In 1958, artist Joan Miró and critic Yvon Taillandier sat down for an in-depth discussion on Miró's life and work. Their conversation, one of the most illuminating and insightful looks into Miró's philosophy and creative process, was first published in a limited edition of seventy five copies in 1964. Though long out of print, this bilingual "treasure," in the words of Maria Popova, "remains the most direct and comprehensive record of Miró's ideas on art." This beautiful new edition presents an updated English translation of Miró's invaluable text in an elegant and striking package. In addition to Taillandier's original foreword, a new preface by preeminent Miró scholar Robert Lubar provides wider context and insight. An appendix includes the original French text in its entirety. Joan Miró: I Work Like a Gardener brings to life the words and work of one of the most beloved and influential artists of the twentieth century.

A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market and is essential reading for all serious students of animation history. Key Features: Over 200 high quality head shots and film stills to add visual reference to your research Detailed information on hundreds of never-before researched animators and films Coverage of animation from more than 90 countries and every major region of the world Chronological and geographical organization for quick access to the information you’re looking for

A unique look at the work of a great artist as seen through the eyes of a child As might be expected of the son of photographer Lee Miller and writer Roland Penrose, Antony Penrose’s childhood was populated with some of the greatest artists of the twentieth century. Miró’s Magic Animals is a delightful story, chronicling Antony “Tony”’s encounters with the great Spanish artist Joan Miró. Tony introduces Miró as a quiet, kind, and smartly dressed man who “dreamed when he was awake” and painted wonderfully strange worlds filled with magical animals. The book brings Tony’s memories to life with beautiful reproductions of some of Miró’s finest works, as well as evocative archival photography by Lee Miller and specially commissioned artworks in the style of Miró, painted by children. We see the renowned painter from a new perspective, as the slightly eccentric visitor to Tony’s childhood home, during an excursion to Miró’s farm—filled with extraordinary creatures—and on a trip to London Zoo, during which Miró asked to see “large birds, snakes, and strange creatures of the night.” Vibrant design and playful typography make the package as appealing as the story, and round out the feeling that we’re immersed in Tony’s adventure.

This tale of a pot grower in peril is “as cockeyed and riotous as Carl Hiaasen on really good dope” (Kirkus Reviews). Miro Basinas is an experimental botanist who sells his rarefied product to a discerning clientele. Only Miro is not growing heirloom tomatoes or making organic wine—he’s growing weed. And when Miro hits the big time by winning Amsterdam’s famed Cannabis Cup, cannasseurs and ganjaficionados aren’t the only people who want a piece of him and his mind-blowing pot that tastes like mangoes—and Miro is quickly hit with a bullet. A mild-mannered hipster who doesn’t know the first thing about revenge—or even who shot him—Miro is soon on a quest to recover his prize invention and to secure his place as the Floyd Zaiger (creator of the pluot) of weed. It’s a journey packed with a delicious cast of characters, including a string-theory obsessed cop, a kinky paramedic, a Mormon missionary struggling to keep his “sap” under control in a city that is the personification of sex, a half-Irish-half-Salvadoran drug dealer and his dim-witted associates, a cougar starlet, and an entrepreneur who wants to turn his medical marijuana Compassion Centers into the Starbucks of pot. Baked is a hilarious, rip-roaring romp from a talented, utterly original novelist. “Very funny . . . A sweet love story, raunchy sex, outrageous behavior, and a couple of murders.” —The Boston Globe “Murder, mayhem, marijuana and Mormons—what more could you ask for in a crime novel?” —Lisa Lutz, New York Times–bestselling author of The Spellman Files and The Passenger

Joan Miró (1893-1983) drew his creative inspiration for his paintings, sculptures and ceramics from a great array of sources, particularly from natural objects--such as stones, woods, bits of iron, branches, peacock feathers, pebbles or other suggestive forms--which he would collect on his daily walks and arrange in his studio into a unified inspirational universe. In this beautifully produced volume, photographs by Jean-Marie del Moral document the magical and enticing world of Miró's studio. Alongside images of his inspirational objects and intimate arrangements of household things, numerous sculptures, puppets, sketches and other works by the artist are reproduced, with gorgeous color and black-and-white interior shots and portraits of Miró at work and attending a theatrical performance for which he designed the costumes.

The Design Book brings together the best in contemporary design for the home, presenting a huge range of striking new products: tables and chairs, sofas and beds, storage, kitchens and bathrooms, tableware, textiles and surfaces, lighting, electronics and more. Works by the finest international talents, including Shin and Tomoko Azumi, Sebastian Bergne, Ronan and Erwan Bouroullec, Fernando and Humberto Campana, Piet Hein Eek, Jaime Hayon, Thomas Heatherwick, Javier Mariscal and Patricia Urquiola, are featured. In-depth interviews with twelve key designers explore pivotal projects and approaches to design. Web addresses of designers and manufacturers are given for every object, along with full captions and colour illustrations, making every design easy to source.

Taking Joan Miró's notorious declaration of 1927--"I want to assassinate painting"--as its point of departure, this richly illustrated volume is the first to focus on Miró the "anti-painter," identifying the core practices and strategies the artist used to challenge painting between 1927 and 1937. Joan Miró Painting and Anti-Painting 1927-1937 surveys the various material, iconographical and rhetorical forms of Miró's attacks on painting by presenting, in chronological sequence, 12 distinct series of works, beginning with a remarkable group of paintings on unprimed canvas and concluding with Miró's return to Realism in "Still Life with Old Shoe" (1937). Acidic color, grotesque disfigurement, stylistic heterogeneity and the use of resistant, ready-made materials are among the key tactics of aggression that are explored in this extraordinary presentation of the interrelated and oppositional series of paintings, collages, objects and drawings Miró produced during this crucial decade of his long career. This volume integrates close scrutiny of Miró's materials and processes with historical and iconographic analysis, leading to an expanded understanding of the underappreciated aggressiveness of an artist long regarded as Surrealism's most lyrical painter-poet. Joan Miró was born in 1893 in Barcelona. After his first trip to Paris in 1920, and through 1931, Miró generally spent half of each year in the French capitol and half in his native Catalonia, returning to live in France after the outbreak of the Spanish Civil War in 1936. One of the twentieth century's greatest Modern artists, Miró created a pictorial world of intense imaginative power, in which visionary and cosmic elements are inextricably intertwined with the earthly and mundane. He died in 1983 in Palma de Mallorca, Spain.