Used, Rare & Out-of-Print Art Books - pg. 34 including Traumaby: Andrew (Curated by) Bradley, Fiona, and Brown, Katrina, and Nairne

Softcover. London, South Bank Centre, 1st, 2001, Book: Very Good, Dust Jacket: None, Softcover. 83 pages, mostly color illustrations. A National Touring Exhibition organized by the Hayward Gallery, London for the Arts Council of England. Artists Include: Martin Boyce, Willie Doherty, Kendell Geers, Felix Gonzalez-Torres, Johan Grimonprez, Guillermo Kuitca, Maria Lindberg, Tracey Moffatt, Lucia Nogueira, Anri Sala, Ann-Sofi Siden, and Christopher Wool.

Softcover. NY, Museum of Modern Art, 1st, 1999, Book: Very Good, Dust Jacket: None, Softcover, 136 pages. From the early 1960s through the early 70s, Pop Art swept the industrialized world. Iconoclastic, rebellious, and immediately popular, the new movement found its roots in an unprecedentedly prosperous consumer society. Encouraged by galleries and publishers who catered to a new collectors' market, many Pop artists were drawn to the creation of editions on paper and in multiples. 60 vibrant examples by such American icons as Andy Warhol and Roy Lichtenstein, and by such European artists as Richard Hamilton, Niki de Saint Phalle, Gerhard Richter, Eduardo Paolozzi, and Sigmar Polke, are organized according to the themes of mass media consumer culture, politics, erotica and more. All of the works included herein are from The Prints and Illustrated Books Collection at The Museum of Modern Art, New York, an exceptionally rich repository of such work.

Hardcover. New Haven, CT, Yale University Press, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, 320 pages. Hardcover with dust jacket. Very clean, unmarked copy with only minor edgewear. Illustrated with full-color reproductions of the artists' works, including some that have been published and others not originally intended for publication, such as sketchbooks and personal projects. Additional illustrations show behind-the-scenes working processes of the cartoonists and particular works by others that have influenced or inspired them. Through the eyes of these artists, we see with a new clarity the achievement of contemporary cartoonists and the extraordinary possibilities of comic art.

Hardcover. Kunsthalle Bremen & Verlag Fred Jahn, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, Black cloth with dust jacket. Text in German by numerous contributors. illustrated checklist to the exhibition. 170 pages with 69 four-color plates and numerous b/w reference illustrations. GERMAN LANGUAGE.

Softcover. Northampton MA, Kitchen Sink Press, 1st, 2009, Book: Very Good, Dust Jacket: None, Softcover, 184 pages. In 1960, Li'l Abner featured the return of one the wildest women ever to stalk the comics page when the sexy WOLF GAL armed the animal kingdom and declared war on the entire human race! Ten years before the first Earth Day, Al Capp delighted readers with this wild environmental fable, and horrified Fearless Fosdick fans with a tragic tale in which the rock-jawed detective gets fired from the force. Also in this volume, Capp skewered the rich and famous with a satire of Park Avenue plastic surgeons .

Softcover. Kitchen Sink Press, 1st, 1992, Book: Very Good, Dust Jacket: None, Softcover, 176 pages. The most popular of Capp's hundreds of distinctive characters was the Shmoo. This lovable little creature loved mankind so much that it would sacrifice itself and turn into a ham steak, a gallon of milk or a dozen eggs: whatever its owner desired. Its whiskers made nice toothpicks and its eyes could be recycled as buttons. Most important, a Shmoo could reproduce faster than a rabbit. Thus, if you had one Shmoo, you were set. You didn't need to work at all. Thus did the apparent book for mankind become its curse and the powers that be decreed that all Shmoos must be exterminated. Capp's insightful morality tale was so popular that it spawned an unprecedented merchandising bonanza. Two introductions, by David Schreiner and by science fiction writer Harlan Ellison, are illustrated with various Shmoo toys manufactured. The large back cover photograph shows a selection of Shmoo merchandise in color from the Denis Kitchen collection. Also featured in this volume: Flying Sausages (parody of "Flying Saucers," a term first coined a few months earlier; Fearless Fosdick, Nightmare Alice, Salomey, Adam Lazonga, Moonbeam McSwine, Cousin Weak-Eyes and Marryin' Sam. See also our Shmoo Facts Sheet for some amazing statistics about this character's popularity.

