Utilizing each chapter to present core topical and timely examples, Kidd highlights the tension between inclusion and individuality that lies beneath mass media and commercial culture, using this tension as a point of entry to an otherwise expansive topic. He systematically considers several dimensions of identity—race, class, gender, sexuality, disability—to provide a broad overview of the field that encompasses classical and contemporary theory, original data, topical and timely examples, and a strong pedagogical focus on methods.
Pop Culture Freaks encourages students to develop further research questions and projects from the material. Both quantitative and qualitative analyses are brought to bear in Kidd's examination of the labor force for cultural production, the representations of identity in cultural objects, and the surprising differences in how various audiences consume and use mass culture in their everyday lives.
In The Philosophy of Andy Warhol—which, with the subtitle "(From A to B and Back Again)," is less a memoir than a collection of riffs and reflections—he talks about love, sex, food, beauty, fame, work, money, and success; about New York, America, and his childhood in McKeesport, Pennsylvania; about his good times and bad in New York, the explosion of his career in the sixties, and his life among celebrities.
“B. A. Shapiro captivated us in 2012 with her ‘addictive’ novel The Art Forger. Now, she’s back with another thrilling tale from the art world.” —Entertainment Weekly
When Alizée Benoit, an American painter working for the Works Progress Administration (WPA), vanishes in New York City in 1940, no one knows what happened to her. Not her Jewish family living in German-occupied France. Not her artistic patron and political compatriot, Eleanor Roosevelt. Not her close-knit group of friends, including Mark Rothko, Jackson Pollock, and Lee Krasner. And, some seventy years later, not her great-niece, Danielle Abrams, who while working at Christie’s auction house uncovers enigmatic paintings hidden behind works by those now-famous Abstract Expressionist artists. Do they hold answers to the questions surrounding her missing aunt?
A FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE IN BIOGRAPHY AND SHORTLISTED FOR THE PEN/JACQUELINE BOGRAD WELD AWARD FOR BIOGRAPHY
"Welcome to Rockwell Land," writes Deborah Solomon in the introduction to this spirited and authoritative biography of the painter who provided twentieth-century America with a defining image of itself. As the star illustrator of The Saturday Evening Post for nearly half a century, Norman Rockwell mingled fact and fiction in paintings that reflected the we-the-people, communitarian ideals of American democracy. Freckled Boy Scouts and their mutts, sprightly grandmothers, a young man standing up to speak at a town hall meeting, a little black girl named Ruby Bridges walking into an all-white school—here was an America whose citizens seemed to believe in equality and gladness for all.
Who was this man who served as our unofficial "artist in chief" and bolstered our country's national identity? Behind the folksy, pipe-smoking façade lay a surprisingly complex figure—a lonely painter who suffered from depression and was consumed by a sense of inadequacy. He wound up in treatment with the celebrated psychoanalyst Erik Erikson. In fact, Rockwell moved to Stockbridge, Massachusetts so that he and his wife could be near Austen Riggs, a leading psychiatric hospital. "What's interesting is how Rockwell's personal desire for inclusion and normalcy spoke to the national desire for inclusion and normalcy," writes Solomon. "His work mirrors his own temperament—his sense of humor, his fear of depths—and struck Americans as a truer version of themselves than the sallow, solemn, hard-bitten Puritans they knew from eighteenth-century portraits."
Deborah Solomon, a biographer and art critic, draws on a wealth of unpublished letters and documents to explore the relationship between Rockwell's despairing personality and his genius for reflecting America's brightest hopes. "The thrill of his work," she writes, "is that he was able to use a commercial form [that of magazine illustration] to thrash out his private obsessions." In American Mirror, Solomon trains her perceptive eye not only on Rockwell and his art but on the development of visual journalism as it evolved from illustration in the 1920s to photography in the 1930s to television in the 1950s. She offers vivid cameos of the many famous Americans whom Rockwell counted as friends, including President Dwight Eisenhower, the folk artist Grandma Moses, the rock musician Al Kooper, and the generation of now-forgotten painters who ushered in the Golden Age of illustration, especially J. C. Leyendecker, the reclusive legend who created the Arrow Collar Man.
Although derided by critics in his lifetime as a mere illustrator whose work could not compete with that of the Abstract Expressionists and other modern art movements, Rockwell has since attracted a passionate following in the art world. His faith in the power of storytelling puts his work in sync with the current art scene. American Mirror brilliantly explains why he deserves to be remembered as an American master of the first rank.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
From the Trade Paperback edition.
In Looking for Calvin and Hobbes, Nevin Martell sets out on a very personal odyssey to understand the life and career of the intensely private man behind Calvin and Hobbes. Martell talks to a wide range of artists and writers (including Dave Barry, Harvey Pekar, and Brad Bird) as well as some of Watterson's closest friends and professional colleagues, and along the way reflects upon the nature of his own fandom and on the extraordinary legacy that Watterson left behind. This is as close as we're ever likely to get to one of America's most ingenious and intriguing figures - and it's the fascinating story of an intrepid author's search for him, too.
From the best-selling author of Sexual Personae and Break, Blow, Burn and one of our most acclaimed cultural critics, here is an enthralling journey through Western art’s defining moments, from the ancient Egyptian tomb of Queen Nefertari to George Lucas’s volcano planet duel in Revenge of the Sith.
