Art

Albers was influential in elevating textiles from craft to fine art. Her exquisite wall hanging Camino Real--seen in public for the first time since 1989 at David Zwirner, New York, in 2019, and the subject of this book--is a superb example of this modern master's work.

In 1967, noted architects Ricardo Legorreta and Luis Barragán commissioned Albers to create a work for the newly built Hotel Camino Real in Mexico City. Completed in 1968, her striking wall hanging Camino Real is heavily influenced by Latin American art and culture. Showcasing Albers's approach to working with textiles as a "many-sided practice," it is accompanied in this book by works Albers made following her move to the United States in 1933, including innovative wall hangings, weavings, and a range of works on paper. Together, these works reflect Albers's brilliant embrace of different materials and techniques and her ability to work at varied scales. The works in this publication offer additional context and motifs, demonstrating the artist's pioneering investment in textiles as an art form and her parallel interest in mass-produced designs.

Published on the occasion of the Anni Albers exhibition presented at David Zwirner, New York, in 2019, this catalogue features new scholarship from the show's curator, Brenda Danilowitz, art historian and chief curator of The Josef and Anni Albers Foundation, and T'ai Smith, an expert on Bauhaus craft and weaving.

BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and bookmark ribbons. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table.

THE ARTIST. Born in Kent, Annie Soudain spent her early childhood years in Truro, Cornwall, where her interest in plants and nature began. Now settled by the sea in Sussex, much of her work continues to be inspired by the beautiful landscapes surrounding her. This colourful linoprint was created using the reduction method, which involves progressively cutting, inking up, and printing from the same block. The picturesque scene was taken from the view across the field overlooking Rye Bay in Hastings Country Park.

THE FINAL WORD. As William Morris said,"Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

The Art of Pulp Fiction: An Illustrated History of Vintage Paperbacks chronicles the history of pocket-sized paperbound books designed for mass-market consumption, specifically concentrating on the period from 1940 to 1970. These three decades saw paperbacks eclipse cheap pulp magazines and expensive clothbound books as the most popular delivery vehicle for escapist fiction. To catch the eyes of potential buyers they were adorned with covers that were invariably vibrant, frequently garish, and occasionally lurid. Today the early paperbacks--like the earlier pulps, inexpensively produced and considered disposable by casual readers--are treasured collector's items.

Award-winning editor Ed Hulse (The Art of the Pulps and The Blood 'n' Thunder Guide to Pulp Fiction) comprehensively covers the pulp-fiction paperback's heyday. Hulse writes the individual chapter introductions and the captions, while a team of genre specialists and art aficionados contribute the special features included in each chapter. These focus on particularly important authors, artists, publishers, and sub-genres.

Illustrated with more than 500 memorable covers and original cover paintings. Hulse's extensive captions, meanwhile, offer a running commentary on this significant genre, and also contain many obscure but entertaining factoids. Images used in The Art of Pulp Fiction have been sourced from the largest American paperback collections in private hands, and have been curated with rarity in mind, as well as graphic appeal. Consequently, many covers are reproduced here for the first time since the books were first issued.

With an overall Introduction by Richard A. Lupoff, novelist, essayist, pop-culture historian, and author of The Great American Paperback (2001).

The contemporary art market is an international juggernaut, throwing off multimillion-dollar deals as wealthy buyers move from fair to fair, auction to auction, party to glittering party. But none of it would happen without the dealers-the tastemakers who back emerging artists and steer them to success, often to see them picked off by a rival.

Dealers operate within a private world of handshake agreements, negotiating for the highest commissions. Michael Shnayerson, a longtime contributing editor to Vanity Fair, writes the first ever definitive history of their activities. He has spoken to all of today's so-called mega dealers -- Larry Gagosian, David Zwirner, Arne and Marc Glimcher, and Iwan Wirth -- along with dozens of other dealers -- from Irving Blum to Gavin Brown -- who worked with the greatest artists of their times: Jackson Pollock, Andy Warhol, Cy Twombly, and more.

