'Daisy Dixon is the guide you need in encountering the disturbing side of human expression.' Helen Carr

What makes an artwork immoral? Why do these troubling creations have such a hold on us? And how should we deal with them?

We live in a moment when the dangers of art seem more prevalent than ever: artists are 'cancelled' for their misdeeds, public statues are toppled, images of violence and obscenity await us at the touch of a button. But as this provocative new history demonstrates, we humans have always used art to make sense of the less innocent aspects of ourselves and the world around us.

In Depraved, philosopher of art Daisy Dixon takes the reader on a journey through some of the most volatile and contentious works ever produced – from prehistoric sculpture to extreme metal music, Renaissance paintings to videogames. She reveals how beautiful art can sometimes be the most insidious, and why the greatest threat might lie in our own judgements about the art we censor or condemn.

Above all, Dixon builds a powerful case for returning the terrible gaze of our disturbing creations, showing how we can confront them head-on and tame their toxic effects.

'Elegant and accessible.' Daniel J. Levitin, author of This Is Your Brain on Music

But why is it so evocative? There’s no logical reason why a rousing, percussive tune should invoke swashbuckling pirates, or a slow melody on the flute remind you of a summer day from childhood. And yet, as research shows, it consistently does – and what’s more, if you hear pirates, others likely hear pirates as well.

For all that listening to music can feel like an intensely subjective experience, it holds objective, measurable power over the way our brains function. Exploring the strange and magical science of music perception, musician and psychologist Elizabeth Margulis examines the nature of ‘musical daydreams’. From the intense link between music and memory (music is more likely to prompt Proustian-style flashbacks than food, madeleines or otherwise) to why you keep returning to the music you loved at sixteen – and for that matter, the music your parents loved at sixteen – Transported reveals the compelling new science behind why music is so integral to who we are.

'Timely… there couldn’t be a better moment to explore the power of music to free our minds, inspire our imaginations, and awaken lost memories.' Renée Fleming

'Fascinating… Her book is the message in a bottle, urging us to connect more deeply with our inattention.' Wall Street Journal

Many artists are unaware of the mathematics that bubble beneath their craft, while some consciously use it for inspiration. Our instincts might tell us that these two subjects are incompatible forces with nothing in common, but what if we’re wrong?

Marcus du Sautoy, acclaimed mathematician and Simonyi Professor for the Public Understanding of Science at the University of Oxford, looks to art, music, design and literature to uncover the key mathematical structures that underpin both human creativity and the natural world.

Blueprints takes us from the earliest stone circles to the modernist architecture of Le Corbusier, from Bach’s circular compositions to Radiohead’s disruptive soundscapes, and from Shakespeare’s hidden numerical clues to the Dada artists who embraced randomness. Instead of polar opposites we find a complementary relationship that spans a vast historical and geographic landscape.

Whether we are searching for meaning in an abstract painting or deciphering poetry, there are blueprints everywhere: prime numbers, symmetry, fractals and the weirder worlds of Hamiltonian cycles and hyperbolic geometry. Nature similarly exploits these structures to achieve the wonders of our universe.

In this innovative and delightfully bold exploration of creativity, Marcus explains how we make art, why a creative mindset is vital for discovering new mathematics and how a fundamental connection to the natural world intrinsically links these two subjects.

‘Blueprints is an extraordinary book which shows us how mathematics and art are connected through structures. Du Sautoy shows us how to bridge the divide of science and the humanities and proves that we can only face and solve the big challenges of the twenty-first century if we go beyond the fear of pooling knowledge’ Hans Ulrich Obrist, Artistic Director, Serpentine Galleries

To command narrative is to control a sometimes frightening power. What is it that turbocharges some tales, and how is it possible to harness that potency?

John Yorke has revolutionised our understanding of story structure. In this new book he delves deeper – into how to put that structure to work in the world. Trip to the Moon takes us on a journey not just through drama and fiction but through politics, religion and non-western narrative, to seek out the role of story in all our lives, examining how to utilise its lessons to create life-changing tales – and, in a world aflame with conspiracy theories, to guard ourselves against their darker purpose too.

Revealing the artful symmetry and underlying principles that connect Summer beach reads to Classical Chinese poetry, superhero flicks to Russian arthouse, and classical rhetoric to state propaganda, Yorke makes dazzling connections that show how stories have the power to transfigure the chaos of our existence into a new equilibrium, and make the world anew.

Twenty years ago, Benjamin Moser followed a love affair to an ancient Dutch town. In order to make sense of this new place, he threw himself into the Dutch museums. Soon, he found himself unearthing the strange, inspiring and sometimes terrifying stories of the artists who shaped one of the most luminous moments in the history of human creativity, the Dutch Golden Age.

As he explored the hidden world of the Dutch Masters (and one Mistress), Moser met a crowd of fascinating personalities: the stormy Rembrandt, the intimate Ter Borch, the mysterious Vermeer. Through their art, he got to know their country, too: from Pieter Saenredam’s translucent churches to Paulus Potter’s muddy barnyards, and from Pieter de Hooch’s cozy hearths to Jacob van Ruisdael’s tragic trees. Over the years, Moser found himself on increasingly intimate terms with these centuries-dead artists, and found that they, too, were struggling with the same questions he was. Why do we make art? What is art, anyway – and what is an artist? What does it mean to succeed as an artist, and what does it mean to fail?

