In the late 1960s feminism exploded into popular consciousness. As women began to carve their own spaces in politics and the workplace, so too they demanded to enter art history - where traditionally they had chiefly featured as anonymous bodily subjects of art produced, patronized, collected and theorized by men. Indeed most feminist art until the late 1970s was preoccupied with re-presenting the female body, ranging from the guerilla street actions of Valie Export to the naked performances of Hannah Wilke, to Ana Mendieta's outlines of absent female bodies in the landscape. The emerging debates surrounding new feminist art were fiercely discussed: should women artists compete with men or exclude them? Is the naked female body, even in feminist artists' performances, still an objectification of women? From the 1960s to the millennium, "Art and Feminism" traces the changing art practices, art historical debates, manifestos, challenges, rediscoveries and reawakenings that characterize the dynamic, continuing dialogue between feminism and contemporary art. "Art and Feminism" explores the spaces "between" feminism and art, uncovering a shifting, reciprocal relationship. Accessibly and comprehensively ranging across the whole spectrum of art practice and theory, this volume includes the key texts of each period, ranging from the polemics of Germaine Greer and Valerie Solanas to definitions of new artforms by Lucy R. Lippard, to Laura Mulvey's influential film theory, to Craig Owen's Postmodern criticism, as well as rare original artists' statements and reviews. The diverse range of artists featured includes Laurie Anderson, Vanessa Beecroft, Louise Bourgeois, Sophie Calle, Marlene Dumas, Tracey Emin, Coco Fusco, Nan Goldin, Mona Hatoum, Jenny Holzer, Rebecca Horn, Barbara Kruger, Yayoi Kusama, Shirin Neshat, Yoko Ono, Adrian Piper, Pipilotti Rist, Jenny Saville, Carolee Schneemann, Rosemarie Trockel, Gillian Wearing and many others.

The work of Piet Mondrian is unmistakable: an art characterised by its rhythm, clarity and bold colours. Often considered wholly non-representational, paintings such as Broadway Boogie-Woogie were directly inspired by his experience of life, in this case the dynamism and grid-like street plan of New York City. By examining Mondrian's working process, through his drawings, studies and finished paintings, John Milner explores the tension between the disciplined compositions and their subject-matter.

While art history has already made room for the flurry of movements to emerge in the period following World War II, the myriad artistic positions of the last 30 years have yet to be written into firm historical categories. "Drawing from the Modern, 1975-2005," the final installment in a series of exhibitions and catalogues from The Museum of Modern Art's drawings collection, attempts to tell a provisional story of the years from 1975 to the present, as reflected through the Museum's unparalleled holdings of works on paper. This volume details both the blossoming of different art positions on a broad, international scale and the coming of age of drawing as an independent--and for many artists, a primary--form of art. Organized in loose geographic or thematic clusters within chronological sections, the catalogue features over 130 works by more than 100 artists. The first section contains drawings by established artists who continued to produce vital work into the past three decades, including such figures as Vija Celmins, Philip Guston, Jasper Johns, Bruce Nauman, Edward Ruscha and Andy Warhol. The middle section highlights works by artists, from both Europe and the United States, who first came into their own in the 1970s and 1980s, such as Anselm Kiefer, Martin Kippenberger, Gerhard Richter, Rosemarie Trockel, Jean-Michel Basquiat, Roni Horn, Elizabeth Murray, Raymond Pettibon and Kiki Smith. The final section covers the 90s to the present and includes drawings by Marlene Dumas, Ellen Gallagher, Arturo Herrera, Thomas Hirschhorn, William Kentridge, Yoshitomo Nara, Gabriel Orozco, Luc Tuymans and Kara Walker. As with the previous volumes, this edition will become an essential resource for aficionados of works on paper and anyone interested in current trends in art.

The illustrious career of Edouard Vuillard (1868-1940) spanned the fin de siècle and the first four decades of the twentieth century. During that time, the French painter, printmaker, and photographer created a large number of extraordinary works. This gorgeous book-the most comprehensive and authoritative study of Vuillard's art to date-presents some hundred works that reveal the full range of his renowned artistic abilities.
In a series of illustrated essays, the authors explore Vuillard's complex and diverse career, which began with his academic training in Paris in the late 1880s. By the early 1890s, Vuillard was painting the innovative and sensual Nabi paintings for which he is best known, characterized by complex patterns and vibrant colors. Vuillard was also beginning to paint provocative interiors and works associated with the avant-garde theater. The book concludes with an examination of Vuillard's sumptuous large-scale decorations, luminous landscapes, and elegant portraits from the last decades of his career as well as a substantial selection of his pastels and prints, in addition to his photographs, many of which have never before been published.
This book is the catalogue for an exhibition on view at the National Gallery of Art, Washington, D.C., from January 19 to April 20, 2003, which then travels to the Museum of Fine Arts, Montreal (May 15 to August 24, 2003); the Galeries Nationales du Grand Palais, Paris (September 23, 2003 to January 4, 2004); and the Royal Academy of Arts, London (January 27 to April 27, 2004).

