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A Minimalist sculpture becomes a greenhouse. The High Line is a 1.45mile stretch of disused elevated freight tracks on Manhattan’s West Side that was converted into a park between 2006 and 2014. In 2015, the American artist Rashid Johnson (b. Chicago, Ill., 1977; lives and works in New York, N.Y.) installed a publicly accessible sculpture on the tracks. Commissioned by the High Line Art program, it consisted of a shelflike black metal construction that housed a number of bright yellow busts. Blocks presents comprehensive photographic documentation of the eponymous work’s evolving interaction with the lush vegetation into which it intervened. Over the course of the full year for which the sculpture stood on the site, plants of different species grew through its grid structure, lending it a forever changing aspect as the seasons passed. The pictures illustrate the poetic quality of the timelimited relationship between a manmade construction and nature, touching on themes such as optimism, failure, regeneration, and desolation. A conversation between Cecilia Alemani, chief curator of High Line Art, and Rashid Johnson sheds light on the genesis of Blocks and the artist’s approach to making work for public settings.

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Message to Our Folks is the most comprehensive documentation of New York-based artist Rashid Johnson's work to date. Johnson (born 1977) explores the complexities and contradictions of black identity in the United States, incorporating commonplace objects from his childhood in a process he describes as "hijacking the domestic," and transforming materials such as wood, mirrors, tiles, rugs, CB radios, shea butter and plants into conceptually loaded and visually compelling works that shatter assumptions about the homogeneity of black subjecthood. Published in the new MCA Monographs series, Message to Our Folks accompanies the artist's first major solo museum exhibition and features essays by curator Julie Rodrigues Widholm, novelist and critic Touré and art historian Ian Bourland and an excerpt from Paul Beatty's trenchant and comic coming-of-age novel, The White Boy Shuffle.

Since 2001, Rashid Johnson (born 1977) has risen to international attention with his powerfully visual statements on contemporary culture. Working across painting, photography, sculpture, installation, video and performance, the artist has charted a trajectory that offers fresh readings of art history, social history, psychology and literature.Rashid Johnson: New Work follows the making of the artist’s largest work to date: an immersive, living eco-system where fact, fiction, history and mythology converge. Described by the artist as a “brain” that prioritizes poetic rather than logical reason, the work offers unexpected associations between objects, video and sound, that have become untethered from their cultural roots, to provide nuanced readings on clichés of class, nation and race.The first book to follow the development of Johnson’s sculptural and installation works, Rashid Johnson: New Work includes an interview with the artist by Kate Fowle and an extensive essay, also by Fowle, which investigates Johnson’s influences and references.The New Work series examines in depth the making of a large-scale work, focusing on methods of research and production to provide new perspectives on the practice of a mid-career or established artist whose work resonates across cultures.

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Universally accessible and employing common visual tropes such as the monochrome and the grid, Johnson's work is also self-referential, making specific allusion to his upbringing in Chicago and the Afro-centric values of his parents. In Rashid Johnson: Anxious Men, the artist creates a site-specific installation in the Drawing Room gallery. The core of the exhibition is a new series of black-soap-and-wax-on-tile portraits that Johnson calls his “anxious men.” Executed by digging into a waxy surface, they enact a kind of drawing through erasure and represent the first time Johnson has worked figuratively outside of photography or film, and on such a small scale. Whereas Johnson’s previous work has taken a more cerebral approach to questions of race and political identity, the drawn portraits confront the viewer with a visceral immediacy. The portraits are set within a multi-sensory environment that includes wallpaper featuring a photograph of the artist’s father from the year Johnson was born, and an audio sound track comprised of Melvin Van Peebles’s “Love, That’s America,” a song that originally appeared in Peebles’s 1970 film Watermelon Man and that was recently pressed into service by the Occupy Wall Street movement. In this way, the exhibition, documented in this volume, creates an immersive space that implicates not only the artist but also the viewer in its interrogation of selfhood and identity.

Universally accessible and employing common visual tropes such as the monochrome and the grid, Johnson's work is also self-referential, making specific allusion to his upbringing in Chicago and the Afro-centric values of his parents. In Rashid Johnson: Anxious Men, the artist creates a site-specific installation in the Drawing Room gallery. The core of the exhibition is a new series of black-soap-and-wax-on-tile portraits that Johnson calls his “anxious men.” Executed by digging into a waxy surface, they enact a kind of drawing through erasure and represent the first time Johnson has worked figuratively outside of photography or film, and on such a small scale. Whereas Johnson’s previous work has taken a more cerebral approach to questions of race and political identity, the drawn portraits confront the viewer with a visceral immediacy. The portraits are set within a multi-sensory environment that includes wallpaper featuring a photograph of the artist’s father from the year Johnson was born, and an audio sound track comprised of Melvin Van Peebles’s “Love, That’s America,” a song that originally appeared in Peebles’s 1970 film Watermelon Man and that was recently pressed into service by the Occupy Wall Street movement. In this way, the exhibition, documented in this volume, creates an immersive space that implicates not only the artist but also the viewer in its interrogation of selfhood and identity.

Message to Our Folks is the most comprehensive documentation of New York-based artist Rashid Johnson's work to date. Johnson (born 1977) explores the complexities and contradictions of black identity in the United States, incorporating commonplace objects from his childhood in a process he describes as "hijacking the domestic," and transforming materials such as wood, mirrors, tiles, rugs, CB radios, shea butter and plants into conceptually loaded and visually compelling works that shatter assumptions about the homogeneity of black subjecthood. Published in the new MCA Monographs series, Message to Our Folks accompanies the artist's first major solo museum exhibition and features essays by curator Julie Rodrigues Widholm, novelist and critic Touré and art historian Ian Bourland and an excerpt from Paul Beatty's trenchant and comic coming-of-age novel, The White Boy Shuffle.

