Böcker utgivna av Artbook D.A.P.

Let man fear the Leanan Sidhe. Her gifts are not without price.¿Fia Walsh has never fit in. With iridescent beetle shell hair, and what might be newly sprouting horns, she's decided to run away from the city, her loving brother, and his shrew of a wife. In order to make her escape, she needs money. The only way to get it is to sell her most treasured possession-a worn leather book once belonging to her mother. The only problem? Tieg Connolly, a dour young man on the hunt for rare and interesting tomes. In a lucky twist of fate, Fia accepts a job from Tieg and moves to the small town of Feyport-where the fey are rumored to abound. Assisting him in his new business venture, the ever upbeat Fia senses her treasured book and Tieg himself are both holding secrets. Wanting nothing more than to find her place in the world, she'll need to learn to read the mysterious text all the while evading some rather unsavory characters. While Fia and Tieg grow closer, Fia learns sometimes discovering yourself comes at a hefty price. A cozy Celtic folklore inspired fantasy brimming with unforgettable characters, dangerous creatures, long buried family secrets, and heart warming romance, A Simple Tale of Ink and Bindings returns to the world of A Simple Tale of Water and Weeping but may be read as a stand alone novel.

Cerchi esercizi adatti al tuo livello ma non ne trovi? Questo libro fa per te! Al suo interno troverai esercizi di grammatica italiana adatti a studenti di livello A1 e A2 con soluzione a fine libro. Più un piccolo extra per chi ricerca una sfida più difficile. In questo libro troverai esercizi su: Nomi, genereForma pluraleArticoli determinativiArticoli indeterminativiPreposizioni sempliciCongiunzioni sempliciCongiunzioni composteAvverbi di luogoTempi verbali - Passato prossimoTempi verbali - Trapassato prossimoTempi verbali - ImperfettoTempi verbali - Passato remotoTempi verbali - Trapassato remotoTempi verbali - Futuro sempliceTempi verbali - Futuro anterioreTempi verbali - Congiuntivo presenteTempi verbali - Congiuntivo passatoTrova le paroleNotaGli esercizi di grammatica sono adatti ad adulti e bambini stranieri che si avvicinano allo studio della lingua italianaIl libro contiene esclusivamente esercizi forniti di soluzione.

A facsimile of the Just Above Midtown 1978 exhibition catalog that disrupted the white-dominated canon of postwar abstract artOriginally published in 1978 alongside an exhibition at the legendary Just Above Midtown gallery, Contextures was the first of its kind. More textbook than traditional catalog, the volume realized the vital mission of situating Black artists within the still-prevalent, white-dominated canon of postwar abstract art. Contextures not only provides an extensive history of Black artists working in abstraction from 1945 to 1978, but it also articulates the then newly emerging movement of Black Conceptual Art in the 1970s. Despite its historical importance and visionary scholarship, it was originally produced in a limited run of just a few hundred copies by the gallery and remains rare and largely unknown.The publication contains extensive writing by editors Linda Goode Bryant and Marcy S. Philips, drawn from interviews with the featured artists, as well as 58 black-and-white and 16 color images documenting the work of 25 artists, including Frank Bowling, Ed Clark, David Hammons, Suzanne Jackson and Betye Saar. This new edition is produced in facsimile form and features a newly commissioned afterword by Thomas (T.) Jean Lax, curator of the exhibition Just Above Midtown: Changing Spaces at the Museum of Modern Art, New York.

