Robert L. Thompson, FAIA, is the founder and lead design principal of the Portland-based firm TVA Architects, a firm that has built a foundation of collaboration, innovation, and conservation through beautiful design. He is responsible for the design of many of the most prominent buildings throughout Oregon and the Pacific Northwest. TVA Architects creatively transforms their clients’ needs and aspirations into elegantly understated works of meaningful architecture, meticulously detailed and impeccably crafted.

The projects documented in this book coincide with the fortieth anniversary of this celebrated architect and his body of work as a designer and innovator.

He founded TVA Architects in 1984 and built an internationally recognized practice, starting in the Pacific Northwest. In 1993, at the age of thirty-nine, Thompson was the youngest architect in America to be inducted into the American Institute of Architects’ College of Fellows for his contribution to the profession. Thompson and TVA Architects have been honored with scores of local, national, and international awards for excellence in design.
His projects have ranged from major corporate campuses, high-rise office towers and condominium towers, sports and recreational facilities, retail and cultural projects as well as multi- and single-family residences. This lavishly illustrated monograph, filled with full-color photography and detailed plans, forms a compilation of select work that celebrates Thompson’s influence across architecture over several decades.

These vintage photographs take you on a journey across Europe and America’s highways, celebrating the spirit of Kerouac’s great open road. Family road trips and first cars, unplanned pit-stops and incredible vistas are rediscovered from found color slides, selected from The Anonymous Project’s collection of over 800,000. The people pictured here may be unknown, but these photographs capture a familiar excitement: getting behind the wheel and setting out to see where the road takes you. After a year when people throughout the world have been home-bound, the call of adventure sounds louder than ever.

This issue features Colombian architect, Simón Vélez. He received his architectural education in Colombia and founded his studio in 1972. Having invented the use of bamboo as a structural material by filling it with cement mortar, Vélez has gained international reputation for his designs using bamboo. He believes that architecture should incorporate more plants (vegetarian), and his work is seen to use a diversity of natural materials. Local vegetal materials – such as Guadua bamboo native to South America, Moso bamboo from Asia, and local wood like Ariso, Alboroco, and Eucalyptus – are used to maximize the restrictions and limitations of materials. Conscientious with the materials and site, he continues to create structurally rational buildings.

Text in English and Japanese.

“Iconographic images from Berlin are well known and in different tonalities: Sarah Eick now succeeds in the great feat that still demands admiration even from Urberliner:innen who have seen a great many photographs of their hometown: her photos undoubtedly reproduce Berlin motifs, but at the same time they are works of a great, translocal, abstract-poetic quality.

Peculiarly contextless, almost like UFOs, the familiar buildings and city views appear. Without any form of historicizing or nostalgic pathos, Eick gives them great dignity. “Even a snack booth looks sublime in her work.” – Tanja Dückers, writer, publicist and art historian.

Well-known places, whether Fehrbelliner Platz, Kino International, the water circulation tank at the zoo, the Charité high-rise, the Old Congress Hall or Teufelsberg, are always unpopulated in her work. One has hardly ever seen Berlin like this. This bare representation makes the city appear different.

Text in English and German.

“Who doesn’t know Paul Newman? The man with the beautiful blue eyes, the chiselled face and body, the 50-plus years of memorable acting and directing roles, the awards, the movie-star marriage. Well, it turns out, there is lots more to know.” — Parade Magazine
“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express

“Hollywood Hunk Paul Newman as you’ve never seen him before.”  — Yahoo! News

“Paired with raw and unvarnished commentary from the photographers themselves, Newman’s incomparable authenticity and appealing persona bleed through each page.”— Newsweek

Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.” 

As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. 

Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen. 

Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favorites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture. 

With comment and contributions from the photographers, Paul Newman: Blue Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.

Paul Newman: Blue Eyed Cool is a must-have for fans who see in Newman’s work and in his life a true hero.

In a unique visual dialog, Déjà View brings together the work of beloved photographer Martin Parr, master of capturing the art in everyday existence, with The Anonymous Project’s archive of unidentified vintage slides, collected from across Europe and America. Surprising and delighting in their similarity, these affectionately matched images celebrate photography’s power to capture the small moments of humor, warmth, ennui and absurdity that are in fact our most important of all.

The Anonymous Project is dedicated to collecting and preserving mid-century color slides from around the world. Started in 2017 by filmmaker Lee Shulman, the project brings to light Kodachrome memories that might otherwise be lost forever.