America’s premier intellectual provocateur returns to the subject that brought her fame, the great themes of Western art. Passionately argued, brilliantly written, and filled with Paglia’s trademark audacity, Glittering Images takes us on a tour through more than two dozen seminal images, some famous and some obscure or unknown—paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world. She combines close analysis with background information that situates each artist and image within its historical context—from the stone idols of the Cyclades to an elegant French rococo interior to Jackson Pollock’s abstract Green Silver to Renée Cox’s daring performance piece Chillin’ with Liberty. And in a stunning conclusion, she declares that the avant-garde tradition is dead and that digital pioneer George Lucas is the world’s greatest living artist. Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment.
From the Hardcover edition.
environmentally-aware, as she embarks on a journey over land and sea,
meeting a cast of fantastical creatures along the way. She learns about the
uniqueness and beauty of Louisiana, and what the "human-people" can do
to help the environment and the local wildlife. She ultimately ends up on
Holly Beach, in Cameron Parish, Louisiana, where she meets a saucy
dragonfly who helps her fulfill the promise she made to a Sea Turtle she
befriended while drifting along in the Gulf of Mexico.
Writing for both general and academic audiences, Matthew Israel recounts the major moments in the Vietnam War and the antiwar movement and describes artists’ individual and collective responses to them. He discusses major artists such as Leon Golub, Edward Kienholz, Martha Rosler, Peter Saul, Nancy Spero, and Robert Morris; artists’ groups including the Art Workers’ Coalition (AWC) and the Artists Protest Committee (APC); and iconic works of collective protest art such as AWC’s Q. And Babies? A. And Babies and APC’s The Artists Tower of Protest. Israel also formulates a typology of antiwar engagement, identifying and naming artists’ approaches to protest. These approaches range from extra-aesthetic actions—advertisements, strikes, walk-outs, and petitions without a visual aspect—to advance memorials, which were war memorials purposefully created before the war’s end that criticized both the war and the form and content of traditional war memorials.
It has been thought that the meaning of this ancient art was lost with the artists who produced it. However, thanks to research breakthroughs, these elaborate rock paintings are again communicating a narrative that was inaccessible to humanity for millennia. In the gateway serpents, antlered shamans, and human-animal–cross forms pictured in these ancient murals, Boyd sees a way that ancient hunter-gatherer artists could express their belief systems, provide a mechanism for social and environmental adaptation, and act as agents in the social, economic, and ideological affairs of the community. She offers detailed information gleaned from the art regarding the nature of the lower Pecos cosmos, ritual practices involving the use of sacramental and medicinal plants, and hunter-gatherer lifeways.
Now, combining the tools of the ethnologist with the aesthetic sensibilities of an artist, Boyd demonstrates that prehistoric art is not beyond explanation. Images from the past contain a vast corpus of data—accessible through proven, scientific methods—that can enrich our understanding of human life in prehistory and, at the same time, expand our appreciation for the work of art in the present and the future.
Portraiture involves artists and subjects, known as sitters, and is an art that combines elements of biography, aesthetics, and cultural history.
Private portraits often attract an oral history that enlivens the more colorful aspects of local tradition and culture. Public portraits of towering figures such as George Washington, Henry Clay, and Abraham Lincoln were often reproduced in printed format to satisfy popular demand and subsequently attained an iconic, timeless status.
Lessons in Likeness is organized in two parts. Part One, the cultural chronology, serves as a backdrop to the biographies of the portrait artists. This section identifies stylistic sources and significant historical moments that influenced the artists and their milieus. Rather than working in isolation, portrait artists were connected to the world around them and influenced by prevailing trends in their trade. Early in the nineteenth century, for instance, Matthew Jouett journeyed to Boston for study with Gilbert Stuart, and upon his return to Kentucky painted in a style that subsequently influenced an entire generation. Later artists, notably Oliver Frazer and William Edward West, studied the lessons of Thomas Sully in Philadelphia. Sully popularized the lush, warmly colored, and highly flattering style of portraiture practiced by many of the itinerant artists whose careers were facilitated by the introduction of steam and rail travel.
The Civil War provoked a dramatic shift in the cultural terrain, further augmented by the rise of photography and the emergence of academic art centers. Painters who had previously worked with a master painter, or learned on their own, were now able to study at established schools, especially in Cincinnati, which became one of the leading centers for the teaching of art in late nineteenth-century America. Several of the teachers there, Frank Duveneck and Thomas Satterwhite Noble in particular, had firsthand experience with avant-garde European styles, notably the realism and naturalism practiced in Munich and Paris in the last quarter of the nineteenth century and then taught in the art schools of New York and Philadelphia.
Part Two profiles the artists from this area and period who have appeared in previous art historical literature and have an identifiable body of work represented in public and private collections. Individual biographies provide details of the artists' lives, sources for further study, and locations of works in public collections.
As a subject for visual artists, dance has given new meaning to America’s perennial myths, cherished identities, and most powerful dreams. Their portrayals of dance and dancers, from the anonymous to the famous—Anna Pavlova, Isadora Duncan, Loïe Fuller, Josephine Baker, Martha Graham—have testified to the enduring importance of spatial organization, physical pattern, and rhythmic motion in creating aesthetic form.
Through extensive research, sparkling prose, and beautiful color reproductions, art historian Sharyn R. Udall draws attention to the ways that artists’ portrayals of dance have defined the visual character of the modern world and have embodied culturally specific ideas about order and meaning, about the human body, and about the diverse fusions that comprise American culture.
