A never-before-seen look at the striking thematic parallels between KAWS and Andy Warhol, two of the most iconic artists of our time

As celebrated artists that draw from popular culture, KAWS and Andy Warhol are known for creating art that is approachable beyond the confines of the traditional art world.

While at first glance, both artists' works often appear celebratory and joyful, they share a number of dark common threads beneath the surface: tragedy as spectacle and meditations on death and dying. When these two bold bodies of work are juxtaposed, that connection is made explicit and powerful.

This book highlights the artistic intersection of KAWS and Warhol, featuring their takes on death and disaster, advertising, nostalgia, abstraction, skulls, and self-portraiture. Accompanying a major exhibition at The Andy Warhol Museum that will travel internationally, it presents some of the most standout and analogous works from two of the most popular artists of all time.

Andy Warhol (1928-1987) is hailed as the most important proponent of the Pop art movement. A critical and creative observer of American society, he explored key themes of consumerism, materialism, media, and celebrity.

Drawing on contemporary advertisements, comic strips, consumer products, and Hollywood's most famous faces, Warhol proposed a radical reevaluation of what constituted artistic subject matter. Through Warhol, a Campbell's soup can and Coca Cola bottle became as worthy of artistic status as any traditional still life. At the same time, Warhol reconfigured the role of the artist. Famously stating I want to be a machine, he systematically reduced the presence of his own authorship, working with mass-production methods and images, as well as dozens of assistants in a studio he dubbed the Factory.

This book introduces Warhol's multifaceted, prolific oeuvre, which revolutionized distinctions between high and low art and integrated ideas of living, producing, and consuming that remain central questions of modern experience.

David Lynch is internationally renowned as a filmmaker, but it is less known that he began his creative life as a visual artist and has maintained a devoted studio practice, developing an extensive body of painting, prints, photography, and drawing. Featuring work from all periods of Lynch's career, this book documents Lynch's first major museum exhibition in the United States, bringing together works held in American and European collections and from the artist's studio. Much like his movies, many of Lynch's artworks revolve around suggestions of violence, dark humor, and mystery, conveying an air of the uncanny. This is often conveyed through the addition of text, wildly distorted forms, and disturbances in the paint fields that surround or envelop his figures. While a few relate to his film projects, most are independent works of art that reveal a parallel trajectory. Organized in close collaboration with the artist, David Lynch: The Unified Field brings together ninety-five paintings, drawings, and prints from 1965 to the present, often unified by the recurring motif of the home as a site of violence, memories, and passion. Other works explore the odd, tender, and mincing aspects of relationships. Highlighting many works that have rarely been seen in public, including early work from his critical years in Philadelphia (1965-70), this catalog offers a substantial response to dealer Leo Castelli's comment when he enthusiastically viewed Lynch's work in 1987, I would like to know how he got to this point; he cannot be born out of the head of Zeus.

Published in association with the Pennsylvania Academy of the Fine Arts

As one of America's most prominent nineteenth-century painters, Albert Bierstadt (1830-1902) is justly renowned for his majestic paintings of the western landscape. Yet Bierstadt was also a painter of history, and his figural works, replete with images of Plains Indians and the American bison, are an important part of his legacy as well. This splendid full-color volume highlights his achievements in chronicling a rapidly changing American West.

Born in Germany, Bierstadt rose to prominence as an American artist in the late 1850s and enjoyed nearly two decades of critical success. His paintings propelled him to the forefront of the American art scene, but they also met with reproach from his peers and critics in the press who viewed his painting style as outmoded. Bierstadt's star has both risen and fallen as modern art historians have reconsidered his complex oeuvre.

This volume takes a major step in reappraising Bierstadt's contributions by reexamining the artist through a new lens. It shows how Bierstadt conveyed moral messages through his paintings, often to preserve the dignity of Native peoples and call attention to the tragic slaughter of the American bison. More broadly, the book reconsiders the artist's engagement with contemporary political and social debates surrounding wildlife conservation in America, the creation and perpetuation of national parks, and the prospects for the West's indigenous peoples. Bierstadt's final history paintings, including his dual masterworks titled The Last of the Buffalo--a special focus of this volume--stand out as elegiac odes to an earlier era, giving voice to concerns about the intertwined fates of Native peoples and endangered wildlife, especially bison.

