This second volume, following on the success of the previously published, Art Glass from Murano, also by the author, looks more deeply into the major movements and developments in the production of high quality art glass on the Venetian island of Murano in the 20th Century Over 100 of the finest examples of the glassmakers' art, all recently exhibited in Ghent, Belgium make up this important addition to the documentation of the work of the major firms and designers active in Murano between 1910 and 1970.

"Lichtenstein, who devoted himself seriously to printmaking earlier than any other major artist of his generation (he made his first two prints in 1948 - a lithograph and a woodcut - and by 1950 had added etching and screenprint to his repertoire), is widely acknowledged as one of the most important printmakers of our time. Printmaking often provides him with an arena in which he is at his most experimental, apt to try something new, especially with materials." "The Prints of Roy Lichtenstein catalogues and reproduces each of the artist's prints, as well as original posters, book and magazine illustrations, announcements, etc., 350 in all. Every work that is color in the original is reproduced in color. The volume's reference value is enhanced by a Chronology, Exhibition History, Bibliography, Concordances, and Index."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

What induced the British to adopt foreign coffee-drinking customs in the seventeenth century? Why did an entirely new social institution, the coffeehouse, emerge as the primary place for consumption of this new drink? In this lively book, Brian Cowan locates the answers to these questions in the particularly British combination of curiosity, commerce, and civil society. Cowan provides the definitive account of the origins of coffee drinking and coffeehouse society, and in so doing he reshapes our understanding of the commercial and consumer revolutions in Britain during the long Stuart century. Britain’s virtuosi, gentlemanly patrons of the arts and sciences, were profoundly interested in things strange and exotic. Cowan explores how such virtuosi spurred initial consumer interest in coffee and invented the social template for the first coffeehouses. As the coffeehouse evolved, rising to take a central role in British commercial and civil society, the virtuosi were also transformed by their own invention.

The first monograph on the acclaimed American environmental artist Lita Albuquerque, whose works belong to the Land Art generation, alongside James Turrell, Christo, Robert Smithson, and others. Known internationally for her temporary and ephemeral installations, paintings, and sculptures, Lita Albuquerque uses the most unusual and challenging of Earth’s surfaces as a canvas: Antarctica, the Arctic, Death Valley, the Mojave Desert, and South Dakota’s Badlands. She "paints" with a variety of mediums, including brightly clad humans or fabricated spheres, which form patterns over vast, wide-open spaces. This beautifully designed survey of her career highlights Stellar Axis, for which Albuquerque led an expedition to the South Pole to create the first installment of a groundbreaking global project. In addition to essays placing the artist’s works in the broader contexts of environmental art and science, Albuquerque provides personal reflections on her life’s work.

Widely praised for its balanced treatment of computer ethics, Ethics for the Information Age offers a modern presentation of the moral controversies surrounding information technology. Topics such as privacy and intellectual property are explored through multiple ethical theories, encouraging readers to think critically about these issues and to make their own ethical decisions.

Brian Calvin's disarmingly low-key paintings explore a world populated with androgynous bohemians, skinnies in groups and trippy teenage characters coolly detached and aimlessly gazing out from a sundrenched, Southern Californian backdrop. Something of a celebration of slackerdom, they also reveal the artist's keen powers of observation, rigorous approach to his craft and attention to the formal dimensions of his medium. Calvin's highly stylized figures, flattened pallet and skewed cropping, have earned him comparison with Alex Katz and David Hockney, who he appears to be at once emulating and parodying, while simultaneously referencing music and pop-culture icons. Despite the presence of his cartoon-ish protagonists, the paintings utterly resonate with the principles of abstraction; figures stand as vessels for unplaceable narratives, ones which only unveil themselves through fragments and uncanny reflections. The first comprehensively illustrated monograph of the Californian painter's practice, Brian Calvin is a beautifully illustrated publication spanning over a decade of work and comprising interviews and specially commissioned text, placing the artist's work in a broad art and popular culture context. Calvin's work has been shown in numerous solo exhibitions in U.S. and European galleries, and has been included in group shows such as the California Biennial, Orange County Museum of Art, Newport Beach, Beja to Vancouver, Seattle Art Museum, Seattle, WA (2003); Painting Pictures, Painting and Media in the Digital Age, Kunstmuseum Wolfsburg, Germany; ISHTAR curated by Bruce Hainley, Midway, St. Paul, MN; Giverny, Salon 94, New York, NY; Dear Painter, paint me..., Centre Pompidou, Paris, France. He also recently collaborated with his longtime friend, Raf Simons, lending the Californian ease of his works to the Belgian designer's Spring/Summer 13 collection.