The book examines how major artists over the last five centuries have approached wallpaper design. From Durer, who conceived his designs as seriously as he did a fine woodcut, to William Morris, who believed that wallpaper, like all good design, should transform our lives, to Andy Warhol, whose fascination with multiple images inspired brilliant parodies of the wallpaper tradition, the artists represented here reveal the rich complexity inherent in the art of pattern and form that constitutes wallpaper design.

"Wear poetry as both perfume and armor." In Turning to Wallpaper, lush, elegant language contrasts with the disturbing and at times gruesome imagery to create a collection that knows exactly how to haunt the reader. Wong’s words and artistry are vibrant with color, richly textured, defiant, and unapologetic in their boldness. Her speaker undertakes a spiritual journey of remembrance that transcends body, tradition, and even nation in the pursuit of authentic art—art that is constructed using radical acceptance of the past as a means to leave it all behind. This is a story where no wounds are softened or left unconfronted. Unconcerned with conventional beauty, it is undeniably beautiful.

Inherently ephemeral and often overlooked, wallpaper had by the late twentieth century become a bit of a joke in the decorative arts, a cliché with connotations of kitsch. But over the past decade or so, a number of contemporary avant-garde artists have created installations with backdrops of specially designed wallpaper to explore themes such as warfare, racism, gender, and sexuality. Published to accompany exhibitions at the Whitworth Art Gallery in Manchester and the Victoria and Albert Museum in London, The Walls Are Talking situates these unique creations alongside antique papers and explains how the latter have been adapted and subverted to convey meanings wildly different from what their original designers intended. Featured are wallpaper designs from more than thirty internationally renowned artists, including Damien Hirst, Sonia Boyce, Thomas Demand, Robert Gober, Abigail Lane, Francesco Simeti, and Niki de St. Phalle.

"""The Yellow Wallpaper"" is a short story by American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine.[1] It is regarded as an important early work of American feminist literature, due to its illustration of the attitudes towards mental and physical health of women in the 19th century.Narrated in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer. Forgoing other rooms in the house, the couple moves into the upstairs nursery. As a form of treatment, the unnamed woman is forbidden from working, and is encouraged to eat well and get plenty of air, so she can recuperate from what he calls a ""temporary nervous depression - a slight hysterical tendency"", a diagnosis common to women during that period"

"Books are the best medium for many artists working today," Sol LeWitt (1928-2007) once declared. A pioneer of artist's books, and co-founder of New York's Printed Matter bookstore in 1976, LeWitt is closely identified with the book as an art form. Starting with 1967's Serial Project No. 1 (from Aspen magazine), and closing with Chicago (Morning Star Publications, 2002), this book reproduces covers and spreads from Sol LeWitt's massive oeuvre of artist's books, almost all of which are now rarities. As artist's book historian Clive Phillpot notes, "the principle attribute of LeWitt's books is one common to all books: a dependence upon sequence, whether of families of marks or objects, or of single or permuted series which have clear beginnings and endings." Critical observations from LeWitt himself and a variety of scholars make this volume the most sustained treatment of LeWitt's prolific activity in this area to date.

"In addition to a text by the curator, the volume contains essays by scholars, theorists and artists that take a historical, critical, philosophical and sociological look at the theme of multiplication in art through a variety of languages and media: magazines, books, radio, film, design, fashion, performance and editions of artists' originals and multiples, over a period that stretches from the historical Avant-Garde to the 1970s"--Page [11].

An accessible guide to understanding and using Spoonflower to design your own fabric, wallpaper, and gift wrap. Designing fabric, wallpaper, and gift wrap used to be the stuff of dreams. Only a few select creatives got to do it, and it required formal training and significant financial investment. But times have changed, and today anyone with a computer, Internet connection, and idea can upload a file and order their own fabric or paper, printed affordably one yard or more at a time. At the forefront of this revolutionary DIY movement is Spoonflower, a North Carolina startup that produces designs for hundreds of thousands of users worldwide—twenty-four hours a day/seven days a week to keep up with demand. With step-by-step tutorials and projects that span a wide spectrum of skills, The Spoonflower Handbook is written for both new and experienced users of this print-on-demand technology. Covering everything from equipment to software to working with photos, scans, repeats, vector files, and more, it is an essential guide to a booming new creative outlet.