Rich and evocative paintings from an underrecognized Japanese American abstractionist A New York Times 'Best Art Books of 2023' pickThe result of several years of research, Heart of Hearts is the first book dedicated to the life and work of Japanese American artist Miyoko Ito. Ito was born in Berkeley, California to parents of Japanese descent and educated at the University of California, Berkeley, where she studied watercolor. A month before her graduation, in 1942, Ito was sent to the Tanforan Assembly Center, an internment camp south of San Francisco. Released several years before her husband, she transferred to the School of the Art Institute of Chicago but never graduated. Unlike the other "Allusive Abstractionists" with whom Ito was loosely associated, her geometric compositions often evoke landscapes, interiors and the human body. Irregular forms are rendered in layers of paint applied horizontally, creating an ombré effect reminiscent of a sun over the horizon. Working on one canvas at a time, her technical precision was reflected in her slow working process, painting in her studio from sunrise to sunset, often seven days a week. "I have no place to take myself except painting," she confided in a 1978 interview, "it has been my biggest life-giving force."While Ito's paintings have recently been the subject of critically acclaimed exhibitions at Matthew Marks Gallery, Artists Space and the Berkeley Art Museum and Pacific Film Archive, her elegant and mysterious abstractions were and are scarcely known beyond Chicago, where she spent much of her adult life and made a career. Assembled by Pre-Echo Press and Jordan Stein--curator of Ito's first two solo institutional exhibitions in nearly 40 years--Heart of Hearts features over 100 full-color plates, archival materials, a 1978 interview with the artist and a 5,000-word biographical essay that contextualizes Ito's practice and aims to afford the artist her proper place within a history of postwar American art.Miyoko Ito (1918-83) was born in Berkeley, California, to Japanese parents. As a young girl, she spent several years with her mother and sister in Japan, where she first experimented with calligraphy and painting. Ito participated in the 1975 Whitney Biennial and was honored with a retrospective exhibition at the Renaissance Society in 1980. Her work is represented in the collections of the Art Institute of Chicago, the Museum of Contemporary Art, Chicago, the Los Angeles County Museum of Art, the Whitney Museum of American Art and the Museum of Modern Art, New York.

"When James Baldwin died in 1987, he left behind an extraordinary body of work. Novels, poems, film scripts, and, perhaps most indelibly, essays constituted the great artist's writing, which was not divisible from his work and subsequent fame as a civil rights activist. A friend to and supporter of Martin Luther King Jr., Malcolm X, and Medgar Evers, Baldwin was the voice of a movement--a voice that struggled after his early recognition as a creator to retain the author's 'I,' while taking on the 'We' of his people."--Provided by publishe

A previously unpublished artist's book by the innovative photographer, conceptualized shortly before his untimely deathA meditation on loss, death and nothingness, Salvation is a previously unpublished artist's book by Jimmy DeSana (1949-90), which he conceptualized shortly before his death from AIDS-related illness. While he was unable to fully realize Salvation in his lifetime, he dictated instructions to his longtime friend, the artist and photographer Laurie Simmons, for completing the publication on his deathbed. Due to her recuperative efforts, DeSana's last major work is now available for the first time.The volume displays 44 of the artist's late photographic abstractions, images of relics, body parts, flowers and fruits altered through collage and darkroom manipulations. Both intimate and otherworldly, the works in Salvation function as a quiet counterpoint to the majority of the work generated in response to the HIV/AIDS epidemic, which tended to favor bold political statements.

A rich and engaging facsimile of the artist's first visual poetry book, self-published in 1968The paintings of Chinese American artist Martin Wong (1946-99) are celebrated for their affecting fusion of social realism, visual language, queerness and racial identity.Footprints, Poems, and Leaves is a facsimile of his first poetry book, self-published in 1968. The volume collates dozens of poems written by Wong between 1966 and 1968, a tumultuous period in his life spent at the epicenter of the hippie movement in the Haight-Ashbury neighborhood of San Francisco. Handwritten in what would become his signature calligraphic style, Wong's poems presage the haunting sensibility of his later visual works. The thematic content of the poems ranges from surrealist descriptions of the urban subculture that surrounded him to downtrodden yet tender biographical entries. This new edition possesses a double cover showcasing intricate drawings of skeletal angels and other tableaux, as well as a folded, looseleaf broadsheet containing two poems and a drawing of a bony leaf.

Artist writings that advocate an exilic filmmaking practice, moving beyond national identity and the politics of placeThis collection of writings by artist and filmmaker Tiffany Sia (born 1988) gathers six essays that offer a framework for fugitive cinema. Written in the wake of the 2019-20 Hong Kong Protests ignited by the Anti-Extradition Bill Movement, Sia's writings survey the rise of a new documentary vernacular being produced by a wave of emerging filmmakers breaking from the nostalgia of Hong Kong's cinematic golden age. As a practitioner and thinker, Sia has been at the forefront of a nascent generation of artists working to trace social unrest and political crackdowns. Drawing from personal experience and historical study, her writings offer urgent reflections on a cultural landscape changed by censorship and surveillance.An essential counterpart to her oeuvre, this volume is a critical intervention into global film studies, the politics of film/photographic practices and experimental approaches to documentary. Film stills from filmmakers Chan Tze-woon and the anonymous collective Hong Kong Documentary Filmmakers, photographs by artist An-My Lê and images from Sia's short film The Sojourn (2023) are interspersed between each essay, inviting the reader to consider a cinema by other means.

