In 1976, David Bowie left Los Angeles and the success of his celebrated albums Diamond Dogs and Young Americans for Europe. The rocker settled in Berlin, where he would make his “Berlin Trilogy”—the albums Low, Heroes, and Lodger, which are now considered some of the most critically acclaimed and innovative of the late twentieth century. But Bowie’s time in Berlin was about more than producing new music. As Tobias Rüther describes in this fascinating tale of Bowie’s Berlin years, the musician traveled to West Berlin—the capital of his childhood dreams and the city of Expressionism—to repair his body and mind from the devastation of drug addiction, delusions, and mania.
           
Painting a vivid picture of Bowie’s life in the Schöneberg area of the city, Rüther describes the artist’s friendships and collaborations with his roommate, Iggy Pop, as well as Brian Eno and Tony Visconti. Rüther illustrates Bowie’s return to painting, days cycling to the Die Brücke museum, and his exploration of the city’s nightlife, both the wild side and the gay scene. In West Berlin, Bowie also met singer and actress Romy Haag; came to know Hansa Studios, where he would record Low and Heroes; and even landed the part of a Prussian aristocrat in Just a Gigolo, starring alongside Marlene Dietrich. Eventually Rüther uses Bowie and his explorations of the cultural and historical undercurrents of West Berlin to examine the city itself: divided, caught in the Cold War, and how it began to redefine itself as a cultural metropolis, turning to the arts to start a new history.

Tying in with an exhibition at the Museum of Contemporary Art, Chicago, in September, 2014, Heroes tells the fascinating story of how the music of the future arose from the spirit of the past. It is an unforgettable look at one of the world’s most renowned musicians in one of its most inspiring cities. 

An accessible biography of the celebrated early Netherlandish painter, now in paperback.

In his lifetime the early Netherlandish painter Hieronymus Bosch was famous for his phantasmagoric images, and today his name is synonymous with the infernal. The creator of expansive tableaus of fantastic and hellish scenes—where any devil not dancing is too busy eating human souls—he has been as equally misunderstood by history as his paintings have. In this book, Nils Büttner draws on a wealth of historical documents—not to mention Bosch’s paintings—to offer a fresh and insightful look at one of history’s most peculiar artists on the five-hundredth anniversary of his death.
           
Bosch’s paintings have elicited a number of responses over the centuries. Some have tried to explain them as alchemical symbolism, others as coded messages of a secret cult, and still others have tried to psychoanalyze them. Some have placed Bosch among the Adamites, others among the Cathars, and others among the Brethren of the Free Spirit, seeing in his paintings an occult life of free love, strange rituals, mysterious drugs, and witchcraft. As Büttner shows, Bosch was—if anything—a hardworking painter, commissioned by aristocrats and courtesans, as all painters of his time were. Analyzing his life and paintings against the backdrop of contemporary Dutch culture and society, Büttner offers one of the clearest biographical sketches to date alongside beautiful reproductions of some of Bosch’s most important work. The result is a smart but accessible introduction to a unique artist whose work transcends genre. 

Most of us hardly ever think about those ubiquitous things that hang—along with wreaths, light fixtures, and the occasional delivery attempt notice—at our front door: house numbers, our address. Taken for granted in the hustle and bustle of everyday life, house numbers have the crucial burden of organizing the places of the world—and they do it with zero fanfare or appreciation. In this unique illustrated history, Anton Tantner pays long-overdue tribute to those unassuming combinations of digits, showing that house numbers haven’t always existed, and that they have their own interesting history, one he spells out with vivid images from around the world.
           
As Tantner shows, house numbers started their lives in a gray area between the military, tax authorities, and early police forces. With an engaging style, he moves from the introduction of house numbers in European towns in the eighteenth century, through the spread of the numbering system in the nineteenth century, and on into its global adoption today. He uncovers a contentious past, telling the stories of the many people who have resisted having their homes so systematically ordered. Along the way, his visual journey showcases a surprising diversity of house number displays, visiting historic addresses from the London house on Strand-on-the-Green that is numbered “Nought” to 1819 Ruston, Louisiana.
           
The result is a story that will forever change the way you see a city, one that elevates the seemingly insignificant house number to an important place in the history of urban planning.