The Upside-Down World is an invitation to ask these questions, and to turn them on their heads: to look, and then to look again. It is a brilliant, colourful and learned book for anyone, whether lifelong scholar or curious tourist, who has ever felt the lure of the Dutch galleries. It shows us art, and artists, as we have never seen them before.

The paintings of Johannes Vermeer of Delft are some of the most beautiful, even sublime, in the history of art. Yet like the life of Vermeer himself, they are mysterious and have for centuries defied explanation. Following new leads, and drawing on a mass of historical evidence, some of it freshly uncovered in the archives of Delft and Rotterdam, Andrew Graham-Dixon paints a dramatically new picture of Vermeer, revealing many of the painter’s hitherto unknown friendships as well as his previously undetected allegiance to a radical movement driven underground by persecution.

He also vividly evokes the world of the Dutch Republic as it was in its so-called Golden Age. This was a watery world of fortresses and flood plains, taverns rocked by argument and cities stunned by devastating attacks and explosions: all linked by a network of canals where a uniquely efficient public transport system, operated by horse-drawn passenger barge, enabled people, goods and ideas to glide effortlessly from one place to another. The author sets Vermeer firmly in the context of his time, revealing the patterns of patronage that make sense of his work, and also exposing the difficulties posed by his home life, which was dominated by his Jesuit mother-in law and disturbed by the psychotic behaviour of her only son.

In the past Vermeer has been imagined as a remote and enigmatic figure, but he emerges from this new account as a man deeply engaged with his own society: well-travelled, a reader of books, a man personally connected to many of the most interesting people of his time, including merchants, philosophers, preachers, bankers and regents, as well as his childhood friend, a philanthropic baker named Hendrick van Buyten. Vermeer was also deeply affected by the struggles that shook his world, the Eighty Years War for Dutch independence and the yet more terrible Thirty Years War, which ravaged the neighbouring German lands and resulted in the deaths of millions. The author shows how he was moved to become a pacifist by such atrocities, and thereafter made many of his closest friends in the ranks of Europe’s first peace movement. A further revelation is that Vermeer’s closest collaborator and chief patron was a woman, as were many others in his immediate circle. These are all previously untold stories.

The many piercingly direct descriptions of Vermeer’s pictures, which are the heart of the book, shed new light on the intentions of the artist. Nearly all of his best loved works, Graham-Dixon shows, were originally painted for a single significant location in Delft. In light of such discoveries every one of Vermeer’s major paintings, including The Girl with a Pearl Earring, A View of Delft and The Milkmaid, are reassessed and their meanings rethought. As a result the two great unresolved questions about Vermeer – why did he paint his pictures, and what do they mean? – are persuasively answered here for the first time.

‘Irreverent, provocative and funny’ Dazed

‘This book might change the way you look at art, or change the way you feel it’ Daisy Hildyard

‘A full-throated defence of the inherent value of making, experiencing and talking about art’ Frieze

‘Let me stay there, let me paint. Let me go to bed when the sun comes up. I don’t want life to sharpen me.’

Why make art? Faced with a capitalist system that has turned art into artwork and creative expression into cut-throat competition, why do so many artists try anyway?

In this eye-opening journey through the bizarre world of contemporary art, criticism duo The White Pube tell the story of art like never before. Poor Artists follows aspiring artist Quest Talukdar through childhood obsessions, art school lessons and her professional debut. In surreal encounters with other artists, Quest learns profound truths about money and power, and must decide whether she cares more about success or staying true to herself.

Blending imaginative storytelling with dialogue from anonymized interviews with real people in the art world who have all had to wrestle with the same decisions – including a Turner Prize winner or two, a few ghosts, a Venice Biennale fraudster and a communist messiah – Poor Artists is a powerful testimony to the emotional, existential and financial experience of artists today.

‘A completely joyful book about the joy of art. A cracking, easy read that puts art in our lives, our homes, our hearts’ Richard Curtis

‘A whole art education in one book. Written in accessible language, communicating the joy that is art, both to make and to look at. It’s what the art world needs – fresh air’ Philippa Perry

‘In this book, you hold in your hand a set of luminous keys to infinite doors in the world of art.’ Es Devlin

‘The definitive ‘how to’ guide to not being intimidated by the world of art and artists. It brings joy, which is a powerful thing’ Maria Balshaw, Director of Tate

What is art, where do I find it, and once I’m in front of it, what am I supposed to think about it?

Kate Bryan is a self-confessed art addict who has worked with art for over twenty years. But before she studied art history at university, she’d been into a gallery just twice in her life and had no idea she was entering an elitist world.

Now, she’s on a mission to help everybody come to art. Like playing or listening to music, or cooking and eating great food, reading or watching films, making art or looking at other people’s deserves to be an enriching part of all our lives.

So here, in HOW TO ART, is a nifty way to take art on your own terms. From where it is to what it is, to tips on how to actually enjoy really famous artworks like the Mona Lisa, to how to own art and make art at home, through to vital advice for making a career as an artist and even how to make your dog more cultural, How to Art gives art to everyone, and makes it fun.

Laced throughout with original artworks by the very down-to-earth artist David Shrigley.

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‘Like food, art has that wonderful ability to bring us joy. Kate is the perfect expert to help us all develop a more meaningful relationship with art.’ Jamie Oliver

‘After reading this book we guarantee you will look at art and museums in a new way – your OWN way. Love, Guerilla Girls.’

‘Art is a fundamental part of being alive and Kate’s book helps everybody get involved’ Russell Tovey, actor and presenter of TalkArt