Hardcover. NY, Assouline, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover, 288 pages. From contemporary food design to the spectacle of eighteenth-century aristocratic feasts, this book examines the history of cutlery and dining ritual. A broad offering of great, beautiful pictures and collection of texts that explore the social meanings and fascinating forms of table settings. A truly fascinating book.

Hardcover. Oxfork UK, Ashmolean Museum, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 254 pages. 94 color plates, index of artists, essay summaries in Japanese, bibliography.

Hardcover. Gibbs Smith, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 192 pages. Sim Van der Ryn is the president of Van der Ryn Architects, a northern California firm known worldwide for its work in sustainable architecture. He taught architecture and design at the University of California, Berkeley for more than thirty years, inspiring a new generation to create buildings and communities that are sensitive to place, climate, and the flow of human interactions. He is the author of six groundbreaking books about planning and design, including Sustainable Communities and Ecological Design. He lives and works in the San Francisco Bay area.

Hardcover. St. Petersburg, Palace Editions, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, pages. A book more about art than a book of art. Khardzhiev, though apparently not a painter himself, was an heroic figure in the world of Russian art. Despite official discouragement and prohibitions, he assembled an awesome personal collection of avant-garde Soviet art. He knew the artists personally, and gave them aid and comfort. there are samples of his writing (in English). There are 100 pages of large, high-quality reproductions of drawings and paintings in his collection with notes and bibliography. Most of the works are from the Khardzhiev-Chaga Foundation in Amsterdam,though a few are in private collections, and there are some which Khardzhiev was not allowed to take out of Russia, and were thus previously unknown in the West.

Hardcover. NY, Guggenheim Museum, 1st, 2003, Book: Very Good, Dust Jacket: None, Hardcover, 228 pages. During the late 1960s and 70s, a paradigm shift occurred within visual culture: photography and the moving image were absorbed into critical art practices. In particular, these mediums were used to record ephemeral or performative events and to render visible conceptual systems or to question the supposed objectivity of representation itself. This volume focuses primarily on artworks from the last decade and proposes that the extensive use of reproducible mediums in today's art has its roots in an earlier formative period. By the end of the 70s, many artists turned to photography as a vehicle through which to critique photographic representation and to subvert an art system premised on the notion of the original. While this practice came to define much of the 80s postmodern art, its legacy for the 90s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative. Artists working today freely manipulate their representations of the empirical world or invent entirely new cosmologies. They process their subject matter through conceptual systems or use digital processes to alter their images. Some directly intervene in the environment, subtly shifting components of the found world and establishing their quiet presence in it; others fabricate entire architectural environments for the camera lens. This current state of the arts and its recent history are represented via more than 150 works by 55 artists, including Nam June Paik, Kara Walker, Felix Gonzalez-Torres, Marina Abramovic, Vito Acconci, Ana Mendieta, Bruce Nauman, Robert Smithson, Christian Boltanski, Sophie Calle, Fischli & Weiss, Ann Hamilton, Robert Mapplethorpe, Annette Messager, Cindy Sherman, Bernd and Hilla Becher, Elger Esser, others.

Softcover. NY, DC Comics, 1st, 2007, Book: Very Good, Dust Jacket: None, Softcover, 512 pages. A collection of comic books starring Barry Allen, a medical police scientist transformed into a dynamic superhero known as the Flash. Stories date from 1956 to 1961.

Softcover. NY, DC Comics, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover,. A collection of comic books starring Barry Allen, a medical police scientist transformed into a dynamic superhero known as the Flash. Stories date from the 1960s.

Softcover. NY, Farrar, Straus and Giroux, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 416 pages. In this definitive biography, Justin Wolff places Benton in the context of his tumultuous historical moment-as well as in the landscapes and cultural circles that inspired him. Thomas Hart Benton-with compelling insights into Benton's art, his philosophy, and his family history-rescues a great American artist from myth and hearsay, and provides an indelibly moving portrait of an influential, controversial, and often misunderstood man.

