art pop

Hardcover. Seattle, Fantagraphics, 1st, 2013, Book: Very Good, Dust Jacket: None, Hardcover, 280 pages. The burgeoning popularity of Mickey Mouse on the screen and in the daily newspaper comics made the 1932 addition of a full-color Sunday strip inevitable. The first surprise in this collection of the initial four years of Sunday installments is that in this early color incarnation, Mickey's face was pink rather than white! But, more significantly, each Sunday strip comprised about a dozen panels, not the measly four panels of the dailies, permitting a different pace: gags could be extended longer, and story lines unwound at their leisure. Unlike the dailies, which featured stories that went on for weeks, the Sundays mixed serialized adventures--in this volume, Mickey visits the Wild West, fights a giant in a fairy tale he tells his nephews, and scales a mountain to win a $1,000 prize--with single-episode gag strips, all drawn in a charmingly old-fashioned style. The high-spirited, adventure-seeking mouse in these vintage strips--a far cry from today's bland, domesticated version--makes it clear why Mickey captivated Depression-era America.

Softcover. New York, St. Martins Press , 1st US, 1975, Book: Very Good, Dust Jacket: None, 122 pages. Softcover. Small marking to front cover. Otherwise clean copy with minor edgewear. 107 illustrations, including 16 in color. Walter Crane, artist of Kensington, was a man of many talents, but is possibly best known for his original and charmingly executed designs which made him the leading illustrator of children's books of the Aesthetic Movement period. In the face of the commercial vulgarity and ugliness of Victorian industrialised society, he created a delicate and escapist fairy world which, with its emphasis on spontaneity and mobility of line, and its clever use of background and colour, popularised a completely new style of tasteful book designs, and brought them within reach of everyone. The influence of Crane's work and his highly novel theories of design make him an important figure in nineteenth century art history. Rodney Engen, American-born painter and lecturer, discusses Crane's style and ideas in a study delightfully arranged after Crane's own rules and book design.

Hardcover. Hatje Cantz, 1st, 2014, Hardcover in pictorial boards with a red cloth spine, Andy Warhol (1928-1987) flew to Beijing (via Hong Kong) in 1982, recording his impressions in brief journal entries while also photographing. His presence in China electrified Beijing's avant-garde, and his photographs record both his own delight in encountering the city's artists and their delight i30 color plates. Text in English and Chinese. Clean copy, still in publisher's shrinkwrap.

Hardcover. Hatje Cantz, 1st, 2014, Hardcover in pictorial boards with a red cloth spine, Andy Warhol (1928-1987) flew to Beijing (via Hong Kong) in 1982, recording his impressions in brief journal entries while also photographing. His presence in China electrified Beijing's avant-garde, and his photographs record both his own delight in encountering the city's artists and their delight i30 color plates. Text in English and Chinese. Clean copy, still in publisher's shrinkwrap.

Hardcover. Prestel Publishing/ Montreal Museum of Fine Arts, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 286 pages, color illustrations. This catalogue reveals the myriad ways Warhol immersed himself in the music of his time. Tracing back to Warhol's introduction to music through the musical comedies. songs and soundtracks of his youth. this book opens with Warhol's portraits of the great films stars of his childhood. As the fascinating essays collected in this volume discuss. Warhol's renowned portraits of pop music icons such as Mick Jagger. Debbie Harry and Grace Jones are just one manifestation of his interest in music. Warhol collaborated with choreographer Merce Cunningham. served as producer for the Velvet Underground. incorporated music into his films. produced video-clips. designed dozens of record albums. filmed live concerts and created multimedia spectacles. Although never a musician himself. Warhol appropriated the imagery of a pop icon for some of his most arresting and haunting self portraits.

Hardcover. New York, Prestel Publishing, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Hardcover, 214 pages, color plates. Like new in publisher's shrink-wrap. Catalog of an exhibition held at the National Gallery of Art, Washington, D.C., and three other institutions between Sept. 25, 2011 and Jan. 6, 2013.

Softcover. Washington DC, National Gallery of Art, 1st, 2011, Book: Very Good, Dust Jacket: None, Softcover, 224 pages. Headline-making in every sense, the myriad works of art in which Andy Warhol used or referenced tabloids throughout his career are explored in this book as a coherent body for the first time. Obsessed with contemporary culture, Warhol celebrated the sensational as well as the mundane in every facet of society. His headline works, which were realized in a range of formats--from two-dimensional to time-based media such as film, video, and television--chart in real time the great shift in the technological means employed to deliver the news from the 1950s until the artist's death in 1987. This companion volume to a riveting exhibition brings together more than 80 works, from Warhol's earliest drawings and paintings of newspaper headlines, to his screen-printed canvases, photographs, and electronic media, and concluding with collaborative works he produced with Keith Haring and Jean-Michel Basquiat. Featuring illuminating essays and abundant reproductions of the headline works, as well as source materials and examples of Warhol's private scrapbooks of clippings, this unique and powerful volume demonstrates the rich intersection of mainstream media and fine art.

