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An hysterical look at the pandemic with celebrity caricature parodies!
Piggies rock! So does Boynton. Through her eyes, her words, her music, and above all her art, we see the world with whimsy and pleasure, appreciating round noses and curly tails, floppy ears and pleasing plumpness. And we’re lucky to give that gift to our youngest children. A member of the amazing Boynton on Board series that has over 21 million copies in print, Perfect Piggies! also comes with a free downloadable song. Reminiscent of a cappella swing, it’s a celebration of the homey—of beauty in the eye of the beholder, of sunshine and fresh air, and a place to put up our hooves when the day is done. And, of course, the catching energy and rhythmic language of a beloved original: We are all perfect piggies and we know what we need. It’s really very simple, very simple indeed: a troughful of food, a place in the sun, and a little bit of comfort when the day is done. That goes for the rest of us, too.
Spanning 25 years of serious writing on hip-hop by noted scholars and mainstream journalists, this comprehensive anthology includes observations and critiques on groundbreaking hip-hop recordings.
The second volume of writings by Los Angeles artist Mike Kelley, focusing on his own work. What John C. Welchman calls the "blazing network of focused conflations" from which Mike Kelley's styles are generated is on display in all its diversity in this second volume of the artist's writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley's own work, ranging from texts in "voices" that grew out of scripts for performance pieces to expository critical and autobiographical writings.Minor Histories organizes Kelley's writings into five sections. "Statements" consists of twenty pieces produced between 1984 and 2002 (most of which were written to accompany exhibitions), including "Ajax," which draws on Homer, Colgate- Palmolive, and Longinus to present its eponymous hero; "Some Aesthetic High Points," an exercise in autobiography that counters the standard artist bio included in catalogs and press releases; and a sequence of "creative writings" that use mass cultural tropes in concert with high art mannerisms—approximating in prose the visual styles that characterize Kelley's artwork. "Video Statements and Proposals" are introductions to videos made by Kelley and other artists, including Paul McCarthy and Bob Flanagan and Sheree Rose. "Image-Texts" offers writings that accompany or are part of artworks and installations. This section includes "A Stopgap Measure," Kelley's zestful millennial essay in social satire, and "Meet John Doe," a collage of appropriated texts. "Architecture" features an discussion of Kelley's Educational Complex (1995) and an interview in which he reflects on the role of architecture in his work. Finally, "Ufology" considers the aesthetics and sexuality of space as manifested by UFO sightings and abduction scenarios.
In a radical departure from his previous work on animated films and comics featuring superheroes, the award-winning artist Bruce Timm presents an extensive survey of the many forms that his muse has assumed in his mind's eye. This book showcases nearly 300 full-color, line and pencil images of partially clothed and nude women of almost every conceivable description and temperament, some accompanied by Timm's comments. The artist has granted access to his archives to provide the best representation of his private works. These rarely seen images span the last 15 years.
Provides a list of subject headings for use in smaller libraries.
Iconic graphic designer and Academy Award–winning filmmaker Saul Bass (1920–1996) defined an innovative era in cinema. His title sequences for films such as Otto Preminger's The Man with the Golden Arm (1955) and Anatomy of a Murder (1959), Alfred Hitchcock's Vertigo (1958) and North by Northwest (1959), and Billy Wilder's The Seven Year Itch (1955) introduced the idea that opening credits could tell a story, setting the mood for the movie to follow. Bass's stylistic influence can be seen in popular Hollywood franchises from the Pink Panther to James Bond, as well as in more contemporary works such as Steven Spielberg's Catch Me If You Can (2002) and television's Mad Men. The first book to examine the life and work of this fascinating figure, Saul Bass: Anatomy of Film Design explores the designer's revolutionary career and his lasting impact on the entertainment and advertising industries. Jan-Christopher Horak traces Bass from his humble beginnings as a self-taught artist to his professional peak, when auteur directors like Stanley Kubrick, Robert Aldrich, and Martin Scorsese sought him as a collaborator. He also discusses how Bass incorporated aesthetic concepts borrowed from modern art in his work, presenting them in a new way that made them easily recognizable to the public. This long-overdue book sheds light on the creative process of the undisputed master of film title design—a man whose multidimensional talents and unique ability to blend high art and commercial imperatives profoundly influenced generations of filmmakers, designers, and advertisers.