Limited Edition Charles D. Jones is an East Texas legend, a Renaissance man by all measures. This newest book from the author of Honey Bucket Charlie and Chopper Blues attests to that talent and artistic brilliance. Here, beautifully printed and housed in an embossed cloth cover is a retrospective of nearly a half-century of Jones's artwork--drawings and sketches, paintings and prints, and woodcuts that range from blues musicians to modern authors, horses to insects, and flora of East Texas. The range of Jones' work is phenomenal; not only have his works hung in prestigious galleries throughout the United States, Europe, and Latin American, but it has graced numerous book covers, promotional items, and cd-jackets. Readers who come to this work will be amazed at the power and energy, the force with which Jones reckons daily.
In this survey, the author looks at the development and use of cylinder seals over 3000 years. She discusses the information that they provide on religion, design and aspects of daily life in the Near East for this period.
"An exploration of historical and contemporary fine art printmaking, with an emphasis on the roles and processes of the artist, master printer, and publisher"--
First Impressions: A Contemporary Retelling of Pride and Prejudice Lawyer Eddi Boswick tries out for a production of Pride and Prejudice in her small Texas town. When she's cast as the lead, Elizabeth Bennet, her romantic co-star is none other than the town's most eligible--and arrogant--bachelor.
In Bad Boy, renowned American artist Eric Fischl has written a penetrating, often searing exploration of his coming of age as an artist, and his search for a fresh narrative style in the highly charged and competitive New York art world in the 1970s and 1980s. With such notorious and controversial paintings as Bad Boy and Sleepwalker, Fischl joined the front ranks of America artists, in a high-octane downtown art scene that included Andy Warhol, David Salle, Julian Schnabel, and others. It was a world of fashion, fame, cocaine and alcohol that for a time threatened to undermine all that Fischl had achieved. In an extraordinarily candid and revealing memoir, Fischl discusses the impact of his dysfunctional family on his art—his mother, an imaginative and tragic woman, was an alcoholic who ultimately took her own life. Following his years as a student at Cal Arts and teaching in Nova Scotia, he describes his early years in New York with the artist April Gornik, just as Wall Street money begins to encroach on the old gallery system and change the economics of the art world. Fischl rebelled against the conceptual and minimalist art that was in fashion at the time to paint compelling portraits of everyday people that captured the unspoken tensions in their lives. Still in his thirties, Eric became the subject of a major Vanity Fair interview, his canvases sold for as much as a million dollars, and The Whitney Museum mounted a major retrospective of his paintings. Bad Boy follows Fischl’s maturation both as an artist and sculptor, and his inevitable fall from grace as a new generation of artists takes center stage, and he is forced to grapple with his legacy and place among museums and collectors. Beautifully written, and as courageously revealing as his most provocative paintings, Bad Boy takes the reader on a roller coaster ride through the passion and politics of the art world as it has rarely been seen before.