"Beautiful, haunted, evocative and so open to where memory takes you. I kept thinking that this is the book that I have waited for: where objects, and poetry intertwine. Just wonderful and completely sui generis." (Edmund de Waal, author of The Hare with Amber Eyes)
An unforgettable voyage across the reaches of America and the depths of memory, Red Brick, Black Mountain, White Clay follows one incredible family to discover a unique craft tradition grounded in America¹s vast natural landscape. Looking back through the generations, renowned critic Christopher Benfey unearths an ancestry--and an aesthetic--that is quintessentially American. His mother descends from colonial explorers and Quaker craftsmen, who carved new arts from the trackless wilds of the frontier. Benfey¹s father escaped from Nazi Europe--along with his aunt and uncle, the famed Bauhaus artists Josef and Anni Albers--by fleeing across the Atlantic and finding an eventual haven in the American South.
Bricks form the backbone of life in North Carolina¹s rural Piedmont, where Benfey¹s mother was raised among centuries-old folk potteries, tobacco farms, and clay pits. Her father, like his father before him, believed in the deep honesty of brick, that men might build good lives with the bricks they laid. Nurtured in this red-clay world of ancient craft and Quaker radicalism, Benfey¹s mother was poised to set out from home when a tragic romance cracked her young life in two. Salvaging the broken shards of his mother¹s past and exploring the revitalized folk arts resisting industrialization, Benfey discovers a world brimming with possibility and creativity.
Benfey¹s father had no such foundation in his young life, nor did his aunt and uncle. Exiled artists from Berlin¹s Bauhaus school, Josef and Anni Albers were offered sanctuary not far from the Piedmont at Black Mountain College. A radical experiment in unifying education and art, Black Mountain made a monumental impact on American culture under Josef¹s leadership, counting Robert Rauschenberg, John Cage, and Buckminster Fuller among its influential students and teachers. Focusing on the natural world, innovative craftsmanship, and the physical reality of materials, Black Mountain became a home and symbol for an emerging vision of American art.
Threading these stories together into a radiant and mesmerizing harmony, Red Brick, Black Mountain, White Clay is an extraordinary quest to the heart of America and the origins of its art.
Stories of New York City's fabled art scene conjure up artists' lofts in SoHo, studios in Brooklyn, and block after block of galleries in Chelsea. But today, no artist can afford a SoHo loft, Brooklyn has long gentrified, and even the galleries of Chelsea are beginning to move on. Art on the Block takes the reader on a journey through the neighborhoods that shape, and are shaped by, New York's ever-evolving art world. Based on interviews with over 150 gallery directors, as well as the artists themselves, art historian and cultural commentator Ann Fensterstock explores the genesis, expansion, maturation and ultimate restless migration of the New York art world from one initially undiscovered neighborhood to the next.
Opening with the colonization of the desolate South Houston Industrial District in the late 1960s, the book follows the art world's subsequent elopements to the East Village in the ‘80s, Brooklyn in the mid-90s, Chelsea at the beginning of the new millennium and, most recently, to the Lower East Side. With a look to the newest neighborhoods that artists are just now beginning to occupy, this is a must-read for both art enthusiasts as well as anyone with a passion for New York City.
This remarkable biography chronicles the life, times and madness of one of America’s most celebrated and exploited painters whose brooding, hallucinogenic landscapes anticipated Abstract Expressionism by more than half a century. Like the best biographies, The Unknown Night brings to life a vanished world, as well. In this case, it’s late 19th and early 20th century New York—a city of artists’ studios and spiritualists’ salons, shantytowns and millionaires’ mansions.
Blakelock was a mystic who as a young man wandered among the Indians out West, and on his return frequented the spiritualist circles in New York City. Though he was regarded as a loner, he worked among the great painters of his time, artists like William Merritt Chase and George Inness. Blakelock initially painted in the Romantic style of the Hudson River School, but by the 1880s, his brooding, hallucinogenic landscapes were considered among the most controversial, radical paintings of the era. In the 1890s he fell on hard times and sometimes played the piano on the vaudeville circuit to earn extra cash. He suffered his first mental break down in 1891. After a period of remission he became violent and was institutionalized in 1899 just as his reputation was beginning to soar. Interest in his work peaked in 1916 when a wave of Blakelock hysteria swept America. Crowds lined up to see Blakelock exhibitions in New York, Chicago and San Francisco. Wealthy collectors bid record prices for his haunting paintings. Blakelock was released from the asylum and seemed destined for a glorious and comfortable end. Instead, fed upon by opportunistic dealers and forgers, Blakelock became entangled in a web of deceit spun by the very woman who was supposed to be his savior.
Vincent begins his story in the spring of 1916 when Blakelock's canvas, The Brook by Moonlight, was auctioned at the Plaza Hotel in New York for $20,000 - a record price at that time for the work of a living American painter. It was Blakelock's second record in three years. Newspaper reporters converged on the painter and art pundits tripped over each other in doling out praise for his mysterious nocturnal landscapes. "Few American artists deserve a higher niche in the Temple of Fame," drooled the pioneering art dealer, William Macbeth. Some were calling Blakelock the greatest American landscape painter ever.
