"Recounts the publication history of nearly fifty books illustrated by Henri Matisse, including Lettres portugaises, Mallarmae's Poaesies, and Matisse's own Jazz. Explores his illustration methods, typographic precepts, literary sensibilities, and opinions about the role of the artist in the publication process"--Provided by publisher.

A twelve-year-old Cubanita finds refuge in punk music in this illustrated tour de force.

The comic book universe is adventurous, mystifying, and filled with heroes, villains, and cosplaying Comic-Con attendees. This book by one of Wired magazine's art directors traverses the graphic world through a collection of pie charts, bar graphs, timelines, scatter plots, and more. Super Graphic offers readers a unique look at the intricate and sometimes contradictory storylines that weave their way through comic books, and shares advice for navigating the pages of some of the most popular, longest-running, and best-loved comics and graphic novels out there. From a colorful breakdown of the DC Comics reader demographic to a witty Venn diagram of superhero comic tropes and a Chris Ware sadness scale, this book charts the most arbitrary and monumental characters, moments, and equipment of the wide world of comics. Plus, this is the fixed format version, which includes high-resolution images.

Scher reveals her thoughts on design practice, drawing on her experiences as a leading designer in the USA. The book includes a survey of Scher's work, from her designs as art director at Columbia Records, to her identity for New York's Public Theater.

“Nature’s quintessential color combination of blue and white never ceases to amaze me. The look of pristine snow against deep blue Aspen skies; spires of blue and white delphinium in a garden; Connecticut’s spring mornings where the apple blossoms and nodding heads of white narcissus are in contrast to soft blue skies and vibrant green grass—these and many more images found in nature have informed my work for the last thirty-five years. From fashion to interiors, and tabletop to gardens, the presence of blue and white is a constant in my past collections as well as throughout my previous eight books. It seems natural that I would eventually do a book on living and designing with this seminal color combination.” —from the Introduction This private tour of the dazzling homes of legendary style-setter Carolyne Roehm showcases her favorite color combination in more than three hundred glorious photographs. From the time designer Carolyne Roehm rented her first small apartment in New York in her twenties, she has loved blue and white. In that one-bedroom flat, she draped the walls, chairs, sofa, and a canopy bed in an inexpensive blue and white sheeting fabric designed by her boss, Oscar de la Renta, and began collecting blue-and-white porcelain from around the world—initially bargain reproductions and eventually museum-quality pieces—from China, Japan, Portugal, the Netherlands, and elsewhere. Today, Carolyne Roehm presides over a magnificent duplex in Manhattan, an antique-filled stone house in Connecticut, and a chic yet rustic home in Aspen, all of which contain rooms decorated in blue and white, featuring accents from her collections of china, ceramics, glassware, linens, furniture, and decorative pieces. These rooms employ the whole spectrum of blues, from delicate sky to the deepest, boldest navy, evoking moods ranging from tranquil to vibrant. In A Passion for Blue and White, Carolyne Roehm takes us inside her homes (including her former pied-à-terre in Paris) in never-before-seen photographs of these stunning rooms. She also reveals how she has used blue and white to magnificent effect outdoors in Connecticut around her pool and in her gardens—and even how she used the combination in designing a wedding for a friend. She provides inspiration for tabletop design, flower arranging, and gift-wrapping, suitable for all budgets. Her ceramic, textile, and glass collections (endless sources of her creativity) can be emulated by anyone with trips to flea markets, thrift shops, and inexpensive import stores as well as antique stores and galleries. A swatch of French fabric began Carolyne Roehm’s lifetime love affair with blue and white. In this book, she demonstrates through her own decorating and designs, how this combination works its magic on everything from upholstery and drapes to napkins and tablecloths, wrapping paper and ribbons. For anyone with a passion for blue and white, here is the ultimate style guide and Carolyne Roehm’s most gorgeous book yet.

Staging Christ’s Passion in Eighteenth-Century Nahua Mexico explores the Passion plays performed in Nahuatl (Aztec) by Indigenous Mexicans living under Spanish colonial occupation. Though sourced from European writings and devotional practices that emphasized the suffering of Christ and his mother, this Nahuatl theatrical tradition grounded the Passion story in the Indigenous corporate community. Passion plays had courted controversy in Europe since their twelfth-century origin, but in New Spain they faced Catholic authorities who questioned the spiritual and intellectual capacity of Indigenous people and, in the eighteenth century, sought to suppress these performances. Six surviving eighteenth-century scripts, variants of an original play possibly composed early in the seventeenth century, reveal how Nahuas passed along this model text while modifying it with new dialogue, characters, and stage techniques. Louise M. Burkhart explores the way Nahuas merged the Passion story with their language, cultural constructs, social norms, and religious practices while also responding to surveillance by Catholic churchmen. Analytical chapters trace significant themes through the six plays and key these to a composite play in English included in the volume. A cast with over fifty distinct roles acted out events extending from Palm Sunday to Christ’s death on the cross. One actor became a localized embodiment of Jesus through a process of investiture and mimesis that carried aspects of pre-Columbian materialized divinity into the later colonial period. The play told afar richer version of the Passion story than what later colonial Nahuas typically learned from their priests or catechists. And by assimilating Jesus to an Indigenous, or macehualli, identity, the players enacted a protest against colonial rule. The situation in eighteenth-century New Spain presents both a unique confrontation between Indigenous communities and Enlightenment era religious reformers and a new chapter in an age-old power game between popular practice and religious orthodoxy. By focusing on how Nahuas localized the universalizing narrative of Christ’s Passion, Staging Christ’s Passion in Eighteenth-Century Nahua Mexico offers an unusually in-depth view of religious life under colonial rule. Burkhart’s accompanying website also makes available transcriptions and translations of the six Nahuatl-language plays, four Spanish-language plays composed in response to the suppression of the Nahuatl practice, and related documentation, providing a valuable resource for anyone interested in consulting the original material. Comments restricted to single page plays composed in response to the suppression of the Nahuatl practice, and related documentation, providing a valuable resource for anyone interested in consulting the original material

Investigates the cultural value of film violence. Passionate Detachments investigates the rise of graphic violence in American films of the late 1960s and early 1970s and the popular aesthetics and critical responses this violence inspired. Amy Rust examines four technologies adopted by commercial American cinema after the fall of the Hollywood Production Code: multiple-camera montage, squibs (small explosive devices) and artificial blood, freeze-frames, and zooms. Approaching these technologies as figures, as opposed to mere tools, Rust traces the encounters they mediate between perception (what one sees, hears, and feels) and representation (how those sights, sounds, and feelings make meaning). These technologies, she argues, lend shape to film violence while organizing viewers’ on- and off-screen relationships to it. The result proves meaningful for an era self-consciously and perilously preoccupied with bloodshed. The post-Code period found Americans across the political spectrum demanding visual—and increasingly violent—demonstrations of presumably “authentic” realities. Corroborating fantasies of authenticity from military to counterculture, these technologies challenge them as well, pointing, however unwittingly, to the violently classed, gendered, and racialized blind spots such fantasies harbor. More broadly, the technologies answer concerns that films control violence too much or too little. Offering neither mere discoursenor mere thrills, they recover sense and sensation for all, not some, or even most, depictions of bloodshed. As figures, the devices also remediate vision and violence for film theory, which exhibits distrust for each in spite of the complexities phenomenology and psychoanalysis have brought to cinematic perception and pleasure.