Lighthearted yet vivid scenes of psychedelia compiled in an affordable chapbook facsimileThis unforgettably named compact chapbook was first published by painter Martin Wong (1946-99) in 1977. Written in the early 1970s, the publication contains 13 chapters of handwritten micro-fictions filled with cringeworthy stories unfolding in San Francisco and beyond. The publication is populated with a cadre of colorful characters, some of whom are obscure underground figures such as George "Hibiscus" Harris from the Cockettes and Angels of Light, and others who are well known, such as Paul Gauguin, Vincent van Gogh and God. Written during his days working on the flyers and theatrical backdrops for the Angels of Light Free Theater and published just before his move to New York, these stories capture Wong's playfulness and the absurdist, kaleidoscopic milieu of the moment in which they were written. Many of these stories appeared before the book's publication in Wong's now-iconic calligraphic scrolls.

In two weeks in April, a warming trend between the Peninsular Republic and the United States is jeopardized by a clumsy diplomat. Eden Gorski and the Army of the Republic face a crisis along the southern border. Meanwhile, two of the characters from the earlier books find themselves drawn to each other in a coming-of-age thread. Full of the author's trademark wry humor and knife-sharp grasp of his characters' personalities, this book brings the Republic and its people to life once again.

An anthology of Abu Hamdan's disquieting audio-essay monologues on the soundscape of political lifeThis volume compiles transcripts from performances and films by Beirut-based Lawrence Abu Hamdan (born 1985), an artist known for his political and cultural reflections on sound and listening. Taken from seven works dating from 2014 to 2022, Abu Hamdan's intricately crafted monologues are at times intimate, humorous and entertaining, yet politically disquieting in their revelations. Utilizing personal narratives, anecdotes, popular media and transcripts rooted in historic and contemporary moments, the artist leads the reader through his investigations into crimes that are heard but not seen. His live audio essays are an exercise in listening to acoustic memories, echoes of reincarnated lives, voices that leak through walls and borders, the drone of warfare, cinematic sound effects, atmospheric noise, the resonant frequencies of buildings and the sound of hunger.Collected here for the first time, all the texts were transcribed from performance documentation and edited with the artist.

A witty and ingenious parody of American consumer goods--from a wristband that measures social success to shoes that help you dietPippa Garner's (born 1942) Better Living Catalog, originally published in 1982, takes the form of a mail-order catalog featuring clever, whimsical inventions that parody consumer goods and America's obsession with ingenuity, efficiency, leisure and comfort. These works, which were made as prototypes and photographed for the publication, include the Reactiononometer, a portable wristband that instantly measures social success; the Digital Diet Loafers, which display the wearer's weight with every step; and other items promising financial solvency (the controlled cash flow Autowallet) or mess-free companionship (the Pet-a-Vision TV console).The Better Living Catalog was a pop hit when it was published, earning Garner spots on nighttime TV talk shows and attention from magazines such as Vogue and Rolling Stone. The works still resonate today, finding their analogue in many consumer products and--in the case of the High Heel Skates--even appearing unattributed in the runway collection of a major fashion brand. Around the time that the Better Living Catalog was published, Garner began her gender transition, which she has characterized as an artistic project with conceptual parallels to the altered consumer goods she has continued to create since the 1970s. This previously rare gem of an artist's book is one of Garner's few works to become widely available.

A fascinating account of Lankton's inquisitive, sociological and emotional ruminations in advance of her gender-affirming surgeryThis is one of the earliest of Greer Lankton's (1958-96) journals, sketchbooks and daybooks to appear in the artist's archives, and the first to be published in facsimile form. Written during her time as an art student at the School of the Art Institute of Chicago, the journal offers key insights into Lankton's mind at work before her career-defining move to New York in 1978, where she would become an important figure of the East Village art scene in the 1980s and early '90s with her lifelike dolls and theatrical sets.Containing drawings, behavioral diagrams and aspirational, occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the 19-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of the days recorded here; days leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity and human behavior.

