Change the way you see color forever in this dazzling collection of color palettes spanning art history and pop culture, and told in writer and artist Edith Young's accessible, inviting style. From the shades of pink in the blush of Madame de Pompadour's cheeks to Prince's concert costumes, Color Scheme decodes the often overlooked color concepts that can be found in art history and visual culture. Edith Young's forty color palettes and accompanying essays reveal the systems of color that underpin everything we see, allowing original and, at times, even humorous themes to emerge. Color Scheme is the perfect book for anyone interested in learning more about, or rethinking, how we see the world around us.

Published to accompany the exhibition held at the Barbican Art Gallery, London, 26 May - 11 September 2005.

Text by Susan Cross, Daniel Birnbaum, Suzanne Hudson.

"The Whitney Museum of American Art's 2004 Biennial Exhibition brings together 108 artists and collaborative teams ... The catalogue includes thought-provoking essays by the Whitney curators who organized the exhibition ... as well as related texts by writers ... In addition, each artist has contributed an original project to the catalogue, in formats ranging from posters and postcards to zines and bumper stickers" -- wrap. The artists' projects are in an accompanying box.

"Pour ces artistes, la lumière -naturelle et artificielle- est le moyen de poser les questions de la perception, la mémoire, l'énergie et le pouvoir. Influencés par les pionniers de la sculpture de lumière des années 60 et 70, comme Dan Flavin, James Turrell et Bruce Nauman, ces artistes d'une nouvelle génération ont étendu l'utilisation de la lumière comme forme sculpturale pour adresser un large éventail de préoccupations. Le titre de l'exposition se réfère au fait que la lumière électrique sert de matière principale, mais il se réfère aussi aux thèmes liés au concept d'artifice, comme la technologie, la nature, la beauté et le mystère.

"I felt as numb and emotionally exhausted as every other American struggling to make sense of the stunningly brutal murder. My own grieving, however, would have to wait. First Lady Jacqueline Kennedy had asked that I deliver the eulogy for her husband--and my friend." -- Archbishop Philip Hannan Whether parachuting behind enemy lines...jumping into a Secret Service sedan for a White House meeting with JFK...or navigating the swirling flood waters of a hurricane...New Orleans' Archbishop Philip Hannan knew only one way to operate: totally committed and full speed ahead! The embodiment of "The Greatest Generation," Archbishop Hannan's intellect, wit, generosity, and work ethic were unparalleled when fighting for what he believed in: the dangers of fascism, the preservation of the Faith, the inherent, if unforeseen, pitfalls in advising politicians on Church doctrine. Grab a front row seat on this extraordinary man's always fascinating, ever-humbling journey as he makes his mark on the pivotal events of the 20th century--the second World War, the Kennedy presidency, Vatican II, the integration of the South, Hurricane Katrina. Go behind the scenes as Archbishop Philip Hannan--at age 97, still the quintessential priest and American--details the events, pressures, decisions, and emotions of his one-of-a-kind experiences...proving, once again, the impact that one human being can have on history. Read an excerpt here.

In our chaotic world of co-opted imagery, does art still have power? A fog of images and information permeates the world nowadays: from advertising, television, radio, and film to the glut produced by the new economy and the rise of social media . . . where even our friends suddenly seem to be selling us the ultimate product: themselves. Here, Nato Thompson—one of the country’s most celebrated young curators and critics—investigates what this deluge means for those dedicated to socially engaged art and activism. How can anyone find a voice and make change in a world flooded with such pseudo-art? How are we supposed to discern what’s true in the product emanating from the ceaseless machine of consumer capitalism, a machine that appropriates from art history, and now from the methods of grassroots political organizing and even social networking? Thompson’s invigorating answers to those questions highlights the work of some of the most innovative and interesting artists and activists working today, as well as institutions that empower their communities to see power and reimagine it. From cooperative housing to anarchist infoshops to alternative art venues, Seeing Power reveals ways that art today can and does inspire innovation and dramatic transformation . . . perhaps as never before.

More than anything else, the name Jacqueline Bouvier Kennedy Onassis is associated with style. Jackie's style was elegant yet sporty, sophisticated yet casual. Like Audrey Hepburn and Grace Kelly, Jackie came of age during the postwar years, a time of relative affluence when American women had the wherewithal to take style seriously. She was thirty-one when her husband was elected President, becoming the youngest First Lady ever, and she brought a breath of fresh air to the White House. Her style was easy to imitate and accessible to anyone; among the classic items she made popular are the sleeveless A-line shift dress and those famous big dark sunglasses. Key to the enduring popularity of Jackie Style is that it was never static; it evolved over time. In the early 1960s, she favoured prim French suits, white clafskin gloves and pillbox hats; a decade later, her trademarks included black turtlenecks and white jeans, bellbottom trousersuits and maxi coats. When she returned to Manhattan after the death of Onassis, her working woman's uniform as an editor at Doubleday consisted of softly draped trousers and silk blouses by Valentino, in the most exquisite colour combinations. The cle