Karim Rashid is the bestknown and most prolific young designer practicing in America today. On the brink of household-name celebrity, he has fast become a superstar among design aficionados by revolutionizing the visual standards of minimalist design with his fresh, colorful, sinuous, and sensual objects. His work is in the collections of museums worldwide, including The Musemu of Modern Art, New York, the San Francisco Museum of Modern Art and The Montreal Museum of Decorative Arts. This book is the first comprehensive survey of Rashid's designs, his products and the philosophy behind them. Edited and designed in close collaboration with Rashid and including a stellar list of contributors from the design community contributors this book is sure to be the reference source for years to come.

ALL SALES FINAL. Title: Cimas Profundas II Artist name: Rashid Diab Limited edition of: 75 Year: 1997 Signed and numbered by the artist Screenprint on Canvas Unframed SPECIFICATIONS 21.3'' x 28.7'' Please note: This item will take 2-3 weeks to ship after the order is placed. Kids - Home And Gifts > Saks Off 5th. Rashid Diab.

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Karim Rashid is redesigning the world we live in one design at a time - or, perhaps more accurately, thousands of objects at a time. As one of the most prolific designers of his generation, Rashid is largely credited with bringing design to the masses. His bestselling 'Oh Chair' and 'Garbo' rubbish bin brought the supple curves and bright colours of high design into millions of living rooms and offices around the world. In this book, Rashid explains his varied approach to design (and life) through evocative, thought-provoking essays and lush, full-colour treatments of his latest designs. This book illustrates how Rashid has helped popularize design and made it accessible to a wider audience. From fragrance bottles to cyber-couture fashion, his designs embrace the present and look forward to the future, imagining how design can make life better, easier and more enjoyable. Comfort and pleasure are part of the consumer experience and Rashid relishes his responsibility to satisfy these needs. The products contained within are all new designs and are represented through photographs, drawings and photo-realistic renderings showing the final products, many published for the first time in book form. The photographs are often paired with never-before-seen sketches from the designer's personal sketchbooks and illuminate Rashid's design process.

A Minimalist sculpture becomes a greenhouse. The High Line is a 1.45mile stretch of disused elevated freight tracks on Manhattan’s West Side that was converted into a park between 2006 and 2014. In 2015, the American artist Rashid Johnson (b. Chicago, Ill., 1977; lives and works in New York, N.Y.) installed a publicly accessible sculpture on the tracks. Commissioned by the High Line Art program, it consisted of a shelflike black metal construction that housed a number of bright yellow busts. Blocks presents comprehensive photographic documentation of the eponymous work’s evolving interaction with the lush vegetation into which it intervened. Over the course of the full year for which the sculpture stood on the site, plants of different species grew through its grid structure, lending it a forever changing aspect as the seasons passed. The pictures illustrate the poetic quality of the timelimited relationship between a manmade construction and nature, touching on themes such as optimism, failure, regeneration, and desolation. A conversation between Cecilia Alemani, chief curator of High Line Art, and Rashid Johnson sheds light on the genesis of Blocks and the artist’s approach to making work for public settings.

In this New York Times bestseller with over 1M copies sold, a Muslim detective struggling with sobriety and the violence of his job on the Indianapolis force must solve the murder of his teenage niece. Ash Rashid is a former homicide detective who can't stand the thought of handling another death investigation. In another year, he'll be out of the Indianapolis Metropolitan Police Department completely. That's the plan, at least, until his niece's body is found in the guest home of one of his city's most wealthy citizens. The coroner calls it an overdose, but the case doesn't add up. Against orders, Ash launches an investigation to find his niece's murderer, but the longer he searches, the more entangled he becomes in a case that hits increasingly close to home. If he doesn't solve it fast, his niece won't be the only family member he has to bury.

Inscribed by Basil Gray. viii, 192 pages, [2] leaves of plates : facsimiles ; 29 cm + microfiche (2 sheets : colour ; 11 x 15 cm) in pocket. Contents: The painters The ethnic and racial types The costumes Related manuscripts The illustrations, with descriptions Notes: The illustrations are from Rashid al-Din Tabib's Collection of chronicles, reproduced from Edinburgh University Library's Ms. Arab 20

Color frontis. 36 full-pages black-and-white plates. 40 pages, thin 4to, cloth, d.w. London: Faber & Faber, (1978). A fine copy in very good(+) dust wrapper.

A symbol of the fabled Orient, Harun al Rashid, the caliph portrayed in The Thousand and One Nights, where we see him living grandly his palace in Baghdad, surrounded by his wives, his concubines, musicians, and learned men, is not merely a figure of legend. He was the son of a Yemenite slave who cleared his path to power, very probably by poisoning the reigning caliph, her older son. Harun reigned for a quarter-century, and was the most famous caliph of the Abbasid dynasty.Through Arab chronicles, the author corrects our vision of Harun the Good', and gives a remarkable account of his development as a ruler. Though in Western countries he is remembered for the presents he sent to Charlemagne–notably the famous elephant, Abul Abbas–he was first and foremost a successful soldier who made war on the Byzantines. His empire was shaken by religious and social insurrections, and he did not shrink from annihilating the Barmecides, a powerful family whose wealth and influence he finally found unbearable. As a patron of pets and intellectuals, Harun contributed greatly to the cultural supremacy of Baghdad, whose merchants and navigators spread the name of the caliph throughout the world.

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