Highlighting a selection of artists who eschew the cold, minimalist aesthetic that afflicts contemporary art, this book explores the truly sinister, hyper-real, and riotous blend of pop culture, fine art, and surrealism that is Neo-Gothic art. Associated with punk and dark fantasy, yet distinct from both, these risk-taking artists are represented with a selection of hundreds of amazing paintings from the U.S. and European Neo-Gothic scene. Every painting is captioned in detail, many with explanations of the cutting-edge digital media with which they were created.

The Art Firm explores the seemingly unorthodox alliance of the arts, management, and marketing. Art firms—as avant-garde enterprises and arts corporations—have existed for at least two hundred years, using texts, images, and other types of art to create corporate wealth. This book investigates how to apply the methods artists use in creating value to the methods more traditional managers use in running their businesses. Guillet de Monthoux offers a crash course in aesthetics from Kant to Gadamer, showing how aesthetic management and metaphysical marketing can create value. Using case studies of successful art managers from Richard Wagner to Robert Wilson, the author illustrates the creative role—so central to value-making in contemporary economies—performed by aesthetic play in art firms. Along the way, Guillet de Monthoux points out how responsible aesthetic management and marketing can eradicate the problems of banality and totality, the two capital sins of an art-based economy.

'No More Haunted Dolls: Horror Fiction that Transcends the Tropes' is a multi-author work united by the common theme of critical analysis of the use of horror tropes in literature, film, and even video games. Tackling issues dealing with gender, race, sexuality, social class, religion, politics, disability, and more in horror, the authors are horror scholars hailing from varied backgrounds and areas of specialty. This book may be used as a resource for classes that study horror or simply as entertainment for horror fans; readers will consider diverse perspectives on the tropes themselves as well as their representation in specific works.

About the Book Louis I. Kahn (1901–1974) was one of the most prolific architects of the twentieth century. He taught architecture at Yale University and the University of Pennsylvania. He designed and built public and institutional projects in the United States and abroad. His buildings are treasured by architects, educators, and the public, and have received accolades, national and international recognition, and awards in architecture. Book Description The book traces Kahn’s approach to architectural design through his poetic phrases uttered in class, and it examines these as guidelines to establish a basic road map for architecture. Accompanied by concept sketches and photographs that describe Kahn’s buildings in a personal light, Yetken walks us through buildings and recalls anecdotes, comments, and stories from Kahn’s class and office. The approach to the subject matter is new. It is a fresh look at Louis Kahn. It doesn’t repeat things that have already been written or said. It conveys the dynamism of Kahn in academic and professional practice environments. This book offers a brand-new context for understanding Kahn’s philosophical views, deciphering his poetic musings as they relate to the actual design processes that took place in his class and in his office, in particular, based on the personal involvement of the author with the particular project. This is also an immigrant story—the coming-of-age of a young architect, from modest beginnings in his native Turkey, to a transformative intellectual and professional journey in America, and above all, to a successful career inspired by someone with greatness. Contribution and Readership The book is different from comparable architectural books. It is written in nonacademic, readable, and easily understandable language. It is the only book on the subject that describes how Kahn guided his students and his staff. It explains how he structured his approach, how he described architecture to his students and his coworkers in his office, and how he envisioned the role architects should play in society. The book will be helpful and appealing to a broad potential readership, such as students of architecture, art, and design; teachers of these disciplines; scholars of Louis Kahn and American architecture in general; practicing architects; and anyone interested in the creative design process.