Softcover. Berkeley CA, University of California Press, 1st, 1998, Book: Very Good, Dust Jacket: None, Softcover, 272 pages. The prolific talents of painter Joan Brown (1938-1990) inform every page of this shining testament to a singular artist. For Brown, art was a means of self-revelation and self-investigation, a fact made abundantly clear by the autobiographical nature of her work. In the first book to fully explore Joan Brown's artistic career, Karen Tsujimoto provides an overview of Brown's life from her San Francisco childhood to her years as a mature artist and teacher. Jacquelynn Baas focuses on Brown's use of universal and personal symbolism by analyzing one of her most celebrated paintings, The Bride. Both authors make extensive use of interviews that let Joan Brown speak for herself about art and the creative process.

Hardcover. NY, Aperture, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, Hardcover, 129 pages. Color photographs by Ethan Hoffman and text by Mark Holborn, Tatsumi Hijikata and Yukio Mishima and Kazuo Ohno. Includes a 12 page section on Ohno with numerous color photographs. Color cover photograph is of Ohno. Features work of several other Butohchoreographers/dancers.

Hardcover. Edition Stemmle, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover, 136 pages. Bauhaus photography is well served by this first monograph on Max Baur, with many of the previously unpublished photographs also serving as a new source for Bauhaus studies. Working in Germany, at first providing images for postcards, Baur expanded his efforts to encompass landscape, portrait, and architectural images. In each of these genres, his work reflects the cool, objective approach of the Bauhaus style combined with the artist's elegant handling of light and perspective. In photos of stairways and colonnades, factories, and everyday objects, Baur was able to eliminate the extraneous and offer the essential nature of his subject. The book covers a period of vast changes in the world and in the life of the artist, but throughout there is a consistency of vision. An essay by William Ewing, director of the Mus e de l'Elys e (which specializes in photography), gives a brief description of the life and career of Baur with enthusiasm and warmth, while Edelmann-Pomplitz writes movingly about her experience as his student. In a letter to her, Baur expresses his credo most eloquently: "it is with light alone that we create images." This lovely work is a fine example of excellent printing and composition in harmony with content.

Hardcover. NY, Clarkson Potter, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover, 128 pages. In celebration of the New York City subway system?s 100th birthday, Diehl offers up this easy-to-read, informative history. From its beginnings as an underground amusement ride, to the development of the IRT, BMT and IND rail systems, to its crime-ridden and graffiti-covered fall in the 70?s and, finally, to its current revival, the system has had a more colorful history than most straphangers and tourists realize. Diehl?s well-pitched nostalgia leads readers to appreciate the wonder of the subway?s nascent period and to imagine how incalculably different New York would be today had the transit option that is so taken for granted not been created how and when it was. As Diehl shows, the subway and the cities of New York and Brooklyn grew up together and gave each other character. Tracks weren?t always laid to reach existing neighborhoods. Often neighborhoods sprung up as subway service pushed out farther from the city, while the areas below the elevateds (now long gone) developed a reputation for shadiness in every sense of the word. Those familiar with the layout of the city will most appreciate the implied differences between then and now but any fan of trains, history, New York or grand public works will enjoy the ride. Although Diehl?s tribute is not the definitive work on the subject, this book passes on enough fascinating tidbits, evocative depictions and serious history to have wide appeal. 60 b/w and 20 color photos.

Softcover. Seattle, Fantagraphics, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 184 pages. Presenting a new type of graphic fiction from a legendary family in American cartooning. Underground cartoonist Kim Deitch has recruited his entire cast of siblings to produce a unique, all-new "picto-fiction" pocket book. Deitch's Pictorama leads off with Kim's comic "The Sunshine Girl." Then it's time for Seth's prose short story "Children of Aruf," about a man and his dog... in a world where dogs talk. Third up is "Unlikely Hours," a paranoid picto-story about a conspiracy of sentient rats written by Seth and illustrated by Kim. Next comes "The Golem," once again written by Seth and decorated with a series of superb pencil illustrations by Simon, a prose novella about the mythical Jewish monster/protector. Kim wraps with "The Cop on the Beat, the Man in the Moon and Me," one last comic - this one autobiographical. The book features an introduction by the Academy Award-winning animator, cartoonist and illustrator Gene (Tom and Jerry) Deitch, who happens to be the proud father of the author.