In this impressive study, Gian Carlo Calza examines images of the floating world (ukiyo-e) found in paintings, screens, illustrated books and, above all, the numerous woodblock prints that nineteenth-century French artists were to find so influential. Through six essays and six catalogue sections this book provides a fascinating and thorough introduction to the very best works of this period. The essays supply detailed background information on the history, techniques and development of ukiyo-e and the plate section has been arranged to reflect the six great themes of the floating world - theatre, tradition, nature, landscape, town life and feminine beauty - developed by the artists to satisfy the demands and tastes of their customers. Within each section, works have been arranged in chronological order and according to the various schools. These remarkable images illustrate the tastes, habits and passions of the people of Edo: fashionable scenes set in the nightless city of Yoshiwara, festive excursions to admire cherry blossoms or maple leaves, parties in sailing boats and firework displays. A great number are, in fact, precious posters promoting kabuki actors and performances. Almost as theatrical, courtesans and geisha were also an important part of life and art in Edo, and ukiyo-e artists interpreted them as the ultimate symbol of female beauty and elegance. In addition to illustrating feminine beauty, almost all the artists of the floating world created erotic works (shunga), since their popularity provided an important part of the artists' income. Included here are many great masterpieces, such as Utamaro's exquisite Pillow Book. Ultimately, the art of the floating world not only met the tastes and passions of the new urban classes, but also continued many classical themes from Japanese art and literature. This most elegant publication presents a comprehensive survey of ukiyo-e artists and their works, providing a fascinating resource for scholars and general readers alike.

Sir Lawrence Alma-Tadema (1836-1912), was one of the finest and most distinctive of the Victorian painters. Dutch-born, he moved to London in 1870 and became famous for his depictions of the luxury and decadence of the Roman Empire, set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean sea and sky. In this original study, Rosemary Barrow presents an absorbing and often amusing portrait of an exuberant personality who carved out a brilliant career for himself at the heart of London's artistic and cultural elite. But above all she subjects the paintings to a fresh scrutiny, and reveals that Alma-Tadema, a knowledgeable student of antiquity, repeatedly used literary and archaeological allusions in his paintings to play a game of interpretation with his viewers. Time and again the seeming innocence of the scenes he depicts is subverted by a mischievously placed inscription or statue, suggesting to the initiated a darker and usually risque meaning. Neglected after his death, Alma-Tadema's paintings are once again admired for their beauty and their remarkable mastery of light, colour and texture. With its intriguing insights into his personality and intentions, this book should provide a challenging reassessment of a major artist.

This is a stunning portrayal of the characteristics of the lifestyle resorts and extravagant private residences crafted by the Bensley Design Studios in Bangkok and Bali. Set amidst resplendent tropical gardens, the 27 resorts and homes- personalised "paradises" spread from China to India to Bali, with a focus on the Asia Pacific-are unconventional, sensual, and hold a special reverence for the tropical climate. Unlike most books on tropical buildings, this one includes not only architecture but also landscape design, interior design, horticulture, fine art and crafts - with a distinct focus on the outdoors. The houses range over a broad geographical area (China, India, Indonesia, Mauritius, etc.) rather than being confined to a homogeneous landscape and climate.

Ben Nicholson (1894-1982) is recognised as one of the great masters of 20th-century art. A pioneer of abstract art in Britain, he first came to international prominence with his famous "white reliefs", and he continued to produce remarkable abstract reliefs and paintings throughout his career. At the same time, this complex and independent-minded artist always refused to be pinned down by labels, and he maintained a lifelong attachment to the visible world. Many of his finest works are paintings, drawings and prints of landscape and still-life forms. This study of Nicholson's life and work was first published in 1994, the centenary of his birth. It is reissued here in a shorter paperback format, without the supplementary illustrations, but otherwise retaining the substance and essential character of the original publication.