Hardcover. New York, Rizzoli, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, Hardcover with illustrated dust jacket. 358 pages. Like new in publisher's shrink-wrap. The most comprehensive and deluxe monograph on Wayne Thiebaud, a celebrated and active American artist, spanning the length of his career, from the mid-1950s to the present. Wayne Thiebaud is one of the world's most popular and respected painters. Born in 1920, he has lived for most of his life in Sacramento, with much of his youth spent in Long Beach; Southern California, in particular Laguna Beach, remains an area of great sentimentality. For this book he has selected the works himself, an act of autobiography in a sense. At age 94, he looked back over his life and his work, rich with breakthroughs in painting and masterful individuality. This deluxe volume, with more than 200 illustrations, covers Thiebaud's career as a painter and draftsman from 1959 to 2014. It features many of the still lifes of pies, cakes, desserts, candies, and other objects--lusciously painted, brightly colored, perfectly composed, and gently comic--for which he is best known. Such works brought national recognition in 1962 with a seminal exhibition at the Allan Stone Gallery in New York, attracting rave reviews and, to the discomfort of the artist himself, leading critics to see him as part of the Pop Art movement. The other artistic genres that he cultivated most avidly since then are landscape and cityscape, with special interests in the Sacramento River valley and San Francisco. New essays by a wide range of writers give a fresh perspective on his life and work.

Hardcover. US, Kerber, 1st, 2013, Book: Very Good, Dust Jacket: None, 240 pages. Hardcover with no dust jacket. Clean, unmarked copy with only minor wear to boards. Like new in publisher's shrink-wrap. Dual language English and German. Spanning a half-century of painting, this comprehensive catalogue is published on the occasion of the seventy-fifth birthday of Werner Koch (born 1937), who lived for many years in the legendary Chelsea Hotel in Manhattan. Koch is known for his works based on newspapers and pop imagery, and his drawings done on colorful backgrounds.

Hardcover. NY, Abbeville Press, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 408 pages, b&w illustrations. This remarkable collection of stories, hand-picked from the archive of legendary New York Post columnist Leonard Lyons by his son, film critic Jeffrey Lyons, will transport readers back to the sparkling peak of New York City nightlife. This was the time when notables of every sort--film producers and stars, writers, politicians, comedians, athletes, and artists--gathered nightly at such famed restaurants and nightclubs as Sardi's, the Stork Club, and the Copacabana. From 1934 to 1974, Leonard Lyons was a fixture at these clubs, befriending celebrities of all stripes and gathering exclusive tidbits for his syndicated newspaper column, The Lyons Den. What a Time It Was! offers candid portraits of stars and statesmen at work and at play--especially at play--but still, effortlessly, larger than life. Illustrated with snapshots and glamour shots, it offers a unique window onto the lives of iconic figures from Ethel Barrymore and Muhammad Ali to Tennessee Williams and Jackie Kennedy, as well as their favorite haunts. Here are four decades of popular culture seen from the front row, by a man who said, "Give me lights and sound and people, and music into the night. Late into the night!"

Hardcover. New Haven CT, Yale University Press, 1st, 2014, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 440 pages, colo and b&w illustrations. The first biography in more than twenty years of James McNeill Whistler (1834-1903) is also the first to make extensive use of the artist's private correspondence to tell the story of his life and work. This engaging personal history dispels the popular notion of Whistler as merely a combative, eccentric, and unrelenting publicity seeker, a man as renowned for his public feuds with Oscar Wilde and John Ruskin as for the iconic portrait of his mother. The Whistler revealed in these pages is an intense, introspective, and complex man, plagued by self-doubt and haunted by an endless pursuit of perfection in his painting and drawing. In his beautifully illustrated and deeply human portrayal of the artist, Daniel E. Sutherland shows why Whistler was perhaps the most influential artist of his generation, and certainly a pivotal figure in the cultural history of the nineteenth century. Whistler comes alive through his own magnificent work and words, including the provocative manifestos that explained his bold artistic vision, sparked controversy in his own time, and resonate to this day.

Hardcover. New Haven CT, Yale University Press, 1st, 2014, Book: Very Good, Dust Jacket: Very Good, 440 pages, illustrations in color and b&w. Clean, unmarked copy with only minor wear to dust jacket. The first biography in more than twenty years of James McNeill Whistler (1834-1903) is also the first to make extensive use of the artist's private correspondence to tell the story of his life and work. This engaging personal history dispels the popular notion of Whistler as merely a combative, eccentric, and unrelenting publicity seeker, a man as renowned for his public feuds with Oscar Wilde and John Ruskin as for the iconic portrait of his mother. The Whistler revealed in these pages is an intense, introspective, and complex man, plagued by self-doubt and haunted by an endless pursuit of perfection in his painting and drawing. In his beautifully illustrated and deeply human portrayal of the artist, Daniel E. Sutherland shows why Whistler was perhaps the most influential artist of his generation, and certainly a pivotal figure in the cultural history of the nineteenth century. Whistler comes alive through his own magnificent work and words, including the provocative manifestos that explained his bold artistic vision, sparked controversy in his own time, and resonate to this day.

