1000 piece puzzle featuring the artwork of acclaimed New York City based outsider artist Nicole Appel.

Nicole Appel’s Patchwork Portraits represent people non-traditionally, as a collection of the things that they like or care about. Pakistani Truck Art was done as a gift for Jerry Saltz, the Pulitzer Prize winning art critic who has long championed her work. With images of Dante’s Inferno, elaborately decorated Pakistani trucks, and even the Drive-By Truckers, this “portrait” of Saltz references his purgatorial years as a long haul truck driver after he had abandoned his career as an artist. Conventional portraits have traditionally represented people using their faces. Nicole Appel’s Patchwork Portraits represent people non-traditionally as a collection or ‘patchwork’ of the things that they like or care about. Her “Patchwork Portraits” have been exhibited at the Outsider Art Fair, in New York City, and sold out for the past 13 consecutive years. Her works are included in important collections, nationally and internationally, including representation in the collections of The Museum of Everything and Brian Donnelly, a.k.a KAWS. In 2025, KAWS included 10 of Appel’s Patchwork Portraits, from his personal collection, in the critically acclaimed, blockbuster show, The Way I See It: Selections from the KAWS Collection, at the Drawing Center, in N.Y.C.

There’s more to the South of France than sun, beaches, palm trees and the azure blue sea. For over a hundred years, it has been the favorite destination of many artists, who find themselves drawn to the superb light and the pleasant climate. The South of France for Art Lovers will show you what the area between Collioure and Menton has to offer in terms of surprising and remarkable art and cultural treasures. Journalist and art connoisseur Eric Rinckhout (Knack Magazine a.o.) selected more than 350 exceptional places: from the chapel decorated by Louise Bourgeois to the studio of Matisse and the apartment of Nabokov, from Eileen Gray’s modernist Villa E-1027 to architect Frank Gehry’s most recent design, from the oldest cinema in the world to street art in Marseille. Discover the best and most unique spots in inspiring lists such as contemporary sculpture gardens on wine estates, in the footsteps of painters and writers, chansonniers and rock stars, sleeping inside art, gardens that are artistic gems and much more.

The present publication is an essential part of the narrative of Wayne Higby’s retrospective exhibition – focusing on the concept of the artist scholar – at ASU Art Museum, in Spring 2013. It documents his ceramic work with over 150 images of 50 seminal works and gives context to the story behind the artwork. Wayne Higby’s international reputation both as an artist, a scholar and teacher will be explored in the contributions to this book that includes a detailed chronology of Higby’s life and career as well as highlights and excerpts from his well known writings on ceramic art. Essays on the American Landscape and American landscape art as the inspiration behind Higby’s work as well as his important, influential explorations into contemporary vessel aesthetics are included along with an essay that chronicles his central role in the development of contemporary Chinese ceramic art. Additionally, Higby’s recent, dramatic, late career move to large architectural installations is explored in detail. Born in Colorado Springs, Colorado, Wayne Higby received a B.F.A. from the University of Colorado at Boulder, in 1966, and an M.F.A. from the University of Michigan, Ann Arbor, in 1968. Since 1973, he has been on the faculty of the New York State College of Ceramics at Alfred University, Alfred, NY. Wayne Higby is recognized as one of the most important and influential ceramic artists of the late 20th, early 21st, century. In particular, his work is celebrated for its innovative use of the language of landscape. Contents: Helen Williams Drutt – Foreword; Peter Held – Overview/Statement; Henry Saye – The American Landscape; Tanya Harrod – The Vessel in Contemporary Art; Ezra Shales –The Artistic Scholar; Mary McInnes – Architectural Work; Carla Coch – China Journal; Appendix; Chronology; Biography; Works in Public Collections; Bibliography; Artist Statements; Artist’s Acknowledgements.

Gilbert & George created Dark Shadow in 1974 as a ‘living sculpture book,’ the ‘result of our past three years of earnest daily thoughts, shadows, deeds, cares, and pleasures.’ Hurtwood’s limited re-edition of 2,000 marks its fiftieth anniversary.

Featuring original text and artwork by Gilbert & George, the publication offers an unparalleled perspective on the early career of one of the twentieth century’s most significant artistic duos. Like their art, Gilbert & George’s writing is irreverent, rebellious, often funny, and deeply poetic. The book includes a letter to their readers and photographs by the artists of themselves, their home in East London, and their pictures.

Dark Shadow is structured into eight chapters, which elaborate on the inspirations behind Gilbert & George’s work, such as London life and British culture, including, of course, Gordon’s Gin. As is emblazoned on the cover, Dark Shadow is a continuation of their lifelong agenda ‘Art for All’, and each book is a piece of art in itself, uniquely bound in the UK with hand-marbled cloth.

This daily tear-off calendar presents 365 iconic reggae covers that reflect the diversity and spirit of reggae culture. From legends like Bob Marley, Peter Tosh and Jimmy Cliff to small indie pressings straight from Jamaica, this daily tear-off calendar presents a visual journey through the history and diversity of reggae culture.