Along with its rich sampling of Bierstadt's diverse artwork, Albert Bierstadt: Witness to a Changing West features informative essays by noted curators, scholars of art history, and historians of the American West.

Once upon a time, I thought faeries lived only in books, old folktales, and the past. That was before they burst upon my life as vibrant, luminous beings, permeating my art and my everyday existence, causing glorious havoc....

In the long-awaited sequel to the international bestseller Faeries, artist Brian Froud rescues pixies, gnomes, and other faeries from the isolation of the nursery and the distance of history, bringing them into the present day with vitality and imagination. In this richly imagined new book, Brian reveals the secrets he has learned from the faeries -- what their noses and shoes look like, what mischief and what gentle assistance they can give, what their souls and their dreams are like.

As it turns out, faeries aren't all sweetness and light. In addition to such good faeries as Dream Weavers and Faery Godmothers, Brian introduces us to a host of less well behaved creatures -- traditional bad faeries like Morgana le Fay, but also the Soul Shrinker and the Gloominous Doom. The faery kingdom, we find, is as subject to good and evil as the human realm. Brilliantly documenting both the dark and the light, Good Faeries/Bad Faeries presents a world of enchantment and magic that deeply compels the imagination.

The blockbuster two-volume guide to the Venice Biennale, with over 1,000 illustrations

The 60th International Art Exhibition of the Venice Biennale, curated by Adriano Pedrosa (artistic director of the Museu de Arte de São Paulo), is titled Foreigners Everywhere. It takes its name from a series of artworks made in 2004 by the collective Claire Fontaine, and is, as Pedrosa explains, a celebration of the foreign, the distant, the outsider, the queer as well as the Indigenous. It will focus on artists who are themselves foreigners, immigrants, expatriates, diasporic, emigres, exiled and refugees--especially those who have moved between the Global South and the Global North. Pedrosa divides the exhibition into two parts: Nucleo Contemporaneo, for contemporary artists, and Nucleo Storico, for historical ones. The former expands upon the concept of the foreigner or outsider artist, while the latter examines artworks created in the Global South between 1905 and 1990.
The catalog, copublished by Silvana Editoriale and Edizioni La Biennale di Venezia, is, as with the 2022 publication, printed in two volumes, and follows the exhibition route to accompany visitors and art lovers through the exhibition spaces of the Giardini and the Arsenale. It also presents the other projects on display in various locations around the city of Venice and at Forte Marghera in Mestre.
Artists include: Pacita Abad, Etel Adnan, Baya, Monika Correa, Olga de Amaral, Dumile Deni, Uza Egonu, Aref El Rayess, Louis Fratino, Fred Graham, Mohamed Hamidi, Carmen Herrera, María Izquierdo, Frida Kahlo, Grace Salome Kwami, Wilfredo Lam, Esther Mahlangu, Tina Modotti, Ahmed Morsi, Taylor Nkomo, Pan Yuliang, Dalton Paula, Sayed Haider Raza, Emma Reyes, Jamini Roy, Mahmoud Sabri, Joshua Serafin, Amrita Sher-Gil, Yinka Shonibare, Joseph Stella, Salman Toor, Ahmed Umar, Rubem Valentim, Kay WalkingStick, Bibi Zogbé.

My earliest memory of art is of my mom. Looking back at it now, I didn't consider her an artist then because she was always home with us. Now that I'm older, I think about these things differently and know that she is an artist--she is a weaver. She was always spinning yarn, creating sash belts, and sewing baby blankets in a way that was special to me. . . . I can still hear her spindle dancing on the floor; the squeak of wood on linoleum; the pounding when she was weaving her belts. Those were the sounds we went to sleep to.--Kevin Aspaas (Diné)

Diné weaving is an artistic practice grounded in Diné cosmology and Diné creation stories. Diné weavings have multidimensional and intersecting connections to sacred places, plants, animals, and spiritual beings. Distinctive protocols to care for these material, immaterial, visible, and/or cosmic spectrums, which are unique to weavings, are necessary to sustain them. In Diné creation stories, Spider Woman, an important deity, helped create the loom and gave Diné the gift of weaving. In gifting Diné with weaving, she also helped them construct the loom and its tools and attributed specific properties to each element that aligned with nature and the universe.--Larissa Nez (Diné)