A diaristic photographic portrait of the memory-laden Mississippi Delta of ArkansasFifty years ago, New York-based photographer Eugene Richards (born 1944) worked as a VISTA Volunteer and then as a reporter in the Arkansas Delta. Even after the newspaper he helped found closed its doors, Richards kept revisiting the region. In early 2019 he returned to the small town of Earle, Arkansas, where, on a September night in 1970, peaceful protesters were attacked by a crowd of white men and women brandishing sticks and firing guns. Crossing the tracks from what had been the Black side of the town into the white side of the town, Richards happened upon an old appliance store. On the shadowy and cracked walls of the building were painted the faces of Jesus, Malcolm X, H. Rap Brown, Angela Davis, Dr. Martin Luther King and John Brown--the faces of revolution, reconciliation, change. In the months that followed, the old store became for Richards a kind of portal, a doorway into the region's volatile history and into the lives of those who lived, struggled, raised families, grew old and died there.The Day I Was Born interweaves full-bleed images of Earle with deeply personal narratives in the words of people who live there.

There's nothing like the taste of a miracle. It has been two months since Aurelia, Roe, and Hale survived their trek across the desert and arrived in Devil's Meadows. They've thrown themselves into service as practitioners of medicine for Medicus Corpus and barely have time to think of anything aside from their duties and responsibilities to the patients they treat. Amid sleepless nights and an oppressive environment, Aurelia must learn to wield the miracles and wonder working she possesses while also keeping her ability a secret-or risk her job, her friends, and even her life. But danger is lurking in the dark desert nights. When Aurelia and Roe are attacked on their way home one evening and young women start turning up dead in the settlement, the trio are once again thrown into a perilous fight. Tenuous alliances are tested and new enemies emerge as the young practitioners struggle to protect one another and the people they have come to serve. Re-enter a world of magic, medicine, and miracles in the stunning follow up to Blood and Wonder.

Love and the Fear of Love (which is also love) is the debut literary collection by noted artist and author, Norman Douglas. Fables, stories, and tales based on specific words and phrases. Dig in to court procedurals on the meaning of love, the true meaning of trouserdom, and original fables such as The Man, the King, the Girl and the Spider.

A facsimile of the GALA Committee's mock auction catalog for an artistic intervention into the props and plots of Melrose PlaceOriginally published in a limited run in 1998, Primetime Contemporary Art documented In the Name of the Place, a radical two-year intervention by a group of artists, initiated by Mel Chin and known as the GALA Committee, on the primetime television show Melrose Place. This extremely rare artist's book is reproduced for the first time as a facsimile edition.The artists comprising the GALA Committee worked with the producers of Melrose Place to develop a series of political works that were used as props and plot devices across two seasons of the show, providing surreptitious commentary on reproductive rights, HIV/AIDS, the Gulf War, domestic terrorism, corporate malfeasance and substance abuse. Some of these topics were banned by the FCC at the time, and the group's works allowed for the artists and the show to create political commentary that went unnoticed by censors. The artworks they produced were exhibited at the Los Angeles Museum of Contemporary Art in 1997 and then sold at an auction at Sotheby's to support several charities. Primetime Contemporary Art was created by Mel Chin and Helen Nagge as a mock auction catalog documenting the artwork made for the show and the conceptual framework of the GALA Committee.

A collaborative artist's book of musical scores based on Norwegian knitting patternsFor Identity Pitches, artists Cory Arcangel (born 1978) and Stine Janvin (born 1985) have composed conceptual music scores based on the knitting patterns for traditional Norwegian sweaters known as Lusekofte. Utilizing three of the most popular designs (Setesdal, Fana and the eight-petal rose of Selbu) of this ubiquitous garment, Janvin creates scores for both solo and ensemble performers by mapping the knitting patterns onto the harmonic and subharmonic series and integrating the tuning principles of traditional Norwegian instruments. These scores are further manipulated by Arcangel using a custom "deep-fried" coding script to create a series of image glitches.A foreword and an interview between the two artists, both based in Stavanger, Norway, provide context for the work, delving into the history of Norwegian folk music tunings and the Lusekofte sweater and their intersection with the cultural identity of the country over the last millennium.

Cheap, disposable, often with poor audio quality but with great visuals, flexi discs were vinyl's poorer cousin in the pre-digital age. Given away with magazines or sent out by advertisers, they were a splashy way of getting your message heard. Pressed onto laminated card or thin, wobbly plastic, these discs extolled the virtues of washing powders, beers, and banks. This book brings together over 150 of the most remarkable British flexi discs from the 1950s to the early 1990s, chronicling the varied and sometimes bizarre uses of these flimsy records, and the result is a fascinating archive of post-war design and advertising ingenuity. Wobbly Sounds is part of the Four Corners Irregulars, a series about modern British visual culture.