“A joyous, mysterious portrait of rural American boyhood.” – THE NEW YORKER ON RANDY

Robin de Puy (b. 1986) has lived for several years in Wormer, a small village just to the north of Amsterdam. She is fascinated by the American countryside, and during the recent lockdown discovered that her new environment proves to be very universal, with the same sort of local small-town icons that she has often encountered during her travels through the rural landscapes of America.

For example, she meets an eleven-year-old shaman who shows her around barefoot in forbidden territory, she drives around with four giggling brothers in the back seat, and she meets a palm reader who immediately gives her the keys to his house. Dozens of encounters follow and, slowly, not only a photo book is created but also a world in which she starts to feel at home.

Text in English and Dutch.

Renowned American textile artist and sculptor Gyöngy Laky (b. 1944) was once described as a ‘wood whisperer’. Her highly individual, puzzle-like assemblages of timber and textiles helped to significantly propel the growth of the contemporary fiber-arts movement. Laky’s art traverses an extraordinary personal story: Born amid the bombings of World War II, she escaped from post-war, Soviet-dominated Hungary; was sponsored by a family in Ohio, went to grade school in Oklahoma, and went on to study at the University of California, Berkeley. She followed this by founding the Fiberworks Center for Textile Arts in the 1970s and fostering innovations as a professor at the University of California, Davis. This book provides insight into her studio practice, activism, and teaching philosophy, which champions sustainable art and design, original thinking, and the value of the unexpected.

Designer and interior decorator Dorothy Draper’s color-filled life story is one of high society, money, gossip, and throughout it all, reinvention. Carleton Varney has owned and directed Dorothy Draper & Company, Inc., for almost 60 years. He worked with Mrs. Draper at the end of her illustrious career, and wrote the only biography of her life, The Draper Touch: The High Life and High Style of Dorothy Draper, in 1988. In the book, Varney sets the scene and defines the milieu that Draper was born into in 1889 and from which she escaped to become one of America’s leaders in design—a true visionary entrepreneur. Thirty-three years later, Shannongrove Press is releasing this deluxe edition of The Draper Touch. With a new foreword by Varney, newly found photographs, recently discovered historical documents from a private collection, and archival ephemera from Draper’s family, this beautiful tome reveals Draper’s fascinating journey and the real stories behind her ground-breaking work.

“We are living history right now. I believe we need to do more to document this unique moment in America, and who better to convey what we all are feeling than our country’s greatest artists? It is my hope that in 50 years, art history classes will pull this book off the shelf and understand the deep emotion of this time.” — William Weinaug

Around the world, many individuals and families have faced isolation due to COVID-19. Our lives have been changed as we face a historical crisis of unprecedented scale. But beauty has also come from this hardship. The Great American Paint In® was birthed to allow artists to paint their emotions during the pandemic, capturing this period of history in a unique way — through art.

This book curates the products of the Paint In️®, revealing the responses of over 50 artists from across the continent. Artists share their experiences, their losses, and their hopes for the future. In doing so, they demonstrate the real grit and backbone of the American pandemic story. Like so many enduring these difficult times, they discovered a whole new world and a brand “new normal” that allows them to live, work, survive — and, most importantly, create.

These stories have been shared by Wekiva Island online, at Gallery CERO, and around the country in several traveling art exhibits. Now, for the first time, they are being brought together in a single volume.

Select artists include: Hai-Ou Hou, Olena Babek, Barbara Fox, Jill Stefani Wagner, Paul Schulenburg, Morgan Samuel Price, Kyle Stanley, Raymond Bonilla, Kathleen Dunphy, Jennfer Miller, Michelle Held, David Arsenault, John S Caggiano, Tony D’Amico, Karen Blackwood, Jeanne Rosier Smith, Justin T Worrell, Thomas Kegler, Shawn Krueger, Erik Koeppel, Ken Salaz, Hillary Scott, Thomas Adkins, Michael Orwick, Kim VanDerHoek, Cindy House, George Van Hook, Kim Lordier, Marc R Hansen, Sergio Roffo, Sam Vokey, Mary Erickson, Tom LaRock, Josh Clare, Howard B Friendland, Marc Dalessio, Andrew Orr, Kari Ganoung Ruiz, Charles Muench, Jim McVicker, Trish Coonrod, Joseph Daily, Jeffrey Hayes, Mitch Kolbe, Dogulas Wiltraut, Ray Howard, Nick Patten, Brett Scheifflee, Jeff Gola, Eleinne Basa, Bill Farnsworth, Garin J Baker, and Mary Jane Volkmann.

