Marion Ross, Ted McGinley, and a host of Hollywood royalty who worked as a team to change the landscape of television forever. NOSTALGIC GUIDE TO A SPECIAL PLACE AND TIME: Take a deep dive into the in-world lore that will bring to life the 1950s Milwaukee of Richie and Joanie Cunningham, Potsie Weber, Ralph Malph, and, of course, Arthur “Fonzie” Fonzarelli.

Deborah Solomon's biography sets Jackson Pollock in his time and portrays him as a shy, often withdrawn person, full of insecurities and self-doubts, and frequently unable to express himself about his art or its meaning. Solomon interviewed two hundred people who knew Pollock and his work and she has drawn extensively on Pollock's own writings and other personal papers. She examines the artist's relationships with his family; his wife and fellow artist Lee Krasner; art patron Peggy Guggenheim; the painters Willem de Kooning, Mark Rothko, and many more.

The last quarter century has been an extraordinary and turbulent period in the art world. It was a time of creative intensity during which a handful of artists, like Julian Schnabel, Jeff Koons, Keith Haring, and Jean-Michel Basquiat, managed, in their different ways, to cross over from the rarefied world of high art into popular culture. It was also a time when other promising careers and even whole movements, like Graffiti, spurted to life and then just as suddenly disappeared. During the astonishing boom years of the 1980s, the newly vigorous art market transformed the role of dealers and collectors to give them unprecedented power as tastemakers and the dangerous glamour of Hollywood power agents. And then came the bust. Writer Anthony Haden-Guest has moved within the art world, known the players, and reported on the scene for this entire span of time. True Colors draws on two decades of reporting to deliver an authoritative and deliciously inside account of the contemporary art world that will be the most talked-about book on art since The Shock of the New. Haden-Guest gives vivid portraits of the art world's key players and dramatizes the pivotal moments in the always evolving scene. Skillfully conveying a sense of the intricate geography of the art world, he tells of its clashes of ambition, its intrigues, its power plays. This is how artists survive, or don't survive. True Colors is filled with telling anecdotes and expertly told stories that cohere to give a sense of how the art world works, its current state, and where it may be going.

A significant and extensive book on a major new body of work by the American artist Taryn Simon. Taryn Simon: A Living Man Declared Dead and Other Chapters, I-XVIII was produced over a four-year period (2008-2011), during which Simon travelled the world researching and recording bloodlines and their related stories. In each of the eighteen "chapters" that make up the work, the external forces of territory, power, circumstance, or religion collide with the internal forces of psychological and physical inheritance. Her subjects feuding families in Brazil, victims of genocide in Bosnia, the first woman to hijack an aircraft, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. This volume accompanies the exhibitions at Tate Modern, London (May 2011), Neue Nationalgalerie, Berlin (September 2011), and the Museum of Modern Art, New York (May-September 2012).

A visually dynamic homage to the paperback. In 1968, John Leonard, then editor of The New York Times Book Review , listed the many merits of mass-market paperbacks: "They can be stuffed in purses, left in buses, dropped in toilets, used as coasters, eaten and thrown away. Their covers can be ripped off! Their spines can be broken! To buy a paperback today is to buy the means of revenging oneself on Western culture." Fast-forward forty years. Leonard’s affectionately flippant assessment may need to be revised as the explosion of digital media threatens the livelihood of the printed word. More than an act of revenge on Western culture, to buy a paperback may be a means of preserving one of its more charismatic—and socially, politically, and aesthetically influential—species. Breathless Homicidal Slime Mutants celebrates the mass-market paperback and gives it its due. A vibrant tour that starts with books from the late nineteenth century up to today, examining the most popular genres—mystery, romance, Westerns, how-to, cooking, and diet, and highbrow literature packaged for the broader audience—it focuses on the history of the art and design of the format and how it is inseparable from the history of American literacy, tastes, and mores of the twentieth century.

These interviews with Henry Rollins conducted by RE/Search (and Search & Destroy) founder V. Vale focus on Henry's travels -- often to countries considered dangerous and off-limits. There are references to Punk Rock history, the Occupy movement, and numerous personal adventures and experiences over the past 30-plus years of combing the planet giving musical and Spoken Word performances, and generally being as creative and humorous as possible no matter what the situation may be . Whatever Henry wants to do, he does it while giving his full attention, like a kind of Zen master. RE/Search tries to reveal the full scope of his creativity, achievements and darkly sardonic perceptiveness and contempt for cliche. This book is full of both humor and inspiration.