Softcover. Seattle, Fantagraphics, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 184 pages. Presenting a new type of graphic fiction from a legendary family in American cartooning. Underground cartoonist Kim Deitch has recruited his entire cast of siblings to produce a unique, all-new "picto-fiction" pocket book. Deitch's Pictorama leads off with Kim's comic "The Sunshine Girl." Then it's time for Seth's prose short story "Children of Aruf," about a man and his dog... in a world where dogs talk. Third up is "Unlikely Hours," a paranoid picto-story about a conspiracy of sentient rats written by Seth and illustrated by Kim. Next comes "The Golem," once again written by Seth and decorated with a series of superb pencil illustrations by Simon, a prose novella about the mythical Jewish monster/protector. Kim wraps with "The Cop on the Beat, the Man in the Moon and Me," one last comic - this one autobiographical. The book features an introduction by the Academy Award-winning animator, cartoonist and illustrator Gene (Tom and Jerry) Deitch, who happens to be the proud father of the author.

Softcover. Seattle, Fantagraphics, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 200 pages. Gary Groth interviews father and son cartoonists Gene and Kim Deitch. Academy-award-winning Gene Deitch, whose wide-ranging career has spanned over 60 years, talks about doing illustrations for The Record Changer, directing cartoons such as Munro and Krazy Kat, and creating his comic strip Terr'ble Thompson. Underground comics pioneer Kim Deitch, touches on his father's influence, reminisces about the New York-based scene and outlines the evolution of Waldo the Cat. Plus: The innovative Grant Morrison fills us in on his X-Men run, All Star Superman, the ambitious Seven Soldiers "maxiseries," and how he became one of the architects of the current DC Comics universe. Finally, the comics gallery presents an historical essay and highlights from the turn-of-the-19th-century work of Puck cartoonist, F. M. Howarth.

Softcover. Seattle, Fantagraphics, 1st, 2009, Book: Very Good, Dust Jacket: None, Softcover, 207 pages. A career-spanning interview with Mort Walker, the creator of Beetle Bailey and Hi & Lois. Jordan Crane discusses The Clouds Above: comics by the famous 17th century caricaturist Thomas K. Rowlandson.

Hardcover. San Francisco, Chronicle Books , 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Handcover, 96 pages. Being a bridesmaid is one of the greatest honors a dear friend can bestow. But actually wearing the dress the bride picks out? That's the true test of friendship. You Can Wear It Again pays loving tribute to fifty years of bridesmaids' dresses, as featured in real-life weddings. The product of both fashion trends and the bride's whims, bridesmaids' dresses may take the form of medieval costume, complete with wimple; slip dresses with real feathered wings to transform maids into true angels; or the ruffled peach taffeta with puff sleeves that so dominated the 1980s. Whatever the look, you can be sure it's been in and out of fashion more than once.

Hardcover. Little, Brown Books for Young Readers, reprints, 2008, Book: Very Good, Dust Jacket: None, Eight hardcovers in a slipcase. A deluxe special edition boxed set of 21 Tintin classic graphic novels, collected in seven hardcover volumes plus a bonus book featuring Tintin and Co., a closer look at favorite Tintin characters revealing their origins, inspirations, and the source of their enduring fascination. Packaged in a handsome slipcase. It contains all of the adventures (except Tintin in the Congo - with its colonial racism it wouldn't be politically correct to allow it back in print).

Softcover. Seattle, Fantagraphics Books, 1st, 2014, Book: Very Good, Dust Jacket: None, Softcover, 64 pages. In the vein of the old underground comix like ZAP or Weirdo, author Joe Sacco promises that BUMF will go where it needs to go, and do what it needs to do." Though world-famous for his serious, journalistic books like Palestine, Safe Area Gorazde, and Footnotes in Gaza, Bumf promises to echo back to Sacco's earlier days as a satirist and underground cartoonist. Bumf is a project that Sacco has been working on in between larger projects like Footnotes in Gaza, indulging his love of satire and cartooning. Often puerile, disgusting, and beyond redemption, Sacco apologized in advance, saying he couldn't help himself. "They expect better things from me. They'll never put me on a stamp now

