The concluding chapter by Amy de la Haye, covering the second half of the twentieth century, has now been updated by Andrew Tucker. He discusses the reinvention in the 1990s of the luxury label Gucci, the rise of houses such as Prada and Tommy Hilfiger, and the appointments of relatively avant-garde British, American, and European designers to head classic French houses. All the late-twentieth-century and turn-of-the-century style innovations are included, such as the appropriation of utility clothing by designers like Helmut Lang—who spearheaded the predominantly unisex urban sportswear look—and the impact of workplace dressing down on masculine fashion. The phenomenon of the must-have accessory—the pashmina shawl and the Fendi baguette, for example—is also considered.

    In this richly textured anthology, well-known scholar David Brackett brings together more than 100 readings from a wide range of sources and by writers who have played an integral part in the development of popular music criticism. Brackett includes articles from mainstream and specialized magazines, newspapers, and scholarly journals, as well as interviews and autobiographies of musicians and other music industry insiders. Organized into broad time periods, the chapters are divided into sections by genre, and these sections are organized chronologically. The chapter divisions parallel those found most frequently in textbooks on popular music. Representing a wide variety of time periods, styles, and genres--and including groundbreaking criticism on disco, hip-hop, rap, and techno--the selections introduce students to important social and cultural issues raised by the study of popular music. Topics covered include the role of race, class conflict, gender roles, regional differences in the reception of popular music, and the relative value of artistry versus commerce. Extensive editorial introductions and headnotes supply context for the selections, provide links between different eras and genres, clarify the issues raised by the documents, and explain their historical significance. The second edition of this captivating anthology features eleven new source readings and introductions, further reading and discography selections for each chapter, and a companion website containing student and instructor resources.

    Fifteenth-century handbook, written by a working artist of the day, reveals secrets and techniques of the masters in drawing, oil painting, frescoes, panel painting, gilding, casting, more. Direct link to artists of the Middle Ages. Translation and Introduction by D. V. Thompson. "Delightful flavor..." — N.Y. Herald Tribune.

    Frida Kahlo—born in 1907 near Mexico City—learned about pain at a very early age. She contracted polio at six, and then at eighteen suffered serious and permanent injury to her right leg and pelvis in a terrible bus accident. Young and undaunted, she went on to fall in love with the great mural painter Diego Rivera at a time when their native Mexico was going through a period of thrilling political and cultural upheaval. Rivera and Kahlo were a legendary couple—both were impassioned, lifelong communists while fervently attached to traditional Mexican Indian culture, and both were driven by a relentless artistic ambition that surmounted all the dramas that plagued their marriage.Later, Frida became the friend and lover of Leon Trotsky. She was greatly admired by the Surrealists and sat for some of the greatest photographers of her day. Her art largely consisted of self-portraits, like the famous paintings The Two Fridas and The Broken Column, though she also left many striking still-lives.In Frida Kahlo: Painting Her Own Reality, Christina Burrus assesses Frida Kahlo’s extraordinary work—a maelstrom of cruelty, humor, candor, and insolence reflecting the essence of a free, beautiful, courageous woman who concealed her physical pain behind peals of infectious laughter.

    In this gorgeously wrought, award-winning novel, Vásquez confronts the history of his home country, Colombia.In the city of Bogotá, Antonio Yammara reads an article about a hippo that had escaped from a derelict zoo once owned by legendary Colombian drug kingpin Pablo Escobar. The article transports Antonio back to when the war between Escobar’s Medellín cartel and government forces played out violently in Colombia’s streets and in the skies above.Back then, Antonio witnessed a friend’s murder, an event that haunts him still. As he investigates, he discovers the many ways in which his own life and his friend’s family have been shaped by his country’s recent violent past. His journey leads him all the way back to the 1960s and a world on the brink of change: a time before narco-trafficking trapped a whole generation in a living nightmare.Vásquez is “one of the most original new voices of Latin American literature,” according to Nobel Prize winner Mario Vargas Llosa, and The Sound of Things Falling is his most personal, most contemporary novel to date, a masterpiece that takes his writing—and will take his literary star—even higher.*Winner of the 2014 International IMPAC DUBLIN Literary Award

    Installation Art provides the first clear account of the rise of installation as a form while revisiting and, in some cases, reassessing many well-known names of post-1960 art. This lavishly produced volume also introduces the reader to a wider spectrum of younger artists yet to receive serious critical attention. Artists featured include Vito Acconci, Joseph Beuys, Christian Boltanski, Marcel Broodthaers, Judy Chicago, Olafur Eliasson, Group Material, Isaac Julien, Ilya Kabakov, Yayoi Kusama, Cildo Meireles, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Smithson, Bill Viola, and many others.

    Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture. 8 illustrations.