“The high dignity of the fire arts derives from the fact that their works bear the most profoundly human mark, the mark of primitive love. (…) The forms created by fire are modelled, more than any other, as Paul Valéry rightly suggests ‘by dint of caresses’.” – Gaston Bachelard, The Psychoanalysis of Fire, 1937

On Fire is the title of an exhibition curated by Bruno Corà, organized by the Giorgio Cini Foundation in collaboration with Tornabuoni Art, from April to July 2022, dedicated to the most evocative of nature’s primary elements: fire.

From Burri’s combustions to Klein’s, Arman’s and Kounellis’s use of gas flame, as well as Calzolari’s and Parmiggiani’s use of flames and smoke in different ways, the artists have explored both the destructive and generative effects of fire, using different materials, as well as ash and light, creating an innovative form of expression.

The exhibition includes works on international loan from the most prestigious public and private collections in Europe and North America, offering thus the opportunity to see some masterpieces that have never or rarely been seen before.

“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express

Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.” 

As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. 

Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen. 

Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favorites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture. 

With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.

“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express

Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.” 

As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. 

Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen. 

Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favorites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture. 

With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.

“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express

Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.” 

As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. 

Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen. 

Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favorites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture. 

With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.

“Newman’s preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises.” — Peter Sheridan, Daily Express

Once, when asked how he’d like to be remembered, Paul Newman replied: “I’d like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being.” 

As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. 

Throughout his career, Newman was extensively photographed: these images enriched film audiences’ connection to him as a cool and graceful presence both on and off-screen. 

Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O’Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favorites, Pocket Money and The Life and Times of Judge Roy Bean, Newman’s movies were an essential part of American culture. 

With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography — including never before seen images — in a celebration of an actor who was always… cool.

Deceptively simple or fantastically intricate, ikat technique has been used for many centuries to create extravagant costumes and cloths of deep cultural meaning. The distinctively blurred, feathered or jagged patterns of ikat-dyed textiles are found across much of the world – from Japan in the east to Central and South America in the west, with vast areas of South-east Asia, India, Central Asia and the Middle East in between. The traditional patterns still hold cultural relevance today in significant parts of the long-established ikat-weaving areas. Textile artists and fashion designers in many and varied countries have taken ikat in new directions, respecting traditional forms and palettes while creatively diverging from them.
This is the first time all the different iterations of this textile have been comprehensively brought together in one volume, drawing from the wide-ranging collection of David Paly. It is a journey across the world through the lens of ikat. 

Hello World: The Body Speaks in the Drawings of Men showcases McMullan’s unparalleled ability to depict the beauty of the physical form, through keen lines and vibrant, expressive brushstrokes. Using gouache and a bristle brush, McMullan explores not just the drama and rhythm of bodies in motion, but the excitement and fraught psychological complexity between subject and portraitist. Each of the 83 dynamic studies captures the unspoken dialog between artist and model. Every page dramatizes the energy and tension at the core of the creative experience. 

“The photos here are undeniably spectacular — but the exploration of the costume ball’s history is worth sticking around for, too.”  —Natural Diamonds

Tiaras have always inspired a great fascination and the most beautiful and influential women have been painted, photographed and admired whilst wearing them. Even in the 21st century they are still worn and continue to inspire special poise, elegance and sophistication. 
This lavishly illustrated book includes exclusive photographs, many repro­duced for the first time, of a variety of Royal tiaras together with those of French and Russian Imperial provenance, including four stunning tiaras designed by Prince Albert for Queen Victoria. Geoffrey Munn has also been granted privileged access to the archives of many famous jewelers, including Boucheron, Cartier, Van Cleef and Arpels and Fabergé, for his research. 
The regal images of some of the most prestigious jewels in the world will captivate the reader and ensure turning the page to the next enticing image becomes irresistible. Many of these mes­merizing tiaras also have great historical signifi­cance and their provenance is fully explained here. Among the con­temporary pieces referred to are tiaras belonging to Jamie Lee Curtis, Vivienne Westwood, Elton John and Madonna, that were made by Galliano, Slim Barratt and Versace.
The scholarly text, which incorporates more than 400 illustrations, includes chapters on tiaras as crown jewels, Russian style tiaras, tiaras as works of art and the relationship between the tiara and the costume ball. Tiaras – A History of Splendour is a magnificent work that will enthral all those interested in fashion and style, jewelry, European history and Royalty.
“… beautifully written and magnificently produced… for anyone interested in social history, it’s as good a read as you are likely to have this year.” Daily Telegraph
“A truly majestic book” Antiques Info
“… elegantly melds social history, fashion criticism and an appreciation of the jeweler’s art.” Town & Country