In contrast to the hard-edged Minimalists, however, Mangold's gently curved paintings and subtle, evocative colours recall a variety of sources, from frescos to traditional Greek ceramics. With a beauty, quiet and sensitivity reminiscent of the work of Piero della Francesca, Mangold's art investigates the state of painting today, resulting in over thirty years' worth of important avant garde art - and some of the most magnificent abstract paintings being produced today.

A portfolio of essays and images by Kim Heacox dedicated to the quality of light on Alaska landscapes, wildlife, and people.

The publication of Paris marks the first time that the significant body of photographs which Robert Frank made in Paris in the early 1950s have been brought together in a single book. Having left Switzerland in 1924, this 1951 trip to France was only Frank's second return to Europe after he had settled in New York City in 1947, and some of the images he made during that visit have become iconic in the history of the medium. The 80 photographs reproduced here, which were selected by Frank and editor Ute Eskildsen, suggest that Frank's experience of the "new world" had sharpened his eye for European urbanism. He saw the city's streets as a stage for human activity and focused particularly on the flower sellers. His work clearly references Atget and invokes the tradition of the flaneur.

単行本“ワールド・アパートメント・ホラー”
（１９９１年　講談社刊）
［短編“わいら”“お客様”“JOYFUL BELL”収録］
同名タイトルの映画（監督・大友克洋）を漫画化した物です。
話の原案は不肖、私です。
大友さんが実写を撮るということで、素材をなんにしようか話してて出てきたネタだったと思う。（場所は吉祥寺のキリンシティ。“AKIRA”の締め切りの後飲んでた様な気がする。）
「外人だけが住んでるアパートがヤクザの地上げに合う」という程度のネタを、大友さんが、当時話題に上がることの多かった不法滞在の外国人だの、ホラーの要素だのを交えて膨してていったんじゃあないだろうか。
本編の脚本は信本敬子。最近じゃあ“白線流し”でお馴染みの売れっ子脚本家。
週刊で５回の連載。猥雑な感じを出したくて、それまでの絵とはスタイルを変えて描いたつもりだったが、「筆があれてる」と言う評もあったりした。
ちなみにこれも現在は廃刊。

One of the world's most influential photographers, Bruce Davidson, takes readers inside three midcentury big tops in images that are poetic, realistic and profound. He reveals not only the swiftly vanishing cultural phenomenon of the circus, but what might be called the eternal human circus. At a three-ring show in 1958 he climbed to the top of the tent to view the performances of the famous liontamer Clyde Beatty and human cannonball Hugo Zacchini. His deeper interest lay in the daily lives of circus performers and producers--the roustabouts and riggers, and the pretty girl who rode an elephant in what was called the "spec." He also made an intimate series of a dwarf clown. In 1965 at a huge multi-ring coliseum show, Davidson took a more critical look at performances under a steel-and-concrete environment; continuing behind the scenes, his vision became sharper and more surreal. And in 1967, Davidson caught the elegant exuberance of an Irish one-ring circus. He photographed the kinds of performances that are the essence of the medium, including a face-to-face encounter with an exceptional trapeze artist. Most of these pictures are published here for the first time.

The New West is a reprint of the photography book, first issued in 1974, that was a formative influence on a whole generation of American photographers. In the book Robert Adams documents the changing landscape of the United States in the 60s and 70s.

Writing about The Museum of Modern Art's monumental and critically acclaimed 2005 Lee Friedlander retrospective, Richard Lacayo of Time magazine said: "If a sophisticated notion of what a picture can look like, the continuous construction of new avenues of feeling, and sheer, sustained inventiveness are the measures we go by, then Friedlander is one of the most important American artists of any kind since World War II Friedlander loves the muchness of the world. He loves the haphazard multitude of things that can pop up in every picture--street signs, sunbeams, bits of roofline, a jagged shadow--all colliding and contradicting one another. In his breezy but very acute introduction to the show's catalogue, Peter Galassi, MoMA's chief curator of photography, gets it just right when he says some of Friedlander's pictures give you the impression that 'the physical world had been broken into fragments and reconstituted under pressure at three times its original density.'"
Now available for the first time, the paperback edition of this definitive, comprehensive volume is being published to coincide with the traveling retrospective's stop in San Francisco at SFMOMA. At 480 pages, Friedlander includes more than 750 photographs--770 duotone and 33 color--grouped by series, as well as the incisive, aforementioned essay by Peter Galassi and an afterword by Richard Benson.

Fifteen thousand children under the age of fifteen passed through the Terezin Concentration Camp. Fewer than 100 survived. In these poems and pictures drawn by the young inmates, we see the daily misery of these uprooted children, as well as their hopes and fears, their courage and optimism. 60 color illustrations.