At the time, Blakelock was penniless, a resident of an asylum in Middletown, New York. His wife, Cora Bailey Blakelock was living in poverty with their youngest children in a small house in the Catskills. Blakelock may well have remained locked away if it had not been for the efforts of Mrs. Van Rensselaer Adams, a 32-year-old vamp with a shady past. Adams passed herself off as a philanthropist, "rescued" Blakelock from the asylum, and brought him to New York City to generate public sympathy for the artist and his family. She had arranged a large show of his paintings at the Reinhardt Gallery on Fifth Avenue. It was a huge success attracting all the major critics and large crowds throughout its run over seven months. A committee of venerable art personages was formed to collect the proceeds from Blakelock’s work to be passed on to his wife and children. Blakelock, all dressed up for the Gallery opening, cut a dashing figure. His wife, though, was nowhere to be seen. Adams had, as she would do again at crucial junctures, cut her out. The resulting newspaper feeding frenzy - an early instance of celebrity journalism and scandal mongering -- climaxed several months later with banner headlines about a hazy plot to assassinate the painter.
In order to better accommodate Romantic accounts, Blakelock's early career has long been misconstrued as a fruitless endeavor. His experimental work, many claimed, met only with scorn, derision and neglect. How Blakelock came to be considered one of the top three painters in the country by 1900 was never explained. In fact, the author discovered that Blakelock had attracted favorable attention in the press as early as 1879. While it was true that Blakelock and Albert Pinkham Ryder, with whom he was constantly associated, were subjected to ridicule by some critics, the controversy that surrounded them, also enshrined them. Many progressive critics championed Blakelock and Ryder's expressive, quasi-abstract landscapes, which were redefininnnnnng the boundaries of American art. By 1886, Blakelock's moonlight paintings were attracting rave reviews.
Blakelock was an eccentric, often subject to violent mood swings and later extended bouts of paranoia. He was eventually diagnosed with dementia praecox - now called schizophrenia. The line between manic depression, bipolar disorders and various subtypes of schizophrenia, however, is blurry and lately has become the subject of debate. Most likely, Blakelock was suffering from what is called late-onset schizophrenia. He was 43 when he had his first psychotic episode, slashing his paintings, burning large amounts of money and threatening his family. He soon recovered and went back to his studio painting many of his most significant and mysterious paintings. Recently found letters indicate that he was lucid until the death of his father in 1897. Thereafter, his mental state disintegrated. The family was desperately poor. Blakelock, his long hair beaded like an Indian, a dagger in his waistband, took to the streets to sell his paintings. He became increasingly deluded, believing his paintings were worth millions and that he was related to royalty. It was two years later that Blakelock was once again sent away, this time remaining in an asylum until 1916.
Blakelock has been described as a Romantic, a visionary, an outsider and an eccentric Hudson River School artist. His work, which contains both classic and modern elements, defies definition. Yet he is universally acknowledged to be one of the most original, innovative American artists of the nineteenth century - way ahead of his time. Reviewing a Blakelock exhibition in 1942, the influential critic Edward Alden Jewell called Blakelock "one of the greatest artists America has produced." Five years later, on the occasion of Blakelock's retrospective at the Whitney Museum of American Art, Robert Coates, critic for the New Yorker, described Blakelock as one of the "strongest individualists" in American art putting him on a level with Homer, Eakins and Ryder. This was at a time when Abstract Expressionists like Jackson Pollock and Franz Kline were looking to Blakelock and Ryder for inspiration. Today Blakelock's paintings continue to hang in virtually every major American museum. In May of 2000, Blakelock's early masterpiece, Indian Encampment on The Snake River eclipsed every other American painter in a Sotheby's auction, fetching $3.5 million. Blakelock, it appears, refuses to be forgotten.
Ranging from the earliest years of the pre-Columbian continent to the digital age, and from the American Revolution to Vietnam, each entry pairs the fascinating history surrounding each object with the story of its creation or discovery and the place it has come to occupy in our national memory. Kurin sheds remarkable new light on objects we think we know well, from Lincoln's hat to Dorothy's ruby slippers and Julia Child's kitchen, including the often astonishing tales of how each made its way into the collections of the Smithsonian. Other objects will be eye-opening new discoveries for many, but no less evocative of the most poignant and important moments of the American experience. Some objects, such as Harriet Tubman's hymnal, Sitting Bull's ledger, Cesar Chavez's union jacket, and the Enola Gay bomber, tell difficult stories from the nation's history, and inspire controversies when exhibited at the Smithsonian. Others, from George Washington's sword to the space shuttle Discovery, celebrate the richness and vitality of the American spirit. In Kurin's hands, each object comes to vivid life, providing a tactile connection to American history.
Beautifully designed and illustrated with color photographs throughout, The Smithsonian's History of America in 101 Objects is a rich and fascinating journey through America's collective memory, and a beautiful object in its own right.
Los Angeles, 1960: There was no modern art museum and there were few galleries, which is exactly what a number of daring young artists liked about it, among them Ed Ruscha, David Hockney, Robert Irwin, Bruce Nauman, Judy Chicago and John Baldessari. Freedom from an established way of seeing, making, and marketing art fueled their creativity, which in turn inspired the city. Today Los Angeles has four museums dedicated to contemporary art, around one hundred galleries, and thousands of artists. Here, at last, is the book that tells the saga of how the scene came into being, why a prevailing Los Angeles permissiveness, 1960s-style, spawned countless innovations, including Andy Warhol's first exhibition, Marcel Duchamp's first retrospective, Frank Gehry's mind-bending architecture, Rudi Gernreich's topless bathing suit, Dennis Hopper's Easy Rider, even the Beach Boys, the Byrds, the Doors, and other purveyors of a California style. In the 1960s, Los Angeles was the epicenter of cool.