Hardcover. New York, Glitterati, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover. Like new in publisher's shrink-wrap. The book is the first to document the American punk scene to the public at large and now represents the epitome of the scene at the timeFeatures photographs of artistic and performance luminaries such as Man Ray, Tennessee Williams, Mick Jagger, Patti Smith, Richard Hell, Alice Cooper, Iggy Pop, David Bowie, Zandra Rhodes, Divine, Lance Loud, and Marilyn Chambers, among others.

Hardcover. New York, Glitterati, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover. Like new in publisher's shrink-wrap. The book is the first to document the American punk scene to the public at large and now represents the epitome of the scene at the timeFeatures photographs of artistic and performance luminaries such as Man Ray, Tennessee Williams, Mick Jagger, Patti Smith, Richard Hell, Alice Cooper, Iggy Pop, David Bowie, Zandra Rhodes, Divine, Lance Loud, and Marilyn Chambers, among others.

Hardcover. Jackson MS, University Press of Mississippi, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover, 240 pages. Like new in publisher's shrink-wrap. Cartoonist Winsor McCay (1869-1934) is rightfully celebrated for the skillful draftmanship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland and Dream of the Rarebit Fiend. McCay crafted narratives of anticipation, abundance, and unfulfilled longing. This book explores McCay's interest in dream imagery in relation to the larger preoccupation with fantasy that dominated the popular culture of early twentieth-century urban America.McCay's role as a pioneer of early comics has been documented; yet, no existing study approaches him and his work from an art historical perspective, giving close readings of individual artworks while situating his output within the larger visual culture and the rise of modernism. From circus posters and vaudeville skits to department store window displays and amusement park rides, McCay found fantastical inspiration in New York City's burgeoning entertainment and retail districts. Wide Awake in Slumberland connects McCay's work to relevant children's literature, advertising, architecture, and motion pictures in order to demonstrate the artist's sophisticated blending and remixing of multiple forms from mass culture. Studying this interconnection in McCay's work and, by extension, the work of other early twentieth-century cartoonists, Roeder traces the web of relationships connecting fantasy, leisure, and consumption. Readings of McCay's drawings and the eighty-one black and white and color illustrations reveal a man who was both a ready participant and an incisive critic of the rising culture of fantasy and consumerism.

Hardcover. NY, Atlantic Monthly Press , 1st, 2020, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. In 1911, famed cartoonist Winsor McCay debuted one of the first animated cartoons, based on his sophisticated newspaper strip "Little Nemo in Slumberland," itself inspired by Freud's recent research on dreams. McCay is largely forgotten today, but he unleashed an art form, and the creative energy of artists from Otto Messmer and Max Fleischer to Walt Disney and Warner Bros.' Chuck Jones. Their origin stories, rivalries, and sheer genius, as Reid Mitenbuler skillfully relates, were as colorful and subversive as their creations-from Felix the Cat to Bugs Bunny to feature films such as Fantasia-which became an integral part and reflection of American culture over the next five decades. Pre-television, animated cartoons were aimed squarely at adults; comic preludes to movies, they were often "little hand grenades of social and political satire." Early Betty Boop cartoons included nudity; Popeye stories contained sly references to the injustices of unchecked capitalism. "During its first half-century," Mitenbuler writes, "animation was an important part of the culture wars about free speech, censorship, the appropriate boundaries of humor, and the influence of art and media on society." During WWII it also played a significant role in propaganda. The Golden Age of animation ended with the advent of television, when cartoons were sanitized to appeal to children and help advertisers sell sugary breakfast cereals.

Softcover. San Francisco, Pomegranate Books, 1st, 1993, Book: Very Good, Dust Jacket: None, Softcover, 112 pages, color photos. "Art cars" are vehicles transformed by their creative owners into elaborately decorated statements of individual mobility. Blank, an independent filmmaker and art car aficionado, spent two years traveling the highways and byways of America in search of people who shared his unusual passion for artistically personalized transportation. The result was an independent documentary film (also entitled Wild Wheels ) and this book: a zany testament to the far reaches of the creative spirit enlivened by more than 100 color photographs and descriptions of 42 attention-grabbing autos with humorous names like the Beaded Bug, the Hippomobile, and the Grass Car. The book also contains brief stories about the artists who created them, providing insight into the ideas and emotions that sparked this novel pop art form.