Our journey to tell the stories of the weavers of these textiles has been inspiring. These weavers faced the violence of settler colonialism, which included executive orders for extermination, forced relocations, livestock reduction, conversion to Christianity, government boarding schools, and trading post directives that could have stifled individual artistic creativity. These weavers created incredible works of art during these times. I voice my gratitude that the prayers and songs of my matriarchs have allowed me to gather strength every day to live my life in balance. I now carry their resiliency, their warrior spirits, and the power of our Diné language to weave with creative freedom.--Lynda Teller Pete (Diné)

Shaped by the voices of contemporary weavers and practitioners and through a constellation of poetry, essays, interviews, photographs, and multimedia artworks, Horizons: Weaving Between the Lines with Diné Textiles establishes connections between weaving and photography as ways of seeing, knowing, and relating to place. Drawing primarily from the collections of the Museum of Indian Arts & Culture--and considered in conversation with selected contemporary works--these historic textiles are reinterpreted by leading Diné weavers, scholars, and visual artists to reveal previously overlooked innovations and artistic expressions. Essays by Lynda Teller Pete (Diné), Wade Campbell (Diné), Jennifer Nez Denetdale (Diné) and Larissa Nez (Diné); Artist Interviews with Kevin Aspaas (Diné) and Tyrrell Tapaha (Diné); Artist Statement and Visual Essay by Darby Raymond-Overstreet (Diné).,

This deluxe Disney atlas is bursting with gorgeous park maps from around the work and across the six decades
It all started with a map. . . . Maps of the Disney Parks are more than just atlases used by guests to find their way to Big Thunder Mountain Railroad. They are snapshots of a place and time, relics treasured by collectors, and gorgeous pieces of artwork. In fact, it was a map (imagined by Walt Disney and drawn by Herbert Ryman) that was used to sell the idea of Disneyland to investors. Unfold this book of beautiful maps from when the very first Disney Park opened in 1955 right up to today. Discover details on how and why the domestic and international parks have changed over time, and enjoy sixty years worth of skillful creativity.
Searching for that perfect gift for the Disney theme park fan in your life? Explore more archival-quality books from Disney Editions:

• Holiday Magic at the Disney Parks
• The Disney Monorail: Imagineering a Highway in the Sky
• Walt Disney's Ultimate Inventor: The Genius of Ub Iwerks
• One Day at Disney: Meet the People Who Make the Magic Across the Globe
• Marc Davis in His Own Words: Imagineering the Disney Theme Parks
• Yesterday's Tomorrow: Disney's Magical Mid-Century
• Eat Like Walt: The Wonderful World of Disney Food
• The Haunted Mansion: Imagineering a Disney Classic
• Poster Art of the Disney Parks
  

Artists have been using sketchbooks for centuries as integral tools in the creative process, especially during the preparatory stages leading to the creation of great works of art. Serving as portable companions, they accompany artists on their physical and mental journeys, offering intimate glimpses into their sources of inspiration. They are used to document daily life, national events, the landscape, and natural world with immediacy. Many artists have used sketchbooks to create meticulous botanical records, while others, such as the Pre-Raphaelites, planned their most important paintings within their pages.

Selected from the Victoria and Albert Museum's extensive collection, the featured sketchbooks range from historic to contemporary examples including works by Leonardo da Vinci, Angelica Kauffman, George Romney, John Constable, Beatrix Potter, E. H. Shepard, Paul Nash, Shahed Saleem, and Julie Verhoeven. Lesser-known artists, especially women, for whom sketchbooks provided a creative outlet, are also highlighted. Drawn from Britain, Europe, and beyond, the wide-ranging selection of sketches blurs the boundaries between art and journal.

The Artist's Sketchbook explores the significance of sketching across different eras and movements. It offers insights into changes in style and technique, exploring materials such as watercolor and pen and ink, and features exquisite examples of drawings from life and the imagination, material experimentation, and planning for larger works. Written by a group of expert curators and accompanied by detailed photography, this beautifully designed book will appeal to anyone interested in the art-making process, especially those for whom sketching is an important aspect of their own artistic practice.