Pomegranate's Jonathan Green coloring book features 22 entrancing images by the popular American artist. Coloring pages are blank on the back so they can be cut out and displayed. One forty-eight page 8 1/2 x 11 in. book with twenty-two images to color. Each illustration is reproduced in a small, color version of the original artwork and as a full-page black line drawing. The painter Jonathan Green lives in Naples, Florida, but he grew up near the tidal marshlands of South Carolina, a member of the Gullah community. The ancestors of Gullah families were slaves brought to North America from West Africa, and their traditional culture has proven quite resilient. In Jonathan Green's pictures we encounter scenes from his childhood--the land, the animals, and the people are those he remembers. You'll find twenty-two of Green's paintings in this coloring book. They are shown as small pictures on the inside front and back covers. You'll notice that he likes lots of bright yellows and reds and often shows people wearing big hats. When you color in these pictures, you might want to try to copy the original colors, or you might decide to use your own. The last page of this book is blank so that you can draw and color your own picture, one that shows something from your life. Maybe it will be a place, a pet, a friend, or someone from your family. Or maybe it will be something you saw and remembered, like a fancy car or a balloon, or a big hat. Take your time and try using some fun, bright colors, as Jonathan Green does.

Sixteen more lost stories by Ben Hecht from the Snickersnee Press, this compilation about Chicago's pioneering Modernist artists, their art and the pioneering skyscrapers punctuating the cityscape. Audiences include 1. Art and cultural historians of early Modernism in Chicago; 2. Short story lovers interested in literary journalism of Ben Hecht at his before-30 Chicago brightest. 3. Chicago history. The 1921-1922 short works reveal Hecht's passion for avant-garde art including German DaDa, show off his unbridled wordsmithery, philosophizing and humor in his salad days before he became Hollywood's most sought-after film writer and script doctor (Scarface, Spellbound, Notorious). Written for his Chicago Daily News column 1001 Afternoons in Chicago, the pieces vary from bar rooom comedy about specific artists to intellectual arguments about Modernism and beauty, subjects unexplored by other Hecht biographers. Uncompiled until rediscovered on microfilm by archival research consultant and Hecht biobibliographer Florice Whyte Kovan, they rejuvenate and contextualize with her historical notes and profuse illustrations. Hecht interviews Primitivist Jerome Blum, visiting Russian painter Nicholas Roerich; satirizes landscape artist George Peyraud, expounds on Dadaist Johannes Van Baader. He features his own illustrators Herman Rosse and Wallace Smith, the latter illustrating Hecht's banned book, Fantasius Mallare. Two-page spreads recall George Grosz's early Americana drawings; works by eccentric Stanislaw Szukalski's, recently a NetFlix subject. No-Jury artists rejected at Art Institute of Chicago, as Hecht laments, receive a two-page cartoon spread. Over 20 artists referenced. Hecht's skyscraper stories track daily construction of the spire-topped Temple Building and extoll the iconic Wrigley Tower. A roman a clef with a surprise ending invokes the extravagant dreams of architect Frank Lloyd Wright. Kovan's quirky landscape-oriented layout varies column height evoking the cityscape. Her research at Smithsonian Archives of American Art, MoMA and Library of Congress establishes that several artist friends became Hollywood artists and set designers. She adds scholarly value with material, 104 reference images including film stills; bibliography, image acknowledgements, internal commentary, endnotes, foreword, afterword, index. The vibrant sundrenched cover is from hand-made painted washi paper by Washington, DC artist Sheila Crider who created it for Kovan's original artist book.

For nearly thirty years, Mort Kunstler has focused his considerable artistic talent on interpreting the Civil War through his paintings. In doing so, he has turned to leading historians and scholars for information that he has then translated on canvas to create an indelible image of this defining ordeal in America's history. More than 160 of those images--supplemented by preliminary sketches, early studies, and photographs of works in progress--are the basis for the four volumes in this series. Volume 4 follows the course of the war from the battle of Gettysburg (July 1-3, 1863) through the end of the war at Appomattox (April 9, 1865). The march through Virginia and Tennessee and Georgia, culminating at the battle of Chickamauga, the Atlanta campaign, the battles of Franklin and Nashville, Sherman's March to the Sea, the North's rampage through South Carolina, and battles through North Carolina all ended in a parlor in a house at an obscure railroad crossroads.