The colorful designs and powerful images of the record covers tell of freedom, resistance and joie de vivre. A must-have for all fans of Jamaican music, vinyl lovers and culture enthusiasts!

No compromises! The new edition of the cult calendar now with 100% finest and pure punk!

After the success of Volume 1, it’s back – more radical, more raw and consistently punk orientated. This daily tear-off calendar presents 365 iconic punk vinyl covers from all over the world! But this time without a detour into the new wave scene. A piece of music history every day, with information on bands, labels and releases.

Perfect for punk fans, vinyl lovers and anyone who wants to live the rebellious spirit in every-day life. An indispensable highlight for your desk or wall!

This book brings together striking botanical art of Indian origin spanning a period of 300 years, focussing on the 18th and 19th centuries. Drawn mostly from original works held in the collections of the Royal Botanic Gardens, Kew, some of the paintings have never been published before. They showcase the richness and variety of art commissioned from talented, mostly unknown, Indian artists who made a substantial contribution to the documentation of the flora of the Indian subcontinent. A foreword written by Sita Reddy places the collections in contemporary context. The book concludes with works from a new generation of botanical artists in India, who excite interest today.

“This exhaustive study will be an invaluable tool in identifying not only where a piece was made and when, but in understanding the processes of its manufacture” The Regional Furniture Society
“Cataloguers now have an impressive volume of new information to draw on when describing anything from a simple tea tray to those suites of papier mâché furniture which remain as impressive today as when they dazzled visitors at the great international exhibitions of the 19th century” Antiques Trade Gazette
As one of the few decorative arts about which little has been written, japanning is today fraught with misunderstandings. And yet, in its heyday, the japanning industry attracted important commissions from prestigious designers such as Robert Adam, and orders from fashionable society across Europe and beyond. This book is a long overdue history of the industry which centered on three towns in the English midlands: Birmingham, Wolverhampton and Bilston. It is as much about the workers, their skills, and the factories and workshops in which they labored, as it is about the goods they made. It tells of matters of taste and criticism, and of how an industry which continued to rely so heavily upon hand labor in the machine age reached its natural end in the 1880s with a few factories lingering into the late 1930s. Richly illustrated, it includes photographs of mostly marked, or well-documented, examples of japanned tin and papier mâché against which readers may compare – and perhaps identify – unmarked specimens. Japanned Papier Mâché and Tinware draws predominantly upon contemporary sources: printed, manuscript and typescript documents, and, for the period leading up to the closure of the last factories in the 1930s, the author was able to draw on verbal accounts of eyewitnesses. With a chapter on japanners in London, other European centers, and in the United States, together with a directory of japan artists and decorators, this closely researched and comprehensive book is the reference work for collectors, dealers and enthusiasts alike. Contents: From Imitation to Innovation; Enter the Dragon!; The Lion of the District; Japanning & Decorating; Not a Bed of Roses!; Clever Accidents?; Decline of the Midlands Japanning Industry; The Birmingham Japanners; The Wolverhampton Japanners; The Bilston Japanners; Japanners in London and Oxford; Products; Other Western Japanning Centres; Appendices.

Structural Packaging Art has it all wrapped up, literally! Presenting the most innovative and imaginative graphic designs and technical constructions using paper and cardboard to promote a range of products from snacks to stationery, to teabags and truffles. All are designed to create a unique identity and brand within a highly competitive consumer market, colorful and eye-catching, quirky and desirable these wrappings are about first impressions with the focus on presenting each item as a ‘gift’ to be purchased, then savoured and enjoyed as an essential feature of the whole product experience.

Despite its trademark transparency, the Corum Golden Bridge is a wristwatch full of mystery. This new book describes the iconic linear timepiece’s fascinating history including the innovative mechanical invention conceived by a nonconformist autodidact and the difficult technical breakthroughs by two like-minded personalities needed to achieve the dream wristwatch. This story, chock-full of narrative substance, begins in Switzerland of the late 1970s, at a time when electronic timekeeping was threatening to overtake the magical mastery of mechanical ticks and tocks. The Golden Bridge, spanning the gap between mechanics and art, is an integral part of this era as luxury watchmaking teetered on the brink of extinction. The Golden Bridge additionally helped usher in the era of the independent watchmaker, as its very creation was rooted in shedding light on the work of the watchmaker in a way that no other timepiece before or after it ever would.

For more than four decades, jewelry artist and educator Laurie Hall has been making stories the subject of her work. Her playful, often whimsical jewelry made with found objects is about the places she lives, the landscapes that fill her imagination, her family history, and her ideas of what it is to be an American. As a jeweler, Hall never plays it safe, preferring to fly by the seat of her pants and push her skills and technical knowledge. Her work is part of numerous private and public collections including The Museum of Art and Design in NYC, The Tacoma Art Museum, The Museum of Fine Arts, Houston. She is a product of the jewelry histories that make the Pacific Northwest unique within the larger story of American contemporary jewelry. Featuring 58 images of Hall’s jewelry spanning the period from 1974 to 2019, this book explores why she is an important maker whose practice deserves to be more widely known.