Buick considers the institutions and people that supported Lewis’s career—including Oberlin College, abolitionists in Boston, and American expatriates in Italy—and she explores how their agendas affected the way they perceived and described the artist. Analyzing four of Lewis’s most popular sculptures, each created between 1866 and 1876, Buick discusses interpretations of Hiawatha in terms of the cultural impact of Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha; Forever Free and Hagar in the Wilderness in light of art historians’ assumptions that artworks created by African American artists necessarily reflect African American themes; and The Death of Cleopatra in relation to broader problems of reading art as a reflection of identity.
Author and radical artist Nicolas Lampert combines historical sweep with detailed examinations of individual artists and works in a politically charged narrative that spans the conquest of the Americas, the American Revolution, slavery and abolition, western expansion, the suffragette movement and feminism, civil rights movements, environmental movements, LGBT movements, antiglobalization movements, contemporary antiwar movements, and beyond.
A People’s Art History of the United States introduces us to key works of American radical art alongside dramatic retellings of the histories that inspired them. Stylishly illustrated with over two hundred images, this book is nothing less than an alternative education for anyone interested in the powerful role that art plays in our society.
?Barbara Traub, who is best known as the photographer who created some of the most recognizable images of Burning Man.” ? mikl-em, Laughing Squid
"Holiday Bookshelf?Top 10 Pick"?Nevada Magazine
This groundbreaking photo collection now features twelve years of Burning Man. In the beginning, it was a display of alternative art. Today it influences contemporary culture around the globe. Celebrated photographer Barbara Traub captures the zeitgeist in a cornucopia of amazing structures, ingenious artifacts, and eye-popping costumes.
Contributions from filmmaker Les Blank; Burning Man founder Larry Harvey; Star Trek's Spock, Leonard Nimoy; and poet Lawrence Ferlinghetti help illuminate Traub's unique perspective on this singular festival that attracts more than fifty thousand people annually.
The first edition sold out. This revised edition includes sixteen more pages and two-dozen new photographs from 2006 and 2009, and appeals to participants and artists worldwide.
"In these photographs spanning 12 years, photographer Traub becomes ?a part of the spectacle performing the part of the photographer,' and captures the spirit of Burning Man, from its starkness to its excess. Rock Spinners features two nudes perched atop a rock, one looking toward the sky, a woman's arms in the air, a man's face hidden from view. The Temple of Joy showcases an intricate structure built of recycled wood that is burned at the festival's end. Traub's approach to her images is appropriately eclectic, yielding photographs as colorful as the festival itself and accentuating Burning Man's surreality, whimsy, and play with the occasional fish-eye lens. The night shots that make up the latter third of the book abandon all restraint and explode in color and light." ? Publishers Weekly
?Traub's evocative photography displays the human connections established by the attendees with each other, the art they produce and the beautiful landscape of the Nevada desert...From the sensitive nude photographs of people in all manner of color and caked in mud to cars retrofitted to be art on wheels and the temporary temples which dot the desert floor.” ?TakeGreatPictures.com
?Barbara's Burning Man photo collection is great and will take you on a journey through this ephemeral world. Ethnicity, extravaganza, pop culture, eroticism,
nudity, free land: the Burning Man is something unique” ?Fine Art TV
After serving in the Confederate Army during the Civil War, Walker traveled throughout the South to sell his paintings to tourists in areas such as New Orleans, Charleston, and cities across Georgia. In those years, he created the most extensive record of black life of the period and permanently influenced art in the South.
With ninety-nine color illustrations and sixty-three black-and-white paintings and drawings, William Aiken Walker is a remarkable documentary of Walker's life as an artist and as a man. First published in 1972, this book is now presented by Pelican in a stunning new edition that includes scores of color photographs not used in the previous edition.
Pollock moved to Springs because he thought he wanted to stop drinking, but he found a connection to nature there that inspired some of the most significant paintings of our time. Others followed him. When Fairfield Porter bought a house in Southampton, the New York School suddenly had a new headquarters, and James Schuyler and Frank O'Hara found companionship and raw material for their poems on South Main Street and on the three-hour train ride between the city and the East End. Willem de Kooning rode his bike every day between his studio in the East Hampton woods and the bay, where the light informed every brushstroke he put to canvas from the early 1960s on.
In De Kooning's Bicycle, Long mixes storytelling with history to re-create the lives and events that shaped American art and literature as we know it today, in a landscape where town met country and the modern met America's rural past.
In this unique and beautiful work, Sandra Calder Davidson remembers growing up as the daughter of this larger-than-life pair and celebrates the family—the children and grandchildren—that grew out of their loving home. Sandra has a gift for caricaturing people as animals—her father as a circus lion, Louisa as a nippy fox—and the book is organized around these portraits, accompanied by vivid recollections and anecdotes about the subjects. The “other critters” include, besides Miller and Steinberg, other family friends and whimsical fauna she has encountered, like St. Louis Cardinal fans in full cardinal regalia or a Florida gator at a cocktail party for retirees.
Celebrating family and the joyful dance of life, here is a book with the freshness and grace of a Calder mobile.