Amy Goldin's critical writing inspired many artists of the 1960s and '70s. Her unconventional acceptance of the new art forms emerging during the time and her challenge to the traditional teaching of art history in the classroom paved the way for broader parameters within the definition of art. Thirty of Goldin's extensive writings have been selected and coupled with insightful first-person accounts from fellow art critics and art historians in this presentation. Goldin's thought-provoking articles on Islamic art, conceptual art, folk art, Abstract Expressionism, and African American art are featured along with in-depth analysis of such artists as Henri Matisse, George Sugarman, Manny Farber and Morris Louis. SELLING POINTS: *This collection of essays includes contributions by Irving Sandler, Betsy Baker, Holland Cotter, Joan Simon, Oleg Grabar, Max Kozloff and others *Selected essays by noted art critic Amy Goldin, taken from prominent art publications and her personal journals, have been gathered by artist Robert Kushner ILLUSTRATIONS: 15 colour

Renoir Drawings is a comprehensive collection of drawings by the renowned French artist Pierre-Auguste Renoir, compiled and curated by art historian John Rewald. The book features over 300 drawings, including sketches, studies, and finished works, spanning Renoir's entire career from his early years as a student to his later years as a master painter. The drawings are accompanied by insightful commentary and analysis by Rewald, providing readers with a deeper understanding of Renoir's artistic process and techniques. The book is a must-have for art lovers and collectors, as well as anyone interested in the history and evolution of Impressionism.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

"Orenstein is such a breezy, funny writer, it's easy to forget she's an important thinker too."--People In this lively, funny memoir, Peggy Orenstein sets out to make a sweater from scratch--shearing, spinning, dyeing wool--and in the process discovers how we find our deepest selves through craft. Orenstein spins a yarn that will appeal to everyone. The COVID pandemic propelled many people to change their lives in ways large and small. Some adopted puppies. Others stress-baked. Peggy Orenstein, a lifelong knitter, went just a little further. To keep herself engaged and cope with a series of seismic shifts in family life, she set out to make a garment from the ground up: learning to shear sheep, spin and dye yarn, then knitting herself a sweater. Orenstein hoped the project would help her process not just wool but her grief over the recent death of her mother and the decline of her dad, the impending departure of her college-bound daughter, and other thorny issues of aging as a woman in a culture that by turns ignores and disdains them. What she didn't expect was a journey into some of the major issues of our time: climate anxiety, racial justice, women's rights, the impact of technology, sustainability, and, ultimately, the meaning of home. With her wry voice, sharp intelligence, and exuberant honesty, Orenstein shares her year-long journey as daughter, wife, mother, writer, and maker--and teaches us all something about creativity and connection.

This instantly collectible limited edition artist's book, featuring rounded edges and nine blown-in, four-color photographic images, documents a recent project by the daring and witty young American artist, Liz Cohen. In 2002, the artist began the process of importing the Trabant, once the most common car in East Germany, to the United States. Upon their arrival, Cohen set to work converting these Communist-era workhorses into supped-up hybrid American El Caminos. Black-and-white photographs and the artist's notes explain the process, and the glossy, blown-in photographs show the scantily clad, stiletto-shod artist posing in typical calendar-shot, car-model form on top of and alongside her works in progress, sometimes accompanied by the real-life mechanics who helped her to reach her dream.

Beginning in the late nineteenth century, the pueblos of the Southwest frequently inspired Anglo-American visitors to express their sense of wonder and enchantment in biblical references. Frank Hamilton Cushing's first account of Zuni pueblo described a setting that looked like "The Pools of Palestine." Drawn to the Southwest, Mabel Dodge imagined "a garden of Eden, inhabited by an unfallen tribe of men and women." There she was attracted to Tony Luhan, a Taos Indian who looked "like a Biblical figure." When historian Jerold Auerbach first saw Edward S. Curtis's early twentieth-century photograph Taos Water Girls , he realized that "here, indeed, was the biblical Rebecca, relocated to New Mexico from ancient Haran, where Abraham's faithful servant had journeyed to find a suitable wife for Isaac. Rebecca with her water pitcher is as familiar a biblical icon as Noah and his ark or Moses with the stone tablets. Curtis had recast her as the archetypal Pueblo maiden." Explorers in Eden uncovers an intriguing array of diaries, letters, memoirs, photographs, paintings, postcards, advertisements, anthropological field studies, and scholarly monographs. They reveal how Anglo-Americans disenchanted with modern urban industrial society developed a deep and rich fascination with pueblo culture through their biblical associations.

Speak, Memory is a critical reader accompanying Los Angeles-based Kerry Tribe's (born 1973) exhibition at the Power Plant. It includes artwork reproductions, an annotated script from her film There Will Be _______ (2012), as well as texts by Eli Horwatt, Mark Godfrey and Melanie O'Brian.

Includes essays and playscripts: The Cure , Film Is Evil: Radio Is Good , Symphony of Rats , What Did He See? and Lava . Foreword by Peter Sellars

A native of Vienna, Henry Koerner immigrated to the United States in 1938, a refugee from Hitler's persecution of the Jews. Upon his return to Vienna as an American soldier in 1946, he learned that his family had been deported and killed. This volume documents the painter's formation through his experience of loss, exploring his magical realism work of the period 1945-57.

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