What does it take to win success and influence? Some people think that in today’s hyper-competitive world, it’s the tough, take-no-prisoners type who comes out on top. But in reality, argues New York Times bestselling author Dave Kerpen, it’s actually those with the best people skills who win the day. Those who build the right relationships. Those who truly understand and connect with their colleagues, their customers, their partners. Those who can teach, lead, and inspire. In a world where we are constantly connected, and social media has become the primary way we communicate, the key to getting ahead is being the person others like, respect, and trust. Because no matter who you are or what profession you're in, success is contingent less on what you can do for yourself, but on what other people are willing to do for you. Here, through 53 bite-sized, easy-to-execute, and often counterintuitive tips, you’ll learn to master the 11 People Skills that will get you more of what you want at work, at home, and in life. For example, you’ll learn: · The single most important question you can ever ask to win attention in a meeting · The one simple key to networking that nobody talks about · How to remain top of mind for thousands of people, everyday · Why it usually pays to be the one to give the bad news · How to blow off the right people · And why, when in doubt, buy him a Bonsai A book best described as “How to Win Friends and Influence People for today’s world,” The Art of People shows how to charm and win over anyone to be more successful at work and outside of it.

"Savor this book. Savor this writer." - from the introduction by Josh Malerman, author of Bird Box From Hollywood film studios to high-security psychiatric facilities, there is an art to being a horrible person. Splatterpunk legend John Skipp turns the mirror back on ourselves, showing us all the ways that make us the worst monsters of all. A decade in the making, The Art of Horrible People collects John Skipp's most horrific, hilarious, and starkly honest short stories, raising horror fiction to gleefully deranged new heights.

In this companion volume to Wall and Piece, Banksy’s manager, Steve Lazarides, known for his eye for subversive, intelligent, attention-grabbing artists, has gathered together the best of them to create a collection of Outsider art. An essay by Damien Hirst will be included.

An inspiring collection of the extraordinary private spaces of 250 of the world's most creative people, past and present

My Art, My people The first Assyrian art book published by a native Assyrian artist; My Art, My People is a collection of paintings spanning the last 25 years. My journey began while living under oppression in Iraq. The long five years I served in the army during the Iraq-Iran war, the departure from my homeland to the west, and the struggle we endured building a new life in the United States. My work is a reflection of my people, the sanctions against Iraq, the invasion of my homeland, and the daily attacks against the Christian minorities. They faced the bombing of our churches, a century-long diaspora, and most recently the invasion of the radical Islamic groups like Isis leading to the desecration of Nineveh and Khabour. It's hard to believe all these events happened over such a short period of time. This has not been a nightmare, rather a hard reality of oppression and terror for over a hundred years. We are from a land where the majority considers us infidels, which has justified the countless times our lands and homes have been stripped away. I narrate the genocide against my people using colors and a canvas. But I also illustrate our homeland Mesopotamia, our culture, and our love for peace and freedom.

A brief intellectual history of the idea of the art public. The Art Public explores the history of efforts to imagine a collective, general audience for art in the world. Oskar Bätschmann explores both written and pictorial evidence of the development of the “art public” as an idea and disentangles connections between art production, audiences, and actual reception. Two aspects shape the narrative: the transformation of the audience from passive recipient to active agent as well as satirical jabs at audiences by the likes of Cruikshank, Rowlandson, and Daumier. This sweeping account connects the ancient Greeks with Renaissance painters, modern writers, and contemporary movie stars in a deft survey of the ways we imagine art’s immediate impact on audiences and its afterlives in museums, galleries, and the world.