A richly illustrated volume—and the first exhibition catalog—of the work of the artist Allison Katz, whose multilayered paintings, ceramics, and posters are both embodied and enigmatic. London-based Canadian artist Allison Katz has been exploring painting’s relationship to questions of identity and expression, selfhood and voice, for more than a decade. Animated by a restless sense of humor, her works articulate what the artist has called a “genuine ambiguity.” Artery—a book that situates itself somewhere between a monograph, exhibition catalog, and an artist’s book—is an exploration of what is within and below, and of the infrastructural arteries that connect all of us. It is published on the occasion of Katz’s first institutional exhibition in the United Kingdom, presented at Nottingham Contemporary (2021) and Camden Art Centre, London (2022). Gathering together essays from Sam Thorne, director of Nottingham Contemporary, and Martin Clark, director of Camden Art Centre, as well as a text by the artist, Artery features 50 full-color image plates of the artist’s work that are supplemented by 150 reference images compiled by Katz herself.

Published on the occasion of her first North American solo exhibition, this monograph is the first to document the work of London-based Canadian painter Allison Katz (born 1980) whose figurative paintings playfully challenge the conventions of Western painting, as well as any notion of style.

Presents projects to perform, using materials commonly found around the house, that enable Smart Art to present logical explanations for the magic and mystery created by Wiz.

This book provides a careful historical analysis of the co-evolution of educational attainment and the wage structure in the United States through the twentieth century. The authors propose that the twentieth century was not only the American Century but also the Human Capital Century. That is, the American educational system is what made America the richest nation in the world. Its educational system had always been less elite than that of most European nations. By 1900 the U.S. had begun to educate its masses at the secondary level, not just in the primary schools that had remarkable success in the nineteenth century. The book argues that technological change, education, and inequality have been involved in a kind of race. During the first eight decades of the twentieth century, the increase of educated workers was higher than the demand for them. This had the effect of boosting income for most people and lowering inequality. However, the reverse has been true since about 1980. This educational slowdown was accompanied by rising inequality. The authors discuss the complex reasons for this, and what might be done to ameliorate it.

"The story of the fascinating and fateful "daughter diplomacy" of Anna Roosevelt, Sarah Churchill, and Kathleen Harriman, three glamorous young women who accompanied their famous fathers to the Yalta Conference with Stalin in the waning days of World War II"--

On paper Steve Katz’s career rivals anyone’s except the 1960s’ and ’70’s biggest stars: the Monterey Pop Festival with the legendary Blues Project, Woodstock with Blood, Sweat & Tears, and even producing rock’s most celebrated speed addict, Lou Reed. There were world tours, and his résumé screams “Hall of Fame” — it won’t be long before BS&T are on that ballot. He has three Grammies (ten nominations), three Downbeat Reader’s Poll Awards, three gold records, one platinum record, and one quadruple platinum platter (the second Blood, Sweat & Tears album), not to mention three gold singles with BS&T. All together, he’s sold close to 29 million records. He had affairs with famous female folk singers, made love to Jim Morrison’s girlfriend Pam when Jim was drunk and abusive, partied with Elizabeth Taylor and Groucho Marx, dined with Rudolf Nureyev, conversed with Martin Luther King, Jr. and Tennessee Williams, hung out with Andy Warhol, jammed with everyone from Mose Allison to Jimi Hendrix, and was told to get a haircut by both Mickey Spillane and Danny Thomas. But his memoir is more Portnoy’s Complaint than the lurid party-with-your-pants-down memoir that has become the norm for rock ’n’ roll books. It’s an honest and personal account of a life at the edge of the spotlight—a privileged vantage point that earned him a bit more objectivity and earnest outrage than a lot of his colleagues, who were too far into the scene to lay any honest witness to it. Set during the Greenwich Village folk/rock scene, the Sixties’ most celebrated venues and concerts, and behind closed doors on international tours and grueling studio sessions, this is the unlikely story of a rock star as nerd, nerd as rock star, a nice Jewish boy who got to sit at the cool kid’s table and score the hot chicks.

There's more to Banksy than the painting on the wall: the first in-depth investigation into the mysteries of the world's most famous living artist. Banksy is the world's most famous living artist, yet no one knows who he is. For more than twenty years, his wryly political and darkly humorous spray paintings have appeared mysteriously on urban walls around the globe, generating headlines and controversy. Art critics disdain him, but the public (and the art market) love him. With this generously illustrated book, artist and critic Carol Diehl is the first author to probe the depths of the Banksy mystery. Through her exploration of his paintings, installations, writings, and Academy Award-nominated film, Exit through the Gift Shop, Diehl proves unequivocally that there's more to Banksy than the painting on the wall. Seeing Banksy as the ultimate provocateur, Diehl investigates the dramas that unfold after his works are discovered, with all of their social, economic, and political implications. She reveals how this trickster rattles the system, whether during his month-long 2013 self-styled New York "residency" or his notorious Dismaland of 2015, a full-scale dystopian "family theme park unsuitable for children" dedicated to the failure of capitalism. Banksy's work, Diehl shows, is a synthesis of conceptual art, social commentary, and political protest, played out not in museums but where it can have the most effect--on the street, in the real world. The questions Banksy raises about the uses of public and private property, the role of the global corporatocracy, the never-ending wars, and the gap between artworks as luxury goods and as vehicles of social expression, have never been more relevant.