In brief but wonderfully compelling comments accompanying each painting, the elegant expressiveness of Strand’s language is put to the service of Hopper’s visual world. The result is a singularly illuminating presentation of the work of one of America’s best-known artists. Strand shows us how the formal elements of the paintings—geometrical shapes pointing beyond the canvas, light from unseen sources—locate the viewer, as he says, “in a virtual space where the influence and availability of feeling predominate.”
An unforgettable combination of prose and painting in their highest forms, this book is a must for poetry and art lovers alike.
From the Hardcover edition.
A hilarious, thoughtful, and in-depth exploration of the pleasures and perils of modern romance from Aziz Ansari, the star of Master of None and one of this generation’s sharpest comedic voices
At some point, every one of us embarks on a journey to find love. We meet people, date, get into and out of relationships, all with the hope of finding someone with whom we share a deep connection. This seems standard now, but it’s wildly different from what people did even just decades ago. Single people today have more romantic options than at any point in human history. With technology, our abilities to connect with and sort through these options are staggering. So why are so many people frustrated?
Some of our problems are unique to our time. “Why did this guy just text me an emoji of a pizza?” “Should I go out with this girl even though she listed Combos as one of her favorite snack foods? Combos?!” “My girlfriend just got a message from some dude named Nathan. Who’s Nathan? Did he just send her a photo of his penis? Should I check just to be sure?”
But the transformation of our romantic lives can’t be explained by technology alone. In a short period of time, the whole culture of finding love has changed dramatically. A few decades ago, people would find a decent person who lived in their neighborhood. Their families would meet and, after deciding neither party seemed like a murderer, they would get married and soon have a kid, all by the time they were twenty-four. Today, people marry later than ever and spend years of their lives on a quest to find the perfect person, a soul mate.
For years, Aziz Ansari has been aiming his comic insight at modern romance, but for Modern Romance, the book, he decided he needed to take things to another level. He teamed up with NYU sociologist Eric Klinenberg and designed a massive research project, including hundreds of interviews and focus groups conducted everywhere from Tokyo to Buenos Aires to Wichita. They analyzed behavioral data and surveys and created their own online research forum on Reddit, which drew thousands of messages. They enlisted the world’s leading social scientists, including Andrew Cherlin, Eli Finkel, Helen Fisher, Sheena Iyengar, Barry Schwartz, Sherry Turkle, and Robb Willer. The result is unlike any social science or humor book we’ve seen before.
In Modern Romance, Ansari combines his irreverent humor with cutting-edge social science to give us an unforgettable tour of our new romantic world.
We Live Inside Maps Parts One and Two are a simple straightforward explanation to a difficult time in New York City. The United States Housing Bubble inspires it, with my artwork as a background. It is an introduction for readers to the bigger story about the Financial Buyout of Wall Street.
The maps of the city report to the buildings and structures every night; They read, hear and experience these reports along with Garbage Bag who kisses his beloved Flatiron in part 1. In part 2 the City Bank building reads one night from these reports, explaining the financial buyout of Wall Street to the rest of New York City.
* The PDF's have links to videos about the story.
Kurt Vonnegut's daughter Nanette introduces this volume of his never before published drawings with an intimate remembrance of her father. Vonnegut always drew, and many of his novels contain sketches. Breakfast of Champions (1973) included many felt-tip pen drawings, and he had a show in 1983 of his drawings at New York's Margo Feiden Gallery, but really got going in the early 1990s when he became acquainted with the screenprinter Joe Petro III, who became his partner in making his colorful drawings available as silkscreens.
With a touch of cubism, mixed with a Paul Klee gift for caricature, a Calder-like ability to balance color and line, and more than a touch of sixties psychedelic sensibility, Vonnegut's aesthetic is as idiosyncratic and defiant of tradition as his books. While writing came to be more onerous in his later years, making art became his joyful primary activity, and he made drawings up until his death in 2007. This volume, and a
planned touring exhibition of the drawings, will introduce Vonnegut's legion of fans to an entirely new side of his irrepressible creative personality.
This global consciousness inspires space travellers who then provide emotional and spiritual observations. Their views from outer space awaken them to a grand realization that all who share our planet make up a single community. They think this viewpoint will help unite the nations of the world in order to build a peaceful future for the present generation and the ones that follow.
Many poets, philosophers, and writers have criticized the artificial borders that separate people preoccupied with the notion of nationhood. Despite the visions and hopes of astronauts, poets, writers, and visionaries, the reality is that nations are continuously at war with one another, and poverty and hunger prevail in many places throughout the world, including the United States.
So far, no astronaut arriving back on Earth with this new social consciousness has pro- posed to transcend the world's limitations with a world where no national boundaries exist. Each remains loyal to his/her particular nation-state, and doesn’t venture beyond patriotism - "my country, right or wrong" – because doing so may risk their positions.
Most problems we face in the world today are of our own making. We must accept that the future depends upon us. Interventions by mythical or divine characters in white robes descending from the clouds, or by visitors from other worlds, are illusions that cannot solve the problems of our modern world. The future of the world is our responsibility and depends upon decisions we make today. We are our own salvation or damnation. The shape and solutions of the future depend totally on the collective effort of all people working together.
