Iain Topliss presents a scholarly study of the drawings by Peter Arno, William Steig, Charles Addams & Saul Steinberg that have graced the pages of the New York

Best known for his barbed and brilliant art for "The New Yorker," Saul Steinberg (1914-1999) turned his magic touch to the fields of painting, sculpture, advert

In a media-saturated world, humour stands out as a form of social communication that is especially effective in re-appropriating and questioning architectural a

Saul Steinberg’s inimitable drawings, paintings, and assemblages enriched the New Yorker, gallery and museum shows, and his own books for more than half a cen

“A cogent and innovative account of the politics of literary and artistic modernism in the early years of the Cold War . . . an exceptional book.” —Transa