When African-American music broke out of the church in the early 1960s and singers such as Ray Charles and Sam Cooke added secular lyrics to gospel in order to tap into a new audience, the 7″ single was the medium of the hour. The early soul LPs were mostly compilations of successful singles, enriched with cover versions, but this was to change radically in 1971 when Marvin Gaye released “What’s Going On” against the resistance of his label Motown. After that, there was no stopping him.
Sly & The Family Stone, Stevie Wonder, Isaac Hayes, The Temptations, James Brown and countless criminally ignored groups used the medium to comment on grievances and experiment. Songs stretched over ten minutes and left the radio-friendly three-minute format. The music was also given a visual aesthetic, the musicians were given a face and told their story on the backs of the covers. Anyone who had previously raved about Al Green’s voice could now hold him in their hands as an LP, reclining on a wicker chair in a white suit.
Today, original LPs are traded for sometimes dizzying sums. Record shops and online exchanges are booming. The feel of the record, the crackling when the needle grips the groove, analogue playback and, last but not least, DJ culture have simply defied the logic of technological progress. They say that the dead live longer. This certainly applies to the LP. This calendar is dedicated to the aura that only an original pressing can have.

This book is dedicated to Godai, an installation by Japanese artist Tanabe Chikuunsai IV, who represents the fourth generation of a prestigious line of kagoshi (master wickerwork weavers) in Japan. Godai is a homage to nature and to a tradition of handcraftsmanship. This monumental work, six meters high and nearly as broad at its base, was installed in 2016 in the Rotunda of the Musée des Arts Asiatiques Guimet in Paris and presented to the public from April 12th through September 19th, when the artist still presented himself under the name of Tanabe Shouchiku III. The structure, composed of 8,000 small pieces of bamboo prepared in Japan, was extremely well received. It represents a world in which the five elements, godoi, that make up our world (wind, water, earth, void and fire, according to Japanese tradition) intertwine. Tanabe couldn’t find a more suitable material. Tough yet flexible, bamboo has been part of the lives of people in Asia since ancient times and used for numerous purposes. Because of its great significance (it represents ‘principles, integrity and constancy’), it has also been represented in many historic paintings and used as a design motif in stationery and furniture. Tanabe’s works are both historic and modern and invite a response from the viewer. His bamboo installations, presented in a form adapted to the space in which they are displayed, induce viewers to be aware of and appreciate that space. Each work is dismantled at the end of the exhibition to leave just its memory. And the same bamboo is used for new installations, giving a tangible sense to the concepts of ‘continuity’ and ‘rebirth’ and providing a sense of connection with space that transcends time. Godai is no exception: a monumental and ephemeral work, like a piece of organic architecture, it transmits positive energy. Text in English and French.

“I am the unit of measurement.” Fiete Stolte divides the day into twenty-one hours to create a week with eight days, and thereby centres his works on himself as an object of observation and experimentation. A specially designed clock lends visual expression to his alternate way of calculating time; live projections of Stolte’s showing shifted sleeping cycles serve as time sculptures that portray the artist’s parallel world. For Drawing Your Mirror, Stolte cast his own hand in graphite, making a “pencil” of his index finger; in Eye, the pupil of an eye contains a reflection of the self instead of the outside world. Text in English and German.

Designed for both layman and scholar, its simplified approach allows users to find and identify over 11,000 names of Japanese artists and craftspeople, from all periods and in all media. Includes a sections on reading dates, a list of 300 modified and debased characters, and an index of provinces and place names, plus reproductions of date and censor seals on woodblock prints, publishers’ trademarks and seals, and actors’ and Genji mon. Indispensable for the scholar or collector of Japanese art.  In English and Japanese.

In The Thousands, an 18-year-old RJ Rushmore curates an extensive collection of some of the biggest names in Street Art including Faile, Banksy, KAWS, Shepard Fairey, Swoon, Herakut, Jenny Holzer, Blek le Rat, Futura 2000 and Barry McGee. As the founder and editor-in-chief of Vandalog, Rushmore has achieved a reputation for “genuine reporting, insight and analysis” (Papermag). This quality and attention to detail shines through the compelling writing in his book. Many of the works featured have come from private collections and several pieces have been provided directly by the artists participating in the show and the book. Each artist or group of artists is explored in an immersive two-page spread with an insightful biography and intricate analysis of their work. This fascinating anthology is a must-have for Street Art followers and those simply interested in the movement.

Ellora attempts the first systematic overview of the Ellora cave temples, a UNESCO World Heritage Site, excavated between 600 CE and 1000 CE and the only cave temple site that houses Buddhist, Hindu, and Jain caves. 

This volume looks at each of these three groups of rock-cut temples and the stylistic influences they drew from each other and from surrounding regions. 

Essays and analyzes by scholars bring a comprehensive understanding of the chronology and stylistic development of the 34 main caves and lesser caves of the site. Ellora also includes extensive photographic documentation, ground plans, and rarely seen early 19th-century etchings of the most significant caves. 

With contributions by Stanislaw J. Czuma, Nicolas Morrissey, Lisa N. Owen, Vidya Dehejia, Pia Brancaccio and Arno Klein.