This kaleidoscopic history begins in the mid-1940s in genteel poverty with a scattering of galleries in midtown Manhattan, takes us through the ramshackle 1950s studios of Coenties Slip, the hipster locations in SoHo and Chelsea, London's Bond Street, and across the terraces of Art Basel until today. Now, dealers and auctioneers are seeking the first billion-dollar painting. It hasn't happened yet, but they are confident they can push the price there soon.

Unravel the riddles of watercolour palettes and learn how to use colour with confidence!

Julie Collins helps you understand how color works in a highly visual way through the use of color charts accompanied by numerous examples, practical exercises and studies of watercolor paintings, both her own works and those of contemporary artists.

Topics such as granulation, iridescence, transparency and opacity are explained clearly and simply, to encourage you to experiment with colour and be bolder and more creative in your art.

Armed with a clearer understanding of color and how it looks and behaves on paper, you'll be encouraged to be more bold and creative in the use of color in your art.

Instrumental in the formation of the underground comics scene in San Francisco during the 1960s and 1970s, Crumb has ruptured and expanded the boundaries of the graphic arts, redefining comics and cartoons as countercultural art forms. Presenting a slice of Crumb's unique universe, this book features a wide array of printed matter culled from the artist's five-decade career--tear sheets of drawings and comics taken directly from the publications where the works first appeared, comic book covers, broadsides from the 1960s and 1970s, and tabloids from Haight-Ashbury, Oakland, the Lower East Side, and other counterculture enclaves, as well as exhibition ephemera. Complementing this volume are historical works from the eighteenth and nineteenth centuries that have inspired Crumb and pages from his rarely seen sketchbooks from the 1970s and 1980s that reveal his exemplary skill as a draftsman.

Documenting the critically acclaimed exhibition Drawing for Print: Mind Fucks, Kultur Klashes, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb at David Zwirner, New York, in 2019, curated by Robert Storr, this publication offers an opportunity to immerse oneself in Crumb's singular mind. In the accompanying text, Storr explores the challenging nature of some of Crumb's work and the importance of artists who take on the status quo.

A lovingly curated collection of 365 charming portraits of our favorite four-legged companions, with anecdotes celebrating dogs' endearing and irresistible quirks, based on Sally Muir's popular "Dog a Day" Facebook page.

Sally Muir's debuted her "Dog a Day" project on Facebook in 2013: "My name is Sally Muir and this is a new gallery where I will add a dog drawing/painting every day, adding up to a massive 365-day dogfest." As her Facebook page took off, so did the number of Sally's portraits and her fame.

Drawing on the substantial collection of artwork on her site, A Dog a Day is an irresistible collection of 365 beautiful portraits of dogs of all shapes and sizes, depicted in a range of mediums--from loosely worked sketches, prints, and charcoal drawings to oil paintings and lithographs. The artwork is accompanied by short anecdotes throughout, that reflects on these beloved animals' goofy, loyal, and spunky dispositions.

Charming and whimsical, A Dog a Day is a must for all dog lovers, a loving collection that guarantees a year's worth of tail-wagging sweetness.

An exciting look at the artistic evolution of the iconic style of Doonesbury on the 40th anniversary of its publication.

Best known for his wry and incisive takes on American life and politics, Garry Trudeau is among the world's most widely read cartoonists. Trudeau began shaping Doonesbury as an undergraduate contributor to the Yale Daily News in 1968.Today, the strip is syndicated to a daily readership of nearly 100 million.

Trudeau's work has been anthologized before, but this is the first book to assess the art of the comic strip and the ways that Trudeau's iconic style has evolved over the past four decades. Brian Walker, an expert on the history of comics, sheds light on Trudeau's early influences as well as on his creative process, from research to pencil layouts to finished artwork. In addition to revealing how Doonesbury is crafted each week, the book also examines Trudeau's magazine illustrations, animation drawings, posters, and product designs, as well as rare and previously unpublished works. Walker's historical text is complemented by insightful commentary by Trudeau and his collaborators, Don Carleton, George Corsillo, and David Stanford, making this book appealing not only to Doonesbury's many fans but also to those looking for an approach to the work of a master comic strip artist.

In a unique board binding that mimics a sketchbook, Drawing Ideas provides a complete foundation in the techniques and methods for effectively communicating to clients and audiences through clear and persuasive drawings.