Hardcover. London, Fuel, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover. 192 pages. Plutser-Sarno has been collecting Russian street messages, usually hand-written and posted on walls, for two decades; this book is a sampling from his Museuam of Ads and Announcements. The notes are of a great variety: seeking recruits for cults or prostitution, offering items, some of them bizzare ones, for barter, warning miscreants of dire harm should they, for example, continue to steal light bulbs from a common corridor, prohibiting--predictably--a wide range of activities, and occasionally pleading in tones of insanity.Many of the messages are shown in illustrations, and Pluter-Sarno offers brief comments, sometimes necessary ones: Without them I shouldn't have known, for example, that 'artificial rock' was a euphemism for a concrete slab. (I'm sorry though that he didn't explain what curious Slavic behaviors created the need for notices in public lavoratories asking users to abstain from standing on toilet bowls.) Given the range of notes here, it's possible for the reader to get a hint of Soviet and post-Soviet customs and beliefs, the daily struggling with poverty and paucity, and the impact of the political upon the individual.Because Fuel, the publisher, is a design company it's small wonder that as an object this is a wonderful book. It's a small hardback with a cover done in relief, and sewn in signatures. The outer 2/3 of the pages are a kraft-paper brown and the inner 1/3, with colour illustrations, a cream color.

Hardcover. NY, Assouline, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover, 240 pages. Celebrates its centennial in 2004 with a global operation in more than 25 countries. With wit, spirit, and luminous images, Orla Healy tells the inspiring story of Coty, both the man and the company..

Hardcover. Evergreen/Taschen, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover, 432 pages. A reproduction of some of the "Little Nemo" comic strip from the early 20th century. This volume reflects the distinctive art-nouveau style of the original drawings and follows Little Nemo as he journeys nightly into the world of dreams. The strip was introduced to America over a century ago, and these pages still have the power to astonish and touch anyone that reads them. The utter timelessness of this strip, both in artwork and vision, is the kind of testament to genius that very few graphic artists ever receive. Winsor McCay was such a genius and his major work, Little Nemo in Slumberland, is a vastly rich exploration of human dreams.

Hardcover. Seattle, Fantagraphics, 1st, 1997, Book: Very Good, Dust Jacket: Very Good, Hardcover, 144 pages. This is an essential purchase for fans of Felix the Cat. As all true fans know, Felix's real glory days were in the silent era, when Pat Sullivan's animation studio produced over a 100 ingenious short cartoons featurng the protean ebony feline. Though Sullivan hogged all the credit, the artist behind the series was Otto Messmer, who also worked on Felix's spin-off newspaper comic strip. He continued with that strip after the cartoons ended in 1930 (due to Sullivan's incompetent management).Editor David Gerstein has compiled a sampling of strips from the early 1920s to the 1930s. It's fascinating to see how Felix changed over a decade, moving from a blocky, snout-nosed design to a sleek look with rubber hose limbs and circular head and torso. Comic-strip Felix is of naturally talkier than his film self, and Messmer's sight gags flow less smoothly when broken up by panels and dialogue, but these strips remain a delight, especially since a couple stories are adaptations of now-lost cartoons (and even re-use art from them). As for the original stories, they take advantage of the format to tell longer tales, often in the sort of gently humorous adventure genre later used by Floyd Gottfredson's Mickey Mouse and Carl Bark's Donald Duck comics. Sadly, Felix's comic strip adventures remain far more obscure than those Disney productions.

Hardcover. NY, Thames and Huson, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 256 pages. Published to accompany an exhibition at London's Imperial War Museum, this book features more than 250 superb full-color illustrations of hard-hitting propaganda and groundbreaking graphic art. It encompasses iconic images such as Alfred Leete's "Your Country Needs You" as well as additional material drawn from the world of advertising and documentary photographs of posters in situ.Through posters, the author examines the social, political, ethnic, and cultural aspirations of America, Britain, Ireland, Germany, France, the Netherlands, Belgium, Russia, Austria, Hungary, and the Czech Republic. Covering topics as diverse as advertising in World War I, the Bolshevik Revolution, the Spanish Civil War, Germany and Occupied Europe in World War II, anti-nuclear campaigns, and Vietnam, the book is comprehensive and highly analytical, yet accessible. 300 illustrations, 250 in color.