The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on the state of Texas, the Classicist No. 19 explores the state’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include architectural historian Stephen Fox; Anna Nau of Ford, Powell & Carson Architects; Tara Dudley of the University of Texas at Austin School of Architecture; Kenneth Hafertepe of Baylor University; and architectural author James Wright Steely; alongside submissions to the professional and academic portfolio. 

In previous studies, Jan Strybol pointed out that – contrary to popular belief – sculpture flourished in northern Nigeria. Wood sculptures could be found just about everywhere, with the exception of part of the Far North. In this study, the author first examines the sculptural traditions of a number of peoples in central Nigeria, more specifically from the Jos Plateau and from the Middle Benue Valley to the source area of the Taraba River. These peoples can be described as non-centralized communities where art was mainly produced in perishable materials by part-time artists, in contrast to the centralized empires in the South (Ife, Benin) where full-time specialist sculptors created complex artefacts in durable materials (stone, bronze, iron).
Perhaps the most familiar ethnic group in the Central Benue region to lovers of African art are the Mumuye. Since the end of the last century, as a result of the advance of world religions, the traditional rites of the Mumuye have rapidly disappeared and with them the Mumuye sculptural tradition so much admired in Europe and America.
In addition to wood sculptures, Jan Strybol also pays attention to objects in bronze, iron, terracotta and other materials. These art forms have been very underexposed until now and have almost completely vanished. Finally, the author also delves into the artistic achievements of some little-known remnant groups within the Mumuye territory, which can boast of a rich art tradition.

In the spring of 2023, Fondation Louis Vuitton will be holding Basquiat x Warhol… Painting 4 hands, the most important exhibition ever devoted to the collaborative work of these two artists. The exhibition will feature more than 100 jointly signed paintings, in addition to individual works by Basquiat and Warhol, and works by other major artists (Keith Haring, Jenny Holzer, Kenny Scharf, etc.) in order to recreate the New York downtown art scene of the 1980s.
From 1984 to 1985, Jean-Michel Basquiat (1960–1988) and Andy Warhol (1928–1987) jointly produced about 160 paintings, some of the largest in their respective careers. A genuine artistic dialogue of style and form had developed between them that dealt equally well with crucial issues such as the integration of the African-American community into the narrative of North America, a continent where Warhol was a major manufacturer of icons.

“A very inspiring book that shows that visions do not have to be castles in the air…” — Lovely Books Germany

“The clouds the limit: an opulent book as an appreciation for a big-thinking designer.” — Sueddeutsche Zeitung

Norman Foster is a globally recognized figure in architecture. His agency has created more than 300 projects around the world, many of which have profoundly marked and transformed the cities and landscapes in which they reside.
This new monograph, published in partnership with the Centre Pompidou, presents more than 80 of Foster’s key projects, from the Cockpit (1964), a private house in Cornwall, through to Spaceport America (2006-2014), the world’s first terminal for space tourists, built in the desert landscape of New Mexico. Each project is illustrated with drawings, sketches and photographs, placed alongside insightful text.
The book also features an essay by Frédéric Migayrou, curator of an attendant Centre Pompidou exhibition on Foster; a biography by celebrated architectural critic, Philip Jodidio; and an extensive interview with Foster himself. Foster has also contributed an anthology of six analytical texts, written across the broad span of his career. 

Discover the hidden beauty of some 30 mountain cabins and their distinctive architecture in this captivating book. From cosy retreats nestled in the woods to modern structures perched on cliffsides, explore the unique and innovative designs that blend seamlessly into their rugged surroundings. Follow along as renowned architects share their visions and inspirations for creating mountain cabins that not only provide shelter but also enhance the natural beauty of the landscape. Stunning photographs showcase the details of each cabin, from the materials used to the panoramic views that greet visitors. Whether you’re an architecture enthusiast or simply seeking inspiration for your next mountain retreat, this book has you covered. The selection includes cabins in both Europe & North America and has detailed information on the hiking trails located near each featured mountain cabin.