Hardcover. NY, Abbeville Press, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 279 pages. William Glackens was one of the most influential American painters in the first decades of the twentieth century. From his beginnings as a witty magazine artist-illustrator in Philadelphia and New York to his participation in the forward-thinking group of artists dubbed The Eight, Glackens was a perceptive interpreter of his surroundings. Glackens, one of the most versatile and popular artists of his time, assimilated the lighthearted modern French themes of spirited cafes and bustling parks and resorts in such canvases as Chez Mouquin (1905) and Sledding, Central Park (1912). An admirer of the more traditional figure painting of the Impressionist Renoir, his name also became closely linked to the modern artists who exhibited their works at the famous Armory Show of 1913, which Glackens helped organize. This important study, the first major monograph on Glackens, includes an insightful essay by Dr. William Gerdts and a complete catalog, introduced by curator Jorge Santis, describing the incomparable holdings of the Glackens Collection of the Museum of Art, Fort Lauderdale, Florida. With a chronology, bibliography, and index, this profusely illustrated volume is sure to become the standard reference on Glackens for historians and collectors of twentieth-century art. Clean,bright copy.

Hardcover. NY, Abrams, 1st, 2016, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards, 175 pages in color. William Wegman's postcard paintings reflect a lifetime of engagement with narrative, perspective, art history, architecture, popular culture, humor, and philosophy in art. Starting with one or more vintage postcards, Wegman constructs scenes that range from intimate interiors to cosmic vistas, filling audaciously complex spaces with intriguing incident. Collected together, the paintings possess the universal, encyclopedic, and mysterious qualities of their source materials. In addition to Martin Filler's introduction, a stellar group of contributors responds to the work.

Hardcover. Washington DC, Smithsonian Institution Scholarly Press, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 144 pages. The tintype, patented in 1856, was a cheap, fast, easy-to-make, practically indestructible type of photograph that became enormously popular among the working class in the late nineteenth century. For common laborers and their families, the opportunity to join the ranks of those who owned pictures of family and friends--the upper classes--was momentous. This collection exhibits more than eighty examples of a specific kind of tintype: occupational portraits, photographs of working people with the tools of their trade. Michael L. Carlebach examines the historical significance of these tintypes and finds that they reveal a great deal about late nineteenth-century values. The subjects of these images are plumbers proudly holding their wrenches and pipe cutters, carpenters with their saws and lathing hatchets, textile workers with their spindles and yarn, icemen with their tongs. These people lived and worked at a time when a depersonalized factory system run by production and efficiency experts was beginning to dominate American industry and culture. Many of the men and women in these tintypes were part of a disappearing class of self-employed artisans and journeymen; their portraits proudly stress their individuality and the essential nobility of their work.

Hardcover. New York , Pantheon, 1st, 2010, Book: Very Good, Dust Jacket: None, Hardcover, 56 pages, b&w graphic novel drawn by Burns. No dj issued. Fusing the unsettling kitsch of EC horror comics, the storytelling sensibility of Euro-classics like Tintin, and the astute observations about young adults that made Black Hole so engrossing, Burns has turned out a haunting first chapter in what promises to be a spellbinder. The opening pages flip among the various realities of Doug, a young man recovering from a head injury of some kind with only a box of pills and some strawberry Pop-Tarts to speed his recovery. Flashbacks and dreams switch among various scenes: Doug and his hypocrite father; a wild party gone awry when Doug's crush object's crazy (but unseen) boyfriend goes on a rampage; and, most mysteriously, another world--found behind a hole in a brick wall--where dead cats live, worms weep, and a giant hive rules a grim city of deformed creatures. Burns's control of the story is masterful--the recurring imagery make it unclear just which is the reality and which is the dream. His sharply delineated art captures a grotesque yet sympathetic view of kids thrust far beyond a world that they can control or even understand.

Hardcover. GR, Gestalten, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, 128 pages, hardcover, illustrated in color. A monograph on a popular German street artist who stencils images of women on buildings in Berlin. Like new in publisher's shrink-wrap.

Hardcover. Seattle, Fantagraphics, 1st, 2014, Book: Very Good, Dust Jacket: None, Hardcover, 200 pages. This volume covers 1947 through 1949, and includes stories about women from all walks of life from French widows to American teenagers. Simon and Kirby invented the romance comics genre and explored all the flirtations, dalliances, and passions of the young men and women who populated their stories. Get swept away by the sheer delirium that these pages induced so long ago. These comics have been meticulously restored in order to produce one of the most striking and faithful reproductions of 1940s.

Softcover. Seattle, WA, Fantagraphics Books, 1st, 2001, Book: Good, Dust Jacket: None, 144 pages. Softcover with black/white and some color comic strips throughout. Wet soiling residue on bottom of first half of pages, and on bottom page block, otherwise minimal wear on paper wrappers.