Hardcover. Seattle, Fantagraphics, 1st, 2008, Book: Very Good, Dust Jacket: None, Two hardcovers, 650 pages. The complete WWII cartoons of the greatest cartoonist of the Greatest Generation, in a beautiful, oversized, two-volume slipcased set. During WWII, the closest most Americans ever came to the war was through the cartoons of Bill Mauldin, the most beloved enlisted man in the U.S. Army. Fantagraphics Books brings together Mauldin's complete works from 1940 through the end of the war. This collection of over 600 cartoons, most never before reprinted, is more than the record of a great artist: it is an essential chronicle of America's citizen-soldiers from peace through war to victory. Bill Mauldin knew war because he was in it. He had created his characters, Willie and Joe, at age 18, before Pearl Harbor, while training with the 45th Infantry Division and cartooning part-time for the camp newspaper. His brilliant send-ups of officers were pure infantry, and the men loved it. With their heavy brush lines, detailed battlescapes, and pidgin of army slang and slum dialect, Mauldin's cartoons and captions recreated on paper the fully realized world of the American combat soldier. Their dark, often insubordinate humor sparked controversy among army brass and incensed General George S. Patton, Jr. DUE TO WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. Seattle, Fantagraphics, 1st, 2004, Book: Very Good, Dust Jacket: None, Hardcover, 712 pages. These superb stories from the nearly 20-year run of Love and Rockets define a world of Hispanic gang warfare, '80s California, punk rock, women wrestlers and the subtle battle to stay true to oneself. Hernandez's main characters are Maggie and Hopey, two adorable lesbian rockers who start out in a somewhat vague relationship and are then are separated by adventures both grand and demeaning. Maggie is a magnificent comics character, a tempestuous naif who wears her heart on her sleeve when she's not throwing it at a succession of bad boys who ignore her, even though Hopey is secretly the love of Maggie's life. Hopey, a mohawked imp, is more opaque, a symbol of the youthful rebellion of punk rock that all the characters are trying to return to in some way, even as real life sweeps them further away from their dreams. Maggie's weight gain over the years sends her self-esteem on a downward spiral, while Hopey goes on an endless tour with a band. Along the way, Hernandez gradually peels away the strip's early sci-fi trappings (dinosaurs and rocket ships) to create a devastatingly naturalistic world. Sharp b&w drawings capture the characters in minute detail with a wide range of emotions. Finally collected into one volume, these stories are among the greatest comics ever put to paper, and an essential piece of the literature of the punk movement.

Hardcover. Los Angeles, CA, Taschen, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, 336 pages. Hardcover with dust jacket. Very clean, unmarked copy still in publishers shrink-wrap. This book brings together Salgado's photos of Africa in three parts. The first concentrates on the southern part of the continent (Mozambique, Malawi, Angola, Zimbabwe, South Africa, Namibia), the second on the Great Lakes region (Congo, Rwanda, Burundi, Uganda, Tanzania, Kenya), and the third on the Sub-Saharan region (Burkina Faso, Mali, Sudan, Somalia, Chad, Mauritania, Senegal, Ethiopia). Texts are provided by renowned Mozambique novelist Mia Couto, who describes how today's Africa reflects the effects of colonization as well as the consequences of economic, social, and environmental crises. NOTE: DUE TO SIZE & WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. NY, Rizzoli, 1st, 2008, Book: Very Good, Dust Jacket: None, Illustrated boards, 528 pages. Closely based on Haring's own concept for the monograph he wanted to publish before his untimely death, this volume represents more than a decade of research and contains a wealth of unpublished photographic and written material including drawings, studio photographs, and journal entries. From chalk drawings deep in the New York City subways to murals in Pisa and Berlin; collaborations with William Burroughs and the famous body painting of Grace Jones, this book follows the incredible trajectory of Keith Haring's artistic career: how a young man from a small town in rural Pennsylvania came to revolutionize the art world--and the course of art history--within little more than a decade. An incredibly prolific artist, Keith Haring created countless bold, provocative, endearing, and unforgettable images that continue to inspire artists--and delight children--worldwide. Tracing the arc from his early subway "tags" to his poignant work on social issues as diverse as AIDS, illiteracy and apartheid, this visually stunning book is the definitive work on Keith Haring.

Hardcover. NY, Dutton, 1st US, 1969, Book: Very Good, Dust Jacket: Very Good, Hardcover, 80 pages of single and multiple panel humorous cartoons with sports and leisure themes.

