An evening at the art gallery... The clinking of wine glasses... The hopeful thrill of a first date... But someone has murder on their mind! All that Detective Ashley Westgard wanted was a night off—and maybe a little romance later on. But when a body is discovered during an event with dozens of wealthy art collectors in attendance, her fairy tale dream turns into a nightmare for everyone. Now Ash must put her hopes on hold, flash her police badge, and take control of the crime scene... “This is my gallery now!” In the hi-tech world of 2045, where even artists are threatened by the encroaching tide of automation, a self-proclaimed anachronistic group called Movement 24 both asserts and defends the value of human creativity. But along with popular acclaim come the temptations of greed, and now M-24's idealistic quirks risk crossing over into fanaticism. Or... have they already gone too far? While Ash explores this peculiar niche of society to track down a killer, she is also forced to confront some of her own worst flaws. Her heart, her mind, and her instincts all vie for center stage in a battle of conflicting priorities—but can the pursuit of truth and justice coexist with personal ambition and the quest for contentment? An intense, complex, and enigmatic heroine, Ashley Westgard is well on her way to earning a place in the pantheon of famous female sleuths. Here, in his seventh novel, author Philip Wyeth once again delivers a full-immersion experience complete with polished prose, vividly drawn characters, and an imaginative plot. As always, he balances his prescient visions with touches of humor to remain grounded and digestible for readers. With The Incomplete Artist, Wyeth offers more than the average murder mystery through a unique blend of police procedural, fairy tale, science fiction, and psychological elements. At the same time, it is very much a treatise on the philosophy of art, and pays tribute to artists of all stripes who engage in that noble and often lonely struggle to bring their creative visions into the world. This is Book Two of the Ashley Westgard series, but was written as a standalone story. 49,000 words. “If something so terrible could happen here, then maybe no corner of the world was safe from the horrors which were Ash's stock-in-trade...”

A certain idea of the avant-garde posits the possibility of a total rupture with the past. The Unfinished Art of Theater pulls back on this futuristic impulse by showing how theater became a key site for artists on the semiperiphery of capitalism to reconfigure the role of the aesthetic between 1917 and 1934. The book argues that this “unfinished art”—precisely because of its historic weakness as a representative institution in Mexico and Brazil, where the bourgeois stage had not (yet) coalesced—was at the forefront of struggles to redefine the relationship between art and social change. Drawing on extensive archival research, Sarah J. Townsend reveals the importance of projects and texts that belie the rhetoric of rupture and immediacy associated with the avant-garde: ethnographic operas with ties to the recording industry, populist puppet plays, children’s radio programs about the wonders of technology, a philosophical drama about the birth of a new race, and an antifascist spectacle written for (but never performed at) a theater shut down by the police. Ultimately, the book makes the case that the very category of avant-garde art is bound up in the experience of dependency, delay, and the uneven development of capitalism.

The two-volume publication reflects on the Rubin Foundation's art and social justice initiatives over the last six years, including thematic essays, roundtable discussions, and newly commissioned artworks. An Incomplete Archive of Artistic Activism is a publication in two volumes, documenting the Rubin Foundation's art and social justice mission, serving as a critical and educational resource for those interested in activist art practices and philanthropy. One volume highlights the emergence of a cultural shift, addressing art's role in the formation of both community and justice, featuring essays by Andre Lepecki and Lucy Lippard, thematic roundtables with cultural producers, and newly commissioned text-based artwork by Edgar Heap of Birds, Kameelah Janan Rasheed, Dread Scott, and Mierle Laderman Ukeles. The second volume documents exhibitions at The 8th Floor, the Foundation's exhibition and event space, such as In the Power of Your Care, Enacting Stillness, The Intersectional Self, and the exhibition series Revolutionary Cycles, with newly commissioned propositional texts by Mel Chin and Claudia Rankine. This compendium is conceived to be a critical resource for those interested in socially engaged art and includes contributions from leading artists, scholars, critics, and activists.

Travelling through the history of art from the 15th to the 20th century, this book is a survey of works of art by Old and Modern Masters including Van Eyck, Leonardo, Michelangelo, Rubens, David, Manet, Cézanne, Matisse and Mondrian that have remained deliberately or unintentionally unfinished, and that are usually marginalized in traditional art history. They remain incomplete for various reasons: illness or death of the artist; political turmoil forcing him to flee; disagreements with the commissioner or dissatisfaction with the artistic result. However, from the 16th century onwards, artists started to use the non finito as a tool of expression. Unfinished pictures therefore gained a certain reputation in the romantic era, when they were thought to offer the spectator a glimpse of artistic genius. In the 20th century, these paintings were discovered by cubists, expressionists and abstract painters who were fascinated by their rough and incoherent appearance, often unaware of their history.

This groundbreaking book explores the evolving concept of unfinishedness as essential to understanding art movements from the Renaissance to the present day. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cézanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. What unites these works, across centuries and media, is that each one displays some aspect of being unfinished. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory—which can be traced back to the first century—has had on modern and contemporary art. The book investigates the degrees to which instances of incompleteness were accidental or intentional experimental or conceptual. Also included are illuminating interviews with contemporary artists, including Tuymans, Celmins, and Marden, and parallel considerations of the unfinished in literature and film. The result is a multidisciplinary approach and thought-provoking analysis that provide valuable insight into the making, meaning, and critical reception of the unfinished in art.

Richard Thompson is renowned among cartoonists as an "artist's" cartoonist. Little known to all but those close to him is the extent of his art talent. This is the book that will enlighten the rest of us and delight us with the sheer beauty of his work. Divided into six sections, each beginning with an introductory conversation between Thompson and six well-known peers, including Bill Watterson, the book will present Thompson's illustration work, caricatures, and his creation, Richard's Poor Almanack. Each section is highly illustrated, many works in color, most of them large and printed one-to-a-page. The diversity of work will help cast a wider net, well beyond Cul de Sac fans.