In the revolutionary fervor of 1968, activists beat a path to London's Poster WorkshopFrom 1968 to 1971, anyone could drop in to the basement in Camden Town, London, and commission a poster from the Poster Workshop. In walked workers on strike, tenants associations, civil rights groups and liberation movements from all over the world. Inspired by the Atelier Populaire (protagonists of May '68), the workshop created posters that could be made quickly to respond to what was needed, on a great number of themes: Vietnam, Northern Ireland, South Africa, housing, workers' rights and revolution. The Poster Workshop existed at an exceptional time. It thrived on the energy generated by the belief that huge changes were possible, through movements for equality, civil rights, freedom and revolution. The posters made there show the extraordinary diversity of those who came to the workshop and provide a microcosm of much that was happening nationally and internationally.Including many unseen and previously unpublished screen prints by 1960s activists, this book gives a unique perspective on the key political issues of the 1960s as told through the protest posters of artists and activists.

Social media handles before the internet: a window into a unique subculture that prefigures online identitiesThe late 1970s and early 1980s was the golden age of British Citizens Band (CB) radio. Legal to own but illegal to operate, a CB radio and an antenna could connect you to other users nearby, creating a community for anyone with a rig and a desire to shoot the breeze. Entirely social, separate from the more technical HAM radio scene, CB radio was for everyone.The reach of the average set was only a few miles, but each local area had "breakers," figures who would crossover the conversation into the next area and link ever-expanding social circles.Every breaker had a "handle," a pseudonym they used to identify themselves on air. These alternate identities could be amusing, fantastical, dark or bawdy, but they were always personal. Many breakers took this identity one step further and made business cards to exchange when they met up in person--Eyeball cards. With the Eyeball cards, the alternate identities and communities of the CB radio scene were made physical. This publication, presenting hundreds of the funniest, strangest and most intriguing Eyeball cards from across the UK, is the first to document this unique subculture. The result is a window into an outpouring of creativity that prefigures online identities--social media handles before there was even an internet.

Since its formation in 1987, Critical Art Ensemble has set out to explore the intersections between art, critical theory, technology and political activism. The award-winning group of tactical media practitioners has exhibited and performed in a variety of venues internationally, from the street to the museum to the internet. Disturbances is the first book to assess the group's 25-year history, examining the environmental, political and bio-technological themes of their various initiatives.In the publication, each project is presented by the group itself, from their early live multimedia productions; to their development of models of electronic civil disobedience, digital resistance, and contestational biology and ecology; to their most recent tactical media projects.Disturbances is a landmark handbook for activists in art, theory, science and politics.

A leading figure of the 1970s and 80s downtown New York performance scene, Constance DeJong has channeled time and language as her mediums for the last four decades. The artist's experimental prose, multimedia spoken text works, recitational performance, and digital and media art projects expand the possibilities of narrative form, literary genre and technological interactivity. This reader is the first anthology to collect DeJong's writing to date. Including out-of-print experimental short fiction such as the 2013 publication and performance SpeakChamber, the book also features numerous scripts for performances such as Relatives, a duet between a television and a performer made in collaboration with artist Tony Oursler. Spanning text for disembodied voices emanating from reengineered radios, sound pieces, video works and public art commissions, this anthology gathers DeJong's contributions to language and media art in all their forms.

An experimental novella about the bounds of the self and the many forms of embodied expressionWhere does your body end and the world begin? How do you locate the limit between your self and others? A Rock, A River, A Street follows a young, Black woman who lives at the hazy border between Brooklyn and Queens in the not so distant present. As she rides the subway, walks around her neighborhood, visits the doctor, watches movies, attends dance class and tries to heal her body, we are brought into her conflicted relationship with language, as she recalls formative experiences from her childhood and absorbs the world around her. Acutely conscious of the soft, responsive nature of her physical self, and pushed and pulled by forces she cannot control, the narrator is vulnerable, terrifyingly open. Everything and everyone leaves an impression. Brooklyn-based artist Steffani Jemison (born 1981) moves deftly across narrative genres and styles in this novella, as she interrogates the boundedness of the self, the possibilities of plurality and the limits of performance.