Hardcover. NY, Abrams, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 240 pages. Steinberg's high-concept graphic art--epitomized by his oft-imitated cartoon map in which a Manhattan distended with self-importance shoves the continents of North America and Asia to the margins--is enchantingly showcased in this lavishly illustrated retrospective of his work for the New Yorker. Smith, a curator at the Frances Lehman Loeb Art Center at Vassar and author of Edward Steichen: The Early Years, surveys six decades of Steinberg's pieces, including all 89 New Yorker covers (in full color), cartoons, wartime sketches from overseas, evocative (but never literal-minded) illustrations for articles, and unpublished items from the artist's portfolio. The material is arranged thematically, examining such recurring motifs as cats, pedestals and rubber-stamped figures and documenting the turn to visual metaphor in Steinberg's later work, where symbolic graphic representations of sound, abstract relationships and existential conundrums replace the usual scenario-with-verbal-punch line cartoon setup. Smith's pithy biographical essay situates Steinberg as a self-conscious modernist who helped develop a distinctive New Yorker visual style, one with "a wry, informal wit... attuned to the jittery optimism of the Atomic Age." Steinberg's cartoons usually made readers think before they laughed, and so will this splendid memorial to a 20th-century artistic landmark.

Hardcover. NY, Grove Press, 1st US, 1967, Book: Very Good, Dust Jacket: Very Good, Hardcover, 120 b&w plates. Nine page comprehensive introduction and biography by John Russell.

Hardcover. NY, powerHouse Books, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover, 124 pages. Faith, Hope and Love, the first comprehensive examination of the life's work of Edward Powis Jones, details a remarkable artistic journey that begins as an accomplished American painter living in Paris in the shadow of the Second World War and concludes as that of an exceptional and surprising photographer whose work has no precedent. Jones employed all the disparate art mediums of his era and produced a life's work that is startlingly cohesive. After developing a passion for printmaking, he produced sculptures in bronze, wax, plaster, and papier-mache. By the time of his death in New York in 1998, Jones had been treating photographic emulsion as painter's gesso for more than a decade and had become fascinated by the potential of the photocopier. His enormous artistic output springs both from an abiding affection for his family and from a deep sense of loss, with roots in the early death of his parents. Beneath the surface of his work lies something disconcerting, if not menacing. Jones' conversion to Catholicism is reflected in etchings of the Stations of the Cross and paintings depicting the Crucifixion. Yet despite the focus on mortality, especially his own, his work also displays great joy and humor.

Hardcover. NY, The Monacelli Press, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 640 pages, pofusely illustrated. In the late nineteenth century, Chicago -- the birthplace of modern architecture in the United States -- was a magnet for aspiring architects. The city was forced to rebuild after the destruction wrought by the Great Fire of 1871 and also to expand to accommodate a surge in the population. The seemingly endless demand for taller and more sophisticated buildings offered young draftsmen an unprecedented opportunity to influence the design of the American skyscraper. The Chicago Architecture Club: Prelude to the Modern documents the history of these draftsmen, the organization they founded, and its role in shaping architectural education and modern architectural practice.

Hardcover. NY, VH1 Press , 1st, 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover, 160 pages. She was riveting to look at, a sprite of the zeitgeist, the living distillation of the over-amped vision of New York in the mid-sixties. Like many exotic creatures that Andy Warhol shed his light on, she initially bloomed--became the symbol for all that was hip and stylish--and just as quickly began to disintegrate. Told with unsparing candor, and with images that capture her at the peak of her Factory stardom, Edie Factory Girl is the short but enduring cultural story of Edie Sedgwick--releasing in time for the film of the same name starring Sienna Miller, and including rare photos of Miller as Edie.

Hardcover. UK, Cambridge University Press, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 334 pages. Spanning his renunciation of the Salon in 1834 until his large retrospective at the crucial 1855 Universal Exposition, this book examines the critical writing and journalistic reportage on Jean-Auguste-Dominque Ingres. It demonstrates how Ingres shaped his career in the rapidly evolving art world of mid-nineteenth century Paris. While enjoying the benefits of his affiliation with the Academy, the artist also pursued certain modes of presentation, most notably the single-artist exhibition and illustrated monograph, through which he distanced himself from the embattled world of artistic officialdom.