The Atlantic • The Huffington Post • Men’s Journal • MSN (U.K.) • Kirkus Reviews • Publishers Weekly
#1 NEW YORK TIMES BESTSELLER • WINNER OF THE JAMES BEARD FOUNDATION AWARD FOR WRITING AND LITERATURE
Every year, the average American eats thirty-three pounds of cheese and seventy pounds of sugar. Every day, we ingest 8,500 milligrams of salt, double the recommended amount, almost none of which comes from the shakers on our table. It comes from processed food, an industry that hauls in $1 trillion in annual sales. In Salt Sugar Fat, Pulitzer Prize–winning investigative reporter Michael Moss shows how we ended up here. Featuring examples from Kraft, Coca-Cola, Lunchables, Frito-Lay, Nestlé, Oreos, Capri Sun, and many more, Moss’s explosive, empowering narrative is grounded in meticulous, eye-opening research. He takes us into labs where scientists calculate the “bliss point” of sugary beverages, unearths marketing techniques taken straight from tobacco company playbooks, and talks to concerned insiders who make startling confessions. Just as millions of “heavy users” are addicted to salt, sugar, and fat, so too are the companies that peddle them. You will never look at a nutrition label the same way again.
Praise for Salt Sugar Fat
“[Michael] Moss has written a Fast Food Nation for the processed food industry. Burrowing deep inside the big food manufacturers, he discovered how junk food is formulated to make us eat more of it and, he argues persuasively, actually to addict us.”—Michael Pollan
“If you had any doubt as to the food industry’s complicity in our obesity epidemic, it will evaporate when you read this book.”—The Washington Post
“Vital reading for the discerning food consumer.”—The Wall Street Journal
“The chilling story of how the food giants have seduced everyone in this country . . . Michael Moss understands a vital and terrifying truth: that we are not just eating fast food when we succumb to the siren song of sugar, fat, and salt. We are fundamentally changing our lives—and the world around us.”—Alice Waters
“Propulsively written [and] persuasively argued . . . an exactingly researched, deeply reported work of advocacy journalism.”—The Boston Globe
“A remarkable accomplishment.”—The New York Times Book Review
From the Trade Paperback edition.
For twenty years, Father Gregory Boyle has run Homeboy Industries, a gang-intervention program located in the Boyle Heights neighborhood of Los Angeles—also known as the gang capital of the world. In Tattoos on the Heart, he has distilled his experience working in the ghetto into a breathtaking series of parables inspired by faith.
From giant, tattooed Cesar, shopping at JC Penney fresh out of prison, you learn how to feel worthy of God’s love. From ten-year-old Pipi you learn the importance of being known and acknowledged. From Lulu you come to understand the kind of patience necessary to rescue someone from the dark—as Father Boyle phrases it, we can only shine a flashlight on a light switch in a darkened room.
This is a motivating look at how to stay faithful in spite of failure, how to meet the world with a loving heart, and how to conquer shame with boundless, restorative love.
Take a journey inside the secret world of our biggest export, our most prodigious product, and our greatest legacy: our trash. It’s the biggest thing we make: The average American is on track to produce a whopping 102 tons of garbage across a lifetime, $50 billion in squandered riches rolled to the curb each year, more than that produced by any other people in the world. But that trash doesn’t just magically disappear; our bins are merely the starting point for a strange, impressive, mysterious, and costly journey that may also represent the greatest untapped opportunity of the century.
In Garbology, Pulitzer Prize–winning author Edward Humes investigates the trail of that 102 tons of trash—what’s in it; how much we pay for it; how we manage to create so much of it; and how some families, communities, and even nations are finding a way back from waste to discover a new kind of prosperity. Along the way , he introduces a collection of garbage denizens unlike anyone you’ve ever met: the trash-tracking detectives of MIT, the bulldozer-driving sanitation workers building Los Angeles’ immense Garbage Mountain landfill, the artists in residence at San Francisco’s dump, and the family whose annual trash output fills not a dumpster or a trash can, but a single mason jar.
Garbology digs through our epic piles of trash to reveal not just what we throw away, but who we are and where our society is headed. Are we destined to remain the country whose number-one export is scrap—America as China’s trash compactor—or will the country that invented the disposable economy pioneer a new and less wasteful path? The real secret at the heart of Garbology may well be the potential for a happy ending buried in our landfill. Waste, Humes writes, is the one environmental and economic harm that ordinary working Americans have the power to change—and prosper in the process.
With the wisdom, humor, curiosity, and sharp insights that have brought millions of readers to his New York Times column and his previous bestsellers, David Brooks has consistently illuminated our daily lives in surprising and original ways. In The Social Animal, he explored the neuroscience of human connection and how we can flourish together. Now, in The Road to Character, he focuses on the deeper values that should inform our lives. Responding to what he calls the culture of the Big Me, which emphasizes external success, Brooks challenges us, and himself, to rebalance the scales between our “résumé virtues”—achieving wealth, fame, and status—and our “eulogy virtues,” those that exist at the core of our being: kindness, bravery, honesty, or faithfulness, focusing on what kind of relationships we have formed.
Looking to some of the world’s greatest thinkers and inspiring leaders, Brooks explores how, through internal struggle and a sense of their own limitations, they have built a strong inner character. Labor activist Frances Perkins understood the need to suppress parts of herself so that she could be an instrument in a larger cause. Dwight Eisenhower organized his life not around impulsive self-expression but considered self-restraint. Dorothy Day, a devout Catholic convert and champion of the poor, learned as a young woman the vocabulary of simplicity and surrender. Civil rights pioneers A. Philip Randolph and Bayard Rustin learned reticence and the logic of self-discipline, the need to distrust oneself even while waging a noble crusade.