Three Renaissance masters converge in 1504 Florence

In a single year at the turn of the 16th century, three titans of the Italian Renaissance briefly crossed paths while competing for the attention of the most powerful patrons in Republican Florence. In 1504, the city's prominent artists came together to advise on an appropriate location for Michelangelo's sculpture David. Among them was Leonardo da Vinci, who--like Michelangelo--had only recently returned to his native Florence. David was placed outside the Palazzo Vecchio, inside which da Vinci was planning a painting of the Battle of Anghiari for a council chamber wall. In short order, Michelangelo was commissioned to paint The Battle of Cascina on the opposite side of the room, creating a showdown between the city's celebrated sons. Although neither painting ultimately came to fruition, this flurry of conspicuous commissions was witnessed by a promising young painter: none other than Raphael.
In this beautifully designed book, Scott Nethersole and Per Rumberg take the Royal Academy's celebrated Taddei Tondo by Michelangelo as a starting point, and from there turn to such treasures as Leonardo's Burlington House Cartoon and studies by Leonardo and Michelangelo for their dueling battle murals. These pivotal works examine the rivalry between Michelangelo and Leonardo, and the influence of both artists on Raphael.

- The most comprehensive exhibition ever dedicated to Tom Wesselmann
- Published to accompany Fondation Louis Vuitton's exhibition, which will be held from October 2024 to February 2024

At the end of 2024, Fondation Louis Vuitton will be holding for the first time a major exhibition dedicated to the work of the American Pop artist Tom Wesselmann. It will include around eighty of Tom Wesselmann's absolute masterpieces covering his creative periods from the 1950s to the 2000s. The exhibition will offer the opportunity to experience the beginnings of the Pop Art phenomenon through the presentation of other major works by Pop artists such as Roy Lichtenstein, Yayoi Kusama, Evelyne Axell, Frank Bowling, Rosalyn Drexler, Jasper Johns, Kiki Kogelnik, Richard Hamilton, Eduardo Paolozzi, James Rosenquist, Marjorie Strider, and Andy Warhol. The contextualization of Wesselmann's work within the Pop Art zeitgeist paves the way for immersion into his wide-ranging yet very distinctive oeuvre.

From Holbein's portraits to Broadway musical costumes: an iconographic look at the legacy of six remarkable queens

The queen consorts of Henry VIII have come to be encapsulated in a succinct six-word rhyme: Divorced, beheaded, died / Divorced, beheaded, survived. But what were their real stories and legacies? Six Lives reveals the extraordinary worlds of Katherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Katherine Howard and Katherine Parr. This publication focuses on the material traces of these women and the court culture that shaped their lives, extensively illustrated with their letters, heraldic devices, love tokens and, of course, their portraits.
The book begins with an examination of the women as cultural phenomena, from Shakespeare's Henry VIII to the musical Six, and the role that portraiture has played in these retellings. An overview examines the queens' self-presentation through portraiture before individual chapters consider each of their relationships with the king, their social networks and their patronage. Thematic pieces take a closer look at a particular element of court culture, ranging from music and jewelry to pageantry and heraldry.

Ernie Bushmiller stated that his Nancy was created for the gum chewers and not the caviar eaters. He might be surprised to find his work honored in an important art exhibition. Nancy herself would believe she deserves nothing less!

By scholars, collectors, and fans, the importance of Ernie Bushmiller's work has been acknowledged in recent years as he takes his place among the great classic cartoonists. This book is a companion catalogue of artwork, memorabilia, and more from The Nancy Show a 2024 exhibition honoring Bushmiller at the Billy Ireland Cartoon Library & Museum. Included are high-quality images of over 100 pieces of Ernie Bushmiller original artwork, plus a biography by exhibition curator Brian Walker. A collector's story by Tom Gammil gives insights on Nancy artwork and displays a gallery of dolls, toys, and other merchandise. The Nancy Show also features contributions by authors Paul Karasik and Mark Newgarden (How To Read Nancy), as well as notes from Bill Griffith, Patrick McDonnell, Ivan Brunetti, and others.