Hardcover. Scalo, 1st, 1998, Book: Very Good, Dust Jacket: Very Good, Hardcover, 104 pages. Selected as the United States representative to the 2001 Venice Biennale, the sculptor and installation artist Robert Gober has, thanks to several major museum exhibitions in recent years, established himself as perhaps the most important artist of his generation, thanks to his symbolically charged re-creations of everyday objects that he makes into installations that question the ideals and values of childhood, family, home, and religion. This catalogue presents his work for the United States pavilion at the Biennale.

Hardcover. West Stockbridge MA, Hard Press Editions, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover, 96 pages. This book brings into focus Kapp's remarkable balance of an ever changing vision of life in the city and an innate prowess with paint.

Hardcover. NY, Simon & Schuster, 1st, 1935, Book: Very Good, Dust Jacket: None, Hardcover, lacks dust jacket. Light soil to front board, otherwise clean.

Softcover. New York, Simon and Schuster, reprint, 1971, Book: Very Good, Dust Jacket: Very Good, Softcover, 126 pages, 100 b&w cartoons by Wilson reprinted from various magazines. In illustrated wrappers with light shelf wear.

Hardcover. NY, Dutton, 1st, 1941, Book: Very Good, Dust Jacket: None, Hardcover, b&w cartoons by the New Yorker artist. Lacks dust jacket. Clean copy.

Hardcover. NY, Simon & Schuster, 1951, Book: Very Good, Dust Jacket: None, Hardcover, b&w cartoons from the Master New Yoker artist. No dust jacket.

Hardcover. New Rochelle NY, Arlington House, 1st, 1970, Book: Very Good, Dust Jacket: Very Good, Hardcover, pages. This large volume has much of the background and comic art that made the series so popular. It dealt with Depression under which Daddy Warbucks was wealthy and Annie survived with her dog Sandy. Strips run July 1, 1935, to Dec. 25, 1945. Introduction by Al Capp.

Hardcover. New Haven CT, Yale University Press, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages. How does the artist's self-conception change in old age? How does old age affect artistic practice? In this intriguing study, art historian Philip Sohm considers some of the greatest artists of Renaissance and Baroque Italy and their experiences of aging. Sohm investigates how art critics, collectors, biographers, and fellow artists dealt with old painters, what mental landscapes preconditioned responses to art by the elderly, and how biology and psychology were co-opted to explain the imprint that artists left on their art. He also looks carefully at the impact of prejudices, stereotypes, and other imaginary truths about old age. For some artists, the problems of old age were related to physical decline-Poussin's hands became shaky, Titian's eyesight dimmed. For others, psychological symptoms emerged. The book's cast of characters includes Michelangelo, the hypochondriac young fogy; Titian, the shrewd marketer of old age; the multiphobic Pontormo; and others. With sensitivity and insight, Sohm uncovers what it meant to be an old artist and how successive generations have looked at the art of an old master.

Hardcover. NY, Aperture, 1st, 2007, Book: Very Good, Dust Jacket: Very Good, Two hardcover volumes, 1200 pages. Gilbert & George are among the foremost artists of their generation. A collaborative team, they were early to explore performance as an art form, and early to explore the idea that every aspect of daily life could be classed as such. They were early to mingle photography and graphics in a style reminiscent of advertising, and early to address sexual identity in that work. In fact, they were early to do much that viewers now take for granted. Their work has been exhibited worldwide since the beginning of the 1970s, and is either unusually accessible or completely unpalatable, depending on the viewer's mindset. It has attracted both fierce controversy and enormous acclaim, including the 1986 Turner Prize and the U.K.'s slot at the 2005 Venice Biennale. At last, on the fortieth anniversary of their meeting (September 25, 1967, Saint Martin's, London) and on the eve of a major retrospective that will tour six venues around the world-including Tate Modern, the Brooklyn Museum, the Milwaukee Art Museum and the de Young Museum in San Francisco-here is a book that does justice to the scale, depth and ambition of their artistic achievement. Or rather, here are two books: designed and produced by the artists, this luxurious two-volume hardback set, which comes in a customized carrying case with handles, documents every picture the pair has created over the course of their 35-year career.With details and installation views of many significant pieces, it includes 1500 color illustrations. The Complete Pictures will be the most thorough and extensive publication on the artists' work ever assembled. Copublished with Tate Publishing, London.