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Growing up in the Islamic Republic of Iran, the artist Shiva Ahmadi recalls, she knew more about Jackson Pollock than Behzad, the master miniature painter of the Safavid court. Indeed, Ahmadi's distinct painterly style seems to combine the detailed precision of Behzad's hand with the fluid action painting of Pollock. What emerges is part miniature, part abstract expressionism. Shiva Ahmadi was born in Tehran, Iran in 1975 and currently lives and works in Davis, California. She received her BFA from Azad University, Tehran, in 1998; and MFA's from Cranbrook Academy of Arts and Wayne State University.

Established in 1977, Sea Shepherd Conservation Society (SSCS) is an international non-profit, marine wildlife conservation organization. Its mission is to end the destruction of habitat and slaughter of wildlife in the world's oceans in order to conserve and protect ecosystems and species. Sea Shepherd uses innovative direct-action tactics to investigate, document, and take action when necessary to expose and confront illegal activities on the high seas. By safeguarding the biodiversity of our delicately balanced ocean ecosystems, Sea Shepherd works to ensure their survival for future generations. Sea Shepherd Conservation Society was formally incorporated in the United States in 1981 in the state of Oregon. Previous to this, the idea of Sea Shepherd was formed when Captain Paul Watson founded the Earth Force Society in 1977 in Vancouver BC, Canada. The original mandate of both organizations was marine mammal protection and conservation with an immediate goal of shutting down illegal whaling and sealing operations, but Sea Shepherd later expanded its mission to include all marine wildlife. In 1978, with financial support from Cleveland Amory of the Fund for Animals, the Society purchased its first ship (a British sea trawler Westella) and renamed it the Sea Shepherd. Its first mission was to sail to the ice floes of Eastern Canada to interfere with the annual killing of baby harp seals known as whitecoats. In the same year, the Sea Shepherd hunted down and rammed the notorious prolific pirate whaler the Sierra in a Portugal harbor ending its infamous career as the scourge of the seas. Since those early days, Sea Shepherd has embarked on over 200 voyages covering many of the world's oceans and defending and saving defenseless marine life all along the way. This is its story.

Antonio Marras, known as "the most intellectual of Italian stylists", is renowned above all for creating fusions of the worlds in the creative universe, from cinema to poetry to history and visual art. This last is in fact the focus of Nulla dies sine linea. Marras stands at the centre of a poetic universe comprising different languages, oscillating among digressions from one material to another, from one technique to another, from one expressive form to another. The volume presents a series of new and previously seen installations, and hundreds of drawings, sketches, snippets that Marras has created over the years during his innumerable travels. The monograph also includes contributions by poets, musicians, writers, artists, intellectuals and journalists, thereby highlighting just how much Marras considers relations as poetic elements and part of his solitary course.

Art is always a great declaration of love. Through the works of the most important contemporary artists - including Robert Indiana, Tom Wesselmann, Andy Warhol, Tracey Moffatt, Francesco Clemente, Marc Quinn, Gilbert & George, Francesco Vezzoli, and Vanessa Beecroft - and essays by Danilo Eccher, Federico Vercellone, Pierangelo Sequeri, Mattia Fumanti, and Woody Allen, this book deals with one of the universally recognized feelings and source of inquiries and representations, love, telling the different facets and endless variations. A happy love, waiting, misunderstood, hated, ambiguous, transgressive, childish, which winds along an unconventional exhibition, featuring visual and perceptual inputs.

The entire career of the German-born Swiss painter and sculptor, from the 1930s to her late works.

Established in 1949 thanks to the manifold projects Caimi Brevetti has carried out in the sectors of furniture, design and culture, its products are displayed in exhibitions and museums and have enabled the company to play the lead in some prestigious events and important prizes and accolades, including the 21st Compasso d'Oro Award ADI, the International CES Innovations Design and Engeenering Award (U.S.A.), the German Design Award Special Mention and the Trophée de l'Innovation (France)

Over the past twenty years, no other part of the world has undergone as many changes as the Asian and Islamic regions. Since 1997, the London based Asian Art Newspaper has been covering on a monthly basis the world of Asian and Islamic art. Each issue has been featuring an interview with a contemporary artist, providing the reader with the opportunity to discover an artist through his own words and not through the lens of a curator, an art historian or a dealer. The featured illustrations allow the reader to have a clear understanding of what the artist's practice and vision are about whether dealing with painting, sculpture, installation, photography, performance, video, film or music. Contemporary Voices compiles some of these interviews, covering the Asian and Islamic contemporary art scene, including internationally acclaimed as well as emerging artists.

Friedel Dzubas presents the first scholarly monograph on the German-born American artist whose works display a mastery of color, light, and scale. Celebrated for his monumental, luminous color abstractions, Dzubas has nonetheless been marginalized by misclassification. Often grouped with Color Field artists of the mid-to later-twentieth century, this richly illustrated volume asserts the artist¿s singular ties to historical painterly handling and pictorial structure¿from the animating brush work of Titian to the light-filled, narrative frescoes by Giambattista Tiepolo. Even more, Dzubas¿s abiding ambition to express pictorially his sources of spiritual inspiration in religious allegory and landscape mark his achievement as unique among his contemporaries.

The first publication covering the practice of Toronto-based artist Abbas Akhavan, examining a large body of his work over the course of his career.

Written by Lü Peng, this book is both a biography of Zhang Xiaogang¿s fascinating life story and an authoritative insider¿s perspective of his most celebrated works. A luxuriously illustrated narrative, over four decades, it provides an authentic and world-first contextual analysis of Zhang¿s earliest years, family life, art studies, intellectual conflicts, European experiences, and his ¿Bloodline¿ work.

A landmark publication systematically incorporating records from the studio, dealers, auction houses, museums, collectors and any other possible sources to compile by far the most comprehensive record of the artist¿s oeuvre.

An unsurpassed master of post-war Japanese realist photography and a reference for amateur photographers even today. The breadth and diversity of this Renaissance man¿s oeuvre reveals untiring attention to and interest in the culture, art, faces, society, and politics of his country. With over 70,000 pictures taken between the 1920s and the 1980s, Domon Ken is considered the supreme master of Japanese photography as well as the main exponent of realism as the only approach possible. Over the years he honed his craft, shifting from propaganda photography during the war to photography as a life¿s mission, in search of his own Japan: a fascinating and silent Japan of ancient temples, Buddhist sculptures, puppet theatres (where he took refuge during the war); the seductive and expressive faces of celebrities alongside the modest ones of street urchins; up to the poorest Japan of mining villages and finally his most disturbing and modern work portraying Hiroshima and its unhealed wounds

Being a photographer at the time when Santu Mofokeng (b. 1956, Johannesburg) decided to become one was not an unmotivated act. A psychological, moral and sometimes physical war was being fought and South Africa was its arena. Photography could not afford to be an artistic abstraction. It was both a political and intellectual commitment. It was anger, it was revolt. But it remained, in spite of everything, a form of writing and that is how Mofokeng approached it. Not like his country¿s freedom fighters who denounced the iniquity of the ideology behind apartheid, but as the very special witness of a story which, until then, had been suppressed. By photographing his people, the places, the faces and the streets, Mofokeng speaks to us about himself. Because all stories always begin with the person who tells them. And they come back to the teller in the end.