The book also features a collection of the best Nancy Sunday pages from over the decades, meticulously restored and printed in near full-size, most never been reprinted in color before. This book gives comic lovers an opportunity to experience The Nancy Show exhibition long after it leaves the museum. It's a volume no Nancy fan should be without! Special bonus gift: This book includes a sheet of exclusive Nancy gift-wrapping paper, suitable for wrapping the book itself or anything else one might give to a Nancy lover.

Posters, photography, and objects from the height of Spiritualism and the history of magic gain renewed power when seen through today's lens.

The human desire to connect with the dead since the mid-19th century gave rise to a fascination with the supernatural and the magical. Mediums and magicians from Harry Houdini, Margery the Medium, Howard Thurston, and the Fox Sisters offered communication with the departed at séances and magic shows, two interrelated forms of popular culture that relied heavily on illusions and stagecraft.

This is the first illustrated volume to gather the art and objects that made medium and magician performances iconic during the Spiritualism movement and beyond, a time when people actively debated and wondered, can spirits return? An international selection of paintings, photographs, posters, stage apparatuses, film, publications, and other objects reveal how audiences were entranced and mystified by these experiential performances, captivating willing believers and garnering skeptics as they navigated the intersecting realms of science and spirituality. From the origins of the iconic Oujia board to spirit photography, this book is a treasure trove.

Mark Ryden's Yakalina Secrets is the wondrous second installment in the artist's incredible gallery of creatures.

Foreword by Takashi Murakami

In his Pacific Northwest studio during the isolation of COVID-19, Mark Ryden began a series of his iconic half-animal, half-plush creatures that further explored his reverence for these beings, who are guides through a landscape of the unknown.

The figures in these paintings are neither human nor animal, they are spiritual entities that create a bridge between the human and animal worlds in which so much disharmony exists.

This book features all of the original portraits of Ryden's mysterious and mythical creatures. The resulting gallery of enchanted characters embodies the artist's meticulously realized signature blend of archetype, kitsch, and narrative mysticism.

Mark Ryden'sYakalina Secrets features works from two of the artist's exhibitions, organized in collaboration with Emmanuel Perrotin and Kasmin Gallery: Animal Secrets in Paris and Yakalina 9 in Tokyo.

A comprehensive survey of one of the most innovative, boundary-breaking artists working today

Theaster Gates's work in the areas of social practice, interdisciplinary performance, archival investigation, and multi-faceted object making have made him one of the most compelling artists of the twenty-first century.

Accompanying a major mid-career retrospective at the New Museum, New York, opening in November 2022, this book covers the full range of Gates's artistic activities over the past twenty years, capturing his expansive conception of art as a social sculptor, organizer, improviser, and preservationist.

An in-depth study that sheds a fascinating new light on Sir John Soane (1753-1837) and his world-renowned collection

A Financial Times Best Book of 2024: Art, Design, and Fashion

Sir John Soane's architecture has enjoyed a revival of interest over the last seventy years, yet Soane as a collector--the strategy behind and motivation for Soane's bequest to the nation--has remained largely unexplored. While Soane referred to the display of objects in his house and museum as studies for my own mind, he never explained what he meant by this, and the ambiguity surrounding his motivation remains perennially fascinating.

This book illuminates a side of Soane's personality unfamiliar to most students of his life and work by examining key strands in his collection and what they reveal about Soane and the psychology of collecting. Topics include the display of antiquities; his fascination with ruins, both literal and figurative; his singular response to Gothic architecture; and his investment in modern British painting and sculpture. These aspects are bookended by an introductory biographical chapter that highlights the ways in which his family and career informed his collecting habits as well as an epilogue that analyses the challenges of turning a private house and collection into a public museum.

A sweeping retrospective of Philip Guston's influential work, from Depression-era muralist to abstract expressionist to tragicomic contemporary master

A Wall Street Journal 2020 holiday gift guide pick

Philip Guston--perhaps more than any other figure in recent memory--has given contemporary artists permission to break the rules and paint what, and how, they want. His winding career, embrace of high and low sources, and constant aesthetic reinvention defy easy categorization, and his 1968 figurative turn is by now one of modern art's most legendary conversion narratives. I was feeling split, schizophrenic. The war, what was happening in America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything--and then going into my studio to adjust a red to a blue?