Blending psychology, politics, spirituality, and confessional, The Road to Character provides an opportunity for us to rethink our priorities, and strive to build rich inner lives marked by humility and moral depth.
“Joy,” David Brooks writes, “is a byproduct experienced by people who are aiming for something else. But it comes.”
Praise for The Road to Character
“A hyper-readable, lucid, often richly detailed human story.”—The New York Times Book Review
“David Brooks—the New York Times columnist and PBS commentator whose measured calm gives punditry a good name—offers the building blocks of a meaningful life.”—Washingtonian
“This profound and eloquent book is written with moral urgency and philosophical elegance.”—Andrew Solomon, author of Far from the Tree and The Noonday Demon
“The voice of the book is calm, fair and humane. The highlight of the material is the quality of the author’s moral and spiritual judgments.”—The Washington Post
“A powerful, haunting book that works its way beneath your skin.”—The Guardian (U.K.)
“This learned and engaging book brims with pleasures.”—Newsday
“Original and eye-opening . . . At his best, Brooks is a normative version of Malcolm Gladwell, culling from a wide array of scientists and thinkers to weave an idea bigger than the sum of its parts.”—USA Today
“There is something affecting in the diligence with which Brooks seeks a cure for his self-diagnosed shallowness by plumbing the depths of others.”—Rebecca Mead, The New Yorker
From the Hardcover edition.
“Every page sparkles with sharp insight and keen observation. Mistakes were made—but not in this book!” —Daniel Gilbert, author of Stumbling on Happiness
Why is it so hard to say “I made a mistake”—and really believe it?
When we make mistakes, cling to outdated attitudes, or mistreat other people, we must calm the cognitive dissonance that jars our feelings of self-worth. And so, unconsciously, we create fictions that absolve us of responsibility, restoring our belief that we are smart, moral, and right—a belief that often keeps us on a course that is dumb, immoral, and wrong. Backed by years of research, Mistakes Were Made (But Not by Me) offers a fascinating explanation of self-justification—how it works, the damage it can cause, and how we can overcome it. This updated edition features new examples and concludes with an extended discussion of how we can live with dissonance, learn from it, and perhaps, eventually, forgive ourselves.
“A revelatory study of how lovers, lawyers, doctors, politicians—and all of us—pull the wool over our own eyes . . . Reading it, we recognize the behavior of our leaders, our loved ones, and—if we’re honest—ourselves, and some of the more perplexing mysteries of human nature begin to seem a little clearer.” —Francine Prose, O, The Oprah Magazine
For Deep Down Dark, the Pulitzer Prize–winning journalist Héctor Tobar received exclusive access to the miners and their tales. These thirty-three men came to think of the mine, a cavern inflicting constant and thundering aural torment, as a kind of coffin, and as a church where they sought redemption through prayer. Even while still buried, they all agreed that if by some miracle any of them escaped alive, they would share their story only collectively. Héctor Tobar was the person they chose to hear, and now to tell, that story.
The result is a masterwork or narrative journalism—a riveting, at times shocking, emotionally textured account of a singular human event. Deep Down Dark brings to haunting, tactile life the experience of being imprisoned inside a mountain of stone, the horror of being slowly consumed by hunger, and the spiritual and mystical elements that surrounded working in such a dangerous place. In its stirring final chapters, it captures the profound way in which the lives of everyone involved in the disaster were forever changed.
Duneier spent five years with these individuals, and in Sidewalk he argues that, contrary to the opinion of various city officials, they actually contribute significantly to the order and well-being of the Village. An important study of the heart and mind of the street, Sidewalk also features an insightful afterword by longtime book vendor Hakim Hasan. This fascinating study reveals today's urban life in all its complexity: its vitality, its conflicts about class and race, and its surprising opportunities for empathy among strangers.
Sidewalk is an excellent supplementary text for a range of courses:
INTRODUCTION TO SOCIOLOGY: Shows how to make important links between micro and macro; how a research project works; how sociology can transform common sense.
RACE AND ETHNIC RELATIONS: Untangles race, class, and gender as they work together on the street.
URBAN STUDIES: Asks how public space is used and contested by men and women, blacks and whites, rich and poor, and how street life and political economy interact.
DEVIANCE: Looks at labeling processes in treatment of the homeless;
interrogates the "broken windows" theory of policing.
LAW AND SOCIETY: Closely examines the connections between formal and informal systems of social control.
METHODS: Shows how ethnography works; includes a detailed methodological appendix and an afterword by research subject Hakim Hasan.
CULTURAL ANTHROPOLOGY: Sidewalk engages the rich terrain of recent developments regarding representation, writing, and authority; in the tradition of Elliot Liebow and Ulf Hannerz, it deals with age old problems of the social and cultural experience of inequality; this is a telling study of culture on the margins of American society.
CULTURAL STUDIES: Breaking down disciplinary boundaries, Sidewalk shows how books and magazines are received and interpreted in discussions among working-class people on the sidewalk; it shows how cultural knowledge is deployed by vendors and scavengers to generate subsistence in public space.
SOCIOLOGY OF CULTURE: Sidewalk demonstrates the connections between culture and human agency and innovation; it interrogates distinctions between legitimate subcultures and deviant collectivities; it illustrates conflicts over cultural diversity in public space; and, ultimately, it shows how conflicts over meaning are central to social life.