Lost In Space The Art Of Juan Ortiz

Juan Ortiz turns his unique eye for poster design to the classic sci-fi series Lost In Space. Each episode is lovingly reimagined as a visually striking poster, creating a one of a kind collection to accompany one of the most influential and celebrated sci-fi series of all time. Each poster has a different aesthetic, taking inspiration from 60s movie posters, comic books, pulp novel covers and blacklight posters.

Following on from Juan Ortiz’s fabulous Original Series movie-poster collection, this latest treat for art-loving Trek fans features 178 posters that capture the essence of The Next Generation. Inspired by indie-film and black-light posters, comics and rock/punk culture and showcasing Ortiz’s unique creative vision, this new instalment of original Trek art is sure to delight fans worldwide.

Since 1985, Juan has been an illustrator/designer for Disney and Warner Bros. and has penciled covers for DC Comics’ Looney Tunes and Tiny Toons magazines. He is also the publisher of his own comic book series, Silver Comics, seen in the Disney/Dreamworks release I Am Number Four (produced by Steven Spielberg) as well as The Skull Army, a macabre/detective pulp, featuring his creation (named)The End.

This is the long awaited paperback edition of the pictorial memoir by the two youngest stars of the iconic TV Classic "Lost in Space." The book was written in time for the 50th anniversary of the show and the release of the Blu Ray remastered episodes. This authorized book has over 200 never before behind the scenes images. The popularity of the premium version proved that the fans of this show will continue to keep it alive in the hearts of generations to come.

Ten grids that changed the world: the emergence and evolution of the most prominent visual structure in Western culture. Emblematic of modernity, the grid is the underlying form of everything from skyscrapers and office cubicles to paintings by Mondrian and a piece of computer code. And yet, as Hannah Higgins makes clear in this engaging and evocative book, the grid has a history that long predates modernity; it is the most prominent visual structure in Western culture. In The Grid Book, Higgins examines the history of ten grids that changed the world: the brick, the tablet, the gridiron city plan, the map, musical notation, the ledger, the screen, moveable type, the manufactured box, and the net. Charting the evolution of each grid, from the Paleolithic brick of ancient Mesopotamia through the virtual connections of the Internet, Higgins demonstrates that once a grid is invented, it may bend, crumble, or shatter, but its organizing principle never disappears. The appearance of each grid was a watershed event. Brick, tablet, and city gridiron made possible sturdy housing, the standardization of language, and urban development. Maps, musical notation, financial ledgers, and moveable type promoted the organization of space, music, and time, international trade, and mass literacy. The screen of perspective painting heralded the science of the modern period, classical mechanics, and the screen arts, while the standardization of space made possible by the manufactured box suggested the purified box forms of industrial architecture and visual art. The net, the most ancient grid, made its first appearance in Stone Age Finland; today, the loose but clearly articulated networks of the World Wide Web suggest that we are in the middle of an emergent grid that is reshaping the world, as grids do, in its image.

To coincide with the 50th anniversary of the original Star Trek TV series, CBS Consumer Products have commissioned a series of art pieces to celebrate moments, characters, storylines and episodes from the franchise. Artists from around the world as well as famous fans have contributed lovingly made posters, photos, sculptures, comic strips, textiles and much more to commemorate this beloved show. Foreword by Nicholas Meyer.

"This is a book that springs from richness. . . valuable not only for anthropologists and sociologists. . . the interested but unskilled layman will find a treasure trove as well. One thing seems certain. If this book does not become THE authority for the scholar, it will certainly never be ignored. Ortiz has done himself and his people proud. They are both worthy of the acclamation."—The New Mexican

Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, 'slave' and 'portraiture' as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.