From James Rosenquist, one of our most iconic pop artists—along with Andy Warhol, Jim Dine, Claes Oldenburg, and Roy Lichtenstein—comes this candid and fascinating memoir. Unlike these artists, Rosenquist often works in three-dimensional forms, with highly dramatic shifts in scale and a far more complex palette, including grisaille and Day-Glo colors. A skilled traditional painter, he avoided the stencils and silk screens of Warhol and Lichtenstein. His vast canvases full of brilliant, surreally juxtaposed images would influence both many of his contemporaries and younger generations, as well as revolutionize twentieth-century painting. Ronsequist writes about growing up in a tight-knit community of Scandinavian farmers in North Dakota and Minnesota in the late 1930s and early 1940s; about his mother, who was not only an amateur painter but, along with his father, a passionate aviator; and about leaving that flat midwestern landscape in 1955 for New York, where he had won a scholarship to the Art Students League. George Grosz, Edwin Dickinson, and Robert Beverly Hale were among his teachers, but his early life was a struggle until he discovered sign painting. He describes days suspended on scaffolding high over Broadway, painting movie or theater billboards, and nights at the Cedar Tavern with Willem de Kooning, Franz Kline, and the poet LeRoi Jones. His first major studio, on Coenties Slip, was in the thick of the new art world. Among his neighbors were Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman, and his mentors Robert Rauschenberg and Jasper Johns. Rosenquist writes about his shows with the dealers Richard Bellamy, Ileana Sonnabend, and Leo Castelli, and about colorful collectors like Robert and Ethel Scull. We learn about the 1971 car crash that left his wife and son in a coma and his own life and work in shambles, his lobbying—along with Rauschenberg—for artists’ rights in Washington D.C., and how he got his work back on track. With his distinct voice, Roseqnuist writes about the ideas behind some of his major paintings, from the startling revelation that led to his first pop painting, Zone, to his masterpiece, F-III, a stunning critique of war and consumerism, to the cosmic reverie of Star Thief. This is James Rosenquist’s story in his own words—captivating and unexpected, a unique look inside the contemporary art world in the company of one of its most important painters.

From James Rosenquist, one of our most iconic pop artists—along with Andy Warhol, Jim Dine, Claes Oldenburg, and Roy Lichtenstein—comes this candid and fascinating memoir. Unlike these artists, Rosenquist often works in three-dimensional forms, with highly dramatic shifts in scale and a far more complex palette, including grisaille and Day-Glo colors. A skilled traditional painter, he avoided the stencils and silk screens of Warhol and Lichtenstein. His vast canvases full of brilliant, surreally juxtaposed images would influence both many of his contemporaries and younger generations, as well as revolutionize twentieth-century painting. Ronsequist writes about growing up in a tight-knit community of Scandinavian farmers in North Dakota and Minnesota in the late 1930s and early 1940s; about his mother, who was not only an amateur painter but, along with his father, a passionate aviator; and about leaving that flat midwestern landscape in 1955 for New York, where he had won a scholarship to the Art Students League. George Grosz, Edwin Dickinson, and Robert Beverly Hale were among his teachers, but his early life was a struggle until he discovered sign painting. He describes days suspended on scaffolding high over Broadway, painting movie or theater billboards, and nights at the Cedar Tavern with Willem de Kooning, Franz Kline, and the poet LeRoi Jones. His first major studio, on Coenties Slip, was in the thick of the new art world. Among his neighbors were Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman, and his mentors Robert Rauschenberg and Jasper Johns. Rosenquist writes about his shows with the dealers Richard Bellamy, Ileana Sonnabend, and Leo Castelli, and about colorful collectors like Robert and Ethel Scull. We learn about the 1971 car crash that left his wife and son in a coma and his own life and work in shambles, his lobbying—along with Rauschenberg—for artists’ rights in Washington D.C., and how he got his work back on track. With his distinct voice, Roseqnuist writes about the ideas behind some of his major paintings, from the startling revelation that led to his first pop painting, Zone, to his masterpiece, F-III, a stunning critique of war and consumerism, to the cosmic reverie of Star Thief. This is James Rosenquist’s story in his own words—captivating and unexpected, a unique look inside the contemporary art world in the company of one of its most important painters.

Tim Tuttle can't hold a candle to John Henry -- not in school, not in sports, not in anything. To make matters worse, John Henry is his younger brother. However, Tim has a wonderful refuge: his friendship with his eccentric great-aunt Winifred. And when his great-aunt teaches him to paint, Tim discovers a world all his own. Tim's newfound talent delights his parents, but it doesn't sit well with John Henry. Until one snowy Christmas Eve, when he hits upon the perfect plan to undermine Tim's glory. John Henry's sinister scheme succeeds beyond his wildest expectations and leads to a harrowing subzero adventure that changes both boys forever. Gripping and moving, Brothers Below Zero demonstrates that Tor Seidler is one of the strongest voices writing today.

My memoir named Transplanted, from 110° F in the Shade to 10° F in the Sun, recounts my experiences as a young doctor of 23 years old who left the South Indian tropical town, Thiruananthapuram, and got dropped into a ten degrees frigid Chicago winter forty-eight hours later. Despite the strange foods I had to adjust to, the strange clothes that I needed to survive the cold, and even the strangeness of the English language (which I had hitherto believed I was well versed in,) I was able to mold my life and likes, and establish myself as a successful pathologist, a dedicated wife, strong yet kind and loving mother and grandmother, and now a Matriarch to an extended family of fifty two in Chicagoland. I can do it attitude, an open mind and willingness to grow, and the vigor with which I faced my challenges made me successful in accepting and assimilating the American heritage for my own. How I contributed to the melting pot of America while becoming part of it, is itself a story worth reading. Anybody displaced from a place of comfort, whether 100 miles or 10,000 miles, anyone seeking guidance to overcome adversities, and anyone interested in "the Immigrant story" will find my book helpful to survive adversity and prosper in a strange land or a strange town.

From the acclaimed author of A Stranger in this World and Into the Great Wide Open comes a novel that explores reckless love and penetrates the unrelenting winter landscape of the American West. Marvin Deernose, a Native American carpenter and recovering alcoholic, has just returned to his Montana hometown with hopes of finding a new start. Early one snowy morning, Marvin notices an overturned Cadillac down an embankment. After rescuing the elderly Senator Henry Neihart, who has just suffered a stroke, Marvin is invited to the Senator's estate where he is immediately drawn to Justine Gallego, the Senator's wayward, unhappily married granddaughter. As these tarnished souls recognize their profound, shared attraction, they dive headlong into a dangerous and intense affair that forever alters the course of their lives.

Paintings by the American pop artist are accompanied by discussions of his life and artistic techniques

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