Individual Artists

Travel + Sketching = Inspiration

When we travel, we don't want to follow the same itinerary as everyone who's come before us. We want to feel like explorers, adventurers in undiscovered territory. And that's exactly what sketching can bring to the travel experience.

An Illustrated Journey captures the world through the eyes of 40 talented artists, illustrators and designers. You'll experience the wonder of seeing familiar sights through a fresh lens but, more important, you'll be inspired to set pen to paper and capture your own vistas.

The really wonderful thing about a sketchbook is that it can be totally private. You don't have to have an ounce of talent to enjoy learning how to really see what's in front of you. But lucky for us, the sketchbooks captured here are lovely, creative, intimate windows into each artist's mind.

So, whether you're just returning to the art of drawing, abandoned by most of us after childhood, or you're looking for inspiration to take your illustration work in a new direction, An Illustrated Journey will take you on a wonderful trip of the imagination. All you need to pack are a pencil and a piece of paper.

Diane Arbus redefined the concerns and the range of the art she practiced. Her bold subject matter and photographic approach have established her preeminence in the world of the visual arts. Her gift for rendering strange those things we consider most familiar, and uncovering the familiar within the exotic, enlarges our understanding of ourselves.

Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world.

The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, “The Question of Belief,” by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and “In the Darkroom,” a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, illustrated by more than three hundred additional images and composed mainly of previously unpublished excerpts from the artist’s letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.

Muscle men, midgets, socialites, circus performers and asylum inmates: in the 1950s and '60s, photographer Diane Arbus (1923-1971) cast her strong eye on them all, capturing them as no one else could. Her documentary-style photos of society's margin-walkers were objective and reverential, while she often portrayed so-called normal people looking far more freakish than the freaks. Her powerful work was well-received in its day. Arbus received Guggenheim Fellowships in 1963 and 1966 and was included in a major show at MOMA in 1967. But her work entered the realm of near-myth after her 1971 suicide.

Wayne Thiebaud, the California-based painter, has produced works of complexity and distinction that appear deceptively simple in terms of subject matter and in their presentation yet draw on many historical sources.

Famous for his dreamy 1960s paintings of cakes, Wayne Thiebaud began his career as a commercial artist and cartoon illustrator like many other artists of the period, including Andy Warhol. And like Warhol, Thiebaud became tied to pop art since he was making images of popular American products like food, lipsticks, and toys. Yet unlike many of his pop peers, Bay Area-based Thiebaud wasn't interested in poking fun at the establishment. He's a painter's painter, a real traditionalist. Wayne Thiebaud: A Paintings Retrospective covers a career of rendering still lifes, cityscapes, landscapes, and the figure. His cake paintings are formally beautiful in their color, shadow, and composition. They are perfect specimens of the good life in America, the paint lovingly applied in places like thick frosting. His cityscapes of San Francisco fiercely exaggerate the hilly landscape, capturing a perspective from the ground and air simultaneously while utilizing the light that the Bay Area is famous for.

Thoughtful essays by Steven A. Nash, associate director and chief curator for the Fine Arts Museum of San Francisco, and Adam Gopnik, a writer for The New Yorker, discuss Thiebaud in relation to his peers, pop, modernism, and abstract expressionism. This book serves as a catalog for Thiebaud's major retrospective, which opened in San Francisco and travels to Forth Worth, Texas, Washington, D.C., and ends in New York in the fall of 2001. Besides their beauty, these works truly capture a period of American life in a way that feels free of irony but not without commentary about nature, the city, and how we've lived. --J.P. Cohen

Magazine publishing is an exercise in ephemerality andtransience; each issue goes out in the world only to be rendered obsolete by the next. To publish a magazine is to enter into a heightened relationship with the present moment. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemeralityand the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, GwenAllen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundredsof others. Among the magazines Allen examines are Aspen (1965--1971),a multimedia magazine in a box -- issues included Super-8 films,flexi-disc records, critical writings, artists' postage stamps, andcollectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; Art-Rite (1973-1978), an irreverent zine with a disposable, newsprint format; Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation; 0 to 9 (1967--1969), a mimeographed poetry magazine founded by Vito Acconci and Bernadette Meyer; FILE (1972--1989), founded by the Canadian collective General Idea, its cover design a sly parody of Life magazine; and Interfunktionen (1968--1975), founded to protest the conservative curatorial strategies ofDocumenta. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, DIY quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. (A work by John Baldessari from the late 1960s shows a photograph of Artforum, captioned "THIS IS NOT TO BE LOOKED AT.") Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

Sally Mann: The Flesh and The Spirit is the first in-depth exploration of this world-renowned artist's approach to the body. Throughout her career, Mann has fearlessly pushed her exploration of the human form, tackling often difficult subject matter and making unapologetically sensual images that are simultaneously bold and lyrical. This beautifully produced publication includes Mann's earliest platinum prints from the late 1970s, Polaroid still lifes, early color work of her children, haunting landscape images, recent self-portraits and nude studies of her husband. These series document Mann's interest in the body as principal subject, with the associated issues of vulnerability and mortality lending an elegiac note to her images. In bringing them together, author and curator John Ravenal examines the varied ways in which Mann's experimental approach, including ambrotypes and gelatin-silver prints made from collodian wet-plate negatives, moves her subjects from the corporeal to the ethereal. Ravenal also supplies a comprehensive introduction as well as individual entries on each series, and essays by David Levi Strauss ("Eros, Psyche, and the Mendacity of Photography") and Anne Wilkes Tucker ("Living Memory") add different, but equally illuminating perspectives to this work. Sally Mann: The Flesh and The Spirit is a must for any serious library of photographic literature, students, scholars, collectors and others interested in her work.
Sally Mann (born 1951) is one of America's most renowned photographers. She has received numerous awards, including NEA, NEH, and Guggenheim Foundation grants, and her work is held by major institutions internationally. Mann's many books include What Remains (2003), Deep South (2005), and the Aperture titles At Twelve (1988), Immediate Family (1992), Still Time (1994) and Proud Flesh (2009). She lives in Lexington, Virginia.

You've seen her art in the pages of Playboy and in dozens of other publications, on calendars, book covers, limited edition prints, greeting cards, and movie posters. Now, for the first time, Olivia's work has been compiled into one deluxe book. Included are over 100 drawings and paintings, many previously unpublished, spanning the past fifteen years.

This is the first book to be published on one of the greatest American designers of the 20th Century, who was as famous for his work in film as for his corporate identity and graphic work. With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man With The Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick's Spartacus in the early 1960s to Martin Scorsese's Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century.