And so Guston's sensitive abstractions gave way to large, cartoonlike canvases populated by lumpy, sometimes tortured figures and mysterious personal symbols in a palette of juicy pinks, acid greens, and cool blues. That Guston continued mining this vein for the rest of his life--despite initial bewilderment from his peers--reinforced his reputation as an artist's artist and a model of integrity; since his death 50 years ago, he has become hugely influential as contemporary art has followed Guston into its own antic twists and turns.

Published to accompany the first retrospective museum exhibition of Guston's career in over 15 years, Philip Guston Now includes a lead essay by Harry Cooper surveying Guston's life and work, and a definitive chronology reflecting many new discoveries. It also highlights the voices of artists of our day who have been inspired by the full range of his work: Tacita Dean, Peter Fischli, Trenton Doyle Hancock, William Kentridge, Glenn Ligon, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman and Rirkrit Tiravanija. Thematic essays by co-curators Mark Godfrey, Alison de Lima Greene and Kate Nesin trace the influences, interests and evolution of this singular force in modern and contemporary art--including several perspectives on the 1960s and '70s, when Guston gradually abandoned abstraction, returning to the figure and to current history but with a personal voice, by turns comic and apocalyptic, that resonates today more than ever.

Step into the residences of the 18 collectors featured in this fascinating book and you will immediately realize that you have been granted entrance to a very special place. Many of these collections make their public debut in Morbid Curiosities making it a must for fans of the bizarre and curious. This showcase book documents the private world of collectors of the macabre as it features 18 unique collections, including skulls, prosthetics, mummified body parts, taxidermy, occult objects and various carnival and side-show and criminal ephemera.

Here you will meet Ryan and Regina who collect shrunken heads, Nathan Roberts who has hundreds of letters from serial killers, Brandon Hodge who has the world's biggest collection of Ouija Boards and many more. Author Paul Gambino says of the collectors, they could come from a realm that seems far removed from their reality and populated by a fascinating group of people that appear to have stepped directly from Lord Byron's gothic dinner party in the summer of 1816.

Morbid Curiosities includes stunning, specially commissioned photography of both the individual objects and the context of how the collector exhibits their work, forming a unique showcase of the bizarre and the intriguing. Detailed captions tell the curious stories behind each object, many of which are being shown outside the private world of their collections for the first time and there is an extensive interview with each collector, explaining how and why they collect, and showcasing the most remarkable pieces from each collection.

Featured collections and collectors:

Straight from the Morgue: NICOLE ANGEMI

The Art of Morbid Decor: PAUL BOOTH

A Masterpiece of the Macabre: RYAN MATTHEW COHN

His Personal Wunderkammer: CALVIN VON CRUSH

The Art of Mourning: DANIELLE DEVEROUX

It's in Their Blood: STEVE & DANIEL ERENBERG

The Hidden Mother: SKY G.

The Mysterious 48 Rue Jacob: JEAN-BERNARD

The Resurrectionist: BRANDON HODGE

True Crime Collecting: JESSIKA M.

Messages from the Beyond: JOHN KOZIK

From Pulp to Pickled Punks: JACK KUMP

Always Been Weird: D. L. MARIAN

A Pleasure in Weeping: EVAN MICHELSON

Hangin' with the Dead: MIK MILLER

Crime and Punishment: NATHAN ROBERTS

Curating the Macabre: BRENT S.

The master creator of finely crosshatched illustrations and sinisterly amusing tales, Edward Gorey (American, 1925 2000) got his start in publishing by designing book covers for such New York houses as Doubleday, Grosset & Dunlap, Vintage Books, and later Random House. Today, his prodigious output of hundreds of dust jackets and paperback covers evidences his distinctive flair for design and his extraordinary ability to portray the essence of the books that came his way. Edward Gorey: His Book Cover Art & Design features a broad selection of his work, created from 1953 to 2000.

In his essay, Steven Heller offers an insightful overview of Gorey's book cover art and design. He writes, Successful cover design requires the expertise of an artist, typographer, poster designer, and logo maker. Many book design specialists were incapable of designing a cover or jacket with the same Gorey aplomb, even if they tried.