E Pluribus Venom collects a large body of work produced by Shepard Fairey and presented at the Jonathan Levine Gallery during his massive exhibition in the summer of 2007. The title, which translates Out of many, poison is derived from E Pluribus Unum (out of many, one) an early motto adopted by the U.S. Government which appears on U.S. currency. The artists thesis is that many becoming one, or a loss of power and influence of the individual in favor of homogeny is a symptom of a society in decline. The book is comprised of artworks designed to question the symbols and methods of the American machine and American dream and also celebrate those who oppose blind nationalism and war. Some of Faireys works use currency motifs or a Norman Rockwell aesthetic to employ the graphic language of the subjects they critique. Other works use a blend of Art Nouveau, hippie, and revolutionary propaganda styles to celebrate subjects advocating peace.

This title documents the burgeoning eco art movement from A to Z, presenting a panorama of artistic responses to environmental concerns, from Ant Farms anti-consumer antics in the 1970s to Marina Zurkows 2007 animation that anticipates the havoc wreaked upon the planet by global warming.

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.

"EVERYONE SUCKS" by LG Williams has an apocalyptic-looking cover and a title that needs explication. The book is not an aesthetic doomsday scenario, quite the contrary, as the explanation of the title will show. Williams, who is an unemployed surfer in Beverly Hills, completed this artwork in late 2002, and in it, he explains in a logical, well-considered progression why he believes that art is at a final resting point in progressive art history, and that that future art will render humanity as less than what it could be - comfort seeking, self-involved, "men without chests." The book, which could be subtitled "I Love Art and Why You Should Too", builds on LG's idea that there could be further, progressive art. This is what LG is referring to when he says that Art has reached its end; he doesn't mean that nothing else will happen, but that the progression of art history toward a universally beneficial system of brilliant nonsense has culminated in commercial mediocrity and bureaucrats. He defines mediocrity "as a rule of art that does not recognise individual genius or freedoms from forces of control, stupidity, and domination" and he defines those rights in three classes, wrong rights, commercial rights and left rights. But he cautions that Nietzsche believed in war and conflict as a way for humanity to express its passions, and that without conflict in the Jungian sense (LG says that great artist do not attack each other), humans will become soft, meaningless, and passionless. LG does not advocate that artist become "the last artists," even though in this volume, he believes the End of Art is near.

On the many lives and mediums of a postwar Italian artist-adventurer Published on the occasion of her long-deserved retrospective at Muzeum Susch, this book testifies to the singular vision of Italian artist Laura Grisi (1939-2017) within contemporary art history. Born in Greece, educated in Paris and living between New York and Rome, where she died, Grisi spent long periods of her life in Africa, South America and Polynesia. This involvement with non-Western cultures indelibly marked her own search for a cosmic thinking. Although her work is often reduced to Pop art, Grisi always worked within the fundamental motif of the "journey"--from remote locations visited and documented, to the multiplicity of mediums used. Grisi embodied a stateless, nomadic female subject defying the politics of identity, the univocity of representation and the unidirectionality of time. Grisi's work spans from her avant-garde Variable Paintingsof the mid-1960s and her 1970s pioneering environmental installations dealing with fog, wind and rain, to her conceptual photo-works of the 1980s.