    Unparalleled in scope, attentive to the paradoxes of Latin American reality, and known for its fine-grained interpretation, it is now available for the first time in English. Revised and updated by the author, superbly translated, this landmark of Latin American historiography will be accessible to an entirely new readership. Beginning with a survey of the late colonial landscape, The Contemporary History of Latin America traces the social, economic, and political development of the region to the late twentieth century, with special emphasis on the period since 1930. Chapters are organized chronologically, each beginning with a general description of social and economic developments in Latin America generally, followed by specific attention to political matters in each country. What emerges is a well-rounded and detailed picture of the forces at work throughout Latin American history.This book will be of great interest to all those seeking a general overview of modern Latin American history, and its distinctive Latin American voice will enhance its significance for all students of Latin American history.

    Miguel León-Portilla had the incomparable success of organizing texts translated from Nahuatl by Ángel María Garibay Kintana to give us the The Aztec Account of the Conquest of Mexico: Indigenous people of Tenochtitlán, Tlatelolco, Texcoco, Chalco and Tlaxcala were formed about the struggle against the conquerors and the final ruin of the Aztec world.An account of the omens that announced the disaster, a description of Cortes' progress, a chronicle of the heroic battle of the ancient Mexicans in defense of their culture and of their own lives, a civilization that was lost forever, a great epic poem of the origins of Mexican nationality, The Aztec Account of the Conquest of Mexico is already a classic book and an indispensable reading work.

    Art

    Fox's victory marked the triumph of another Mexico, a vital, energetic, and creative Mexico tracked by Quinones for over six years.This side of Mexico gets very little press. . . . yet it is the best of the country. . . . people who have the spunk to imagine something else and instinctively flee the enfeebling embrace of PRI paternalism. . . . newly realistic telenovellas show the gray government censor that the country is too lively to abide his boss's dictates. . . . Some twelve million Mexicans reside year-round in the United States. . . . [so] the United States is now part of the Mexican reality and is where this other side of Mexico is often found, reinventing itself.--from the introduction.Quinones merges keen observation with astute interviews and storytelling in his search for an authentic modern Mexico. He finds it in part in emigrants, people who use wits and imagination to strike out on their own. In poignant stories from north of the border--about Oaxacan basketball leagues in southern California and the late singing legend Chalino S�nchez whose songs of drug smugglers spurred the popularity of the narcocorrido--Quinones shows how another Mexico is reinventing itself in America today. But most of his stories are from deep inside Mexico itself. There a dynamic sector exists. It is made up of those who instinctively shunned the enfeebling embrace of the PRI's paternalism, including scrappy entrepreneurs such as the Popsicle Kings of Tocumbo and Indian migrant farmworkers who found a future in the desert of Baja California. Here, too, are true tales from ignored margins of society, including accounts of drag queens and lynchings. From the fringes of the country, Quinones suggests, emerge some of the most telling and central truths about modern Mexico and how it is changing.This book expands our knowledge of modern Mexico many times over. Quinones unearths a wealth of material that has in fact gone unnoticed or been hidden.--Professor Francisco Lomel�, University of California, Santa Barbara

    God has been outlawed, and the priests have been systematically hunted down and killed. Now, the last priest is on the run. Too human for heroism, too humble for martyrdom, the nameless little worldly “whiskey priest” is nevertheless impelled toward his squalid Calvary as much by his own compassion for humanity as by the efforts of his pursuers.   In his introduction, John Updike calls The Power and the Glory, “Graham Greene’s masterpiece…. The energy and grandeur of his finest novel derive from the will toward compassion, an ideal communism even more Christian than Communist.”

    In 1653, the twenty-one-year-old son of an innkeeper, the artist Jan Vermeer, registered as a master painter with the city's Guild. Vermeer married well, had many children, and enjoyed a respectable local reputation as a painter until his death in 1675. But it was not until the mid-nineteenth century that his genius was widely appreciated. Today, Vermeer's thirty-five paintings are regarded as masterpieces.In Vermeer, Anthony Bailey presents a compelling portrait of Vermeer's life and character, long lost in history. Bailey re-creates the atmosphere of the times, introduces Vermeer's contemporaries, and portrays his domestic life in vibrant detail. Drawing on period documents and his own intense curiosity, Bailey sheds light on the science and artistry behind the glorious, almost mystical, paintings. Meticulously researched and elegantly written, Vermeer will stand as the classic work on Vermeer for years to come.

    Based on the 1999 Walter Neurath Memorial Lecture, this book uses the work of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can never be simply collapsed into the physicality of their support.

    But she had no choice: violence—from gangs, from crime, from spiraling chaos—was making daily life hell. Rosy knew her family’s one chance at survival was to flee Guatemala and go north.After a brutal journey that left them dehydrated, exhausted, and nearly starved, Rosy and her two little boys arrived at the Arizona border. Almost immediately they were seized and forcibly separated by government officials under the Department of Homeland Security’s new “zero tolerance” policy. To her horror Rosy discovered that her flight to safety had only just begun.In The Book of Rosy, with an unprecedented level of sharp detail and soulful intimacy, Rosy tells her story, aided by Julie Schwietert Collazo, founder of Immigrant Families Together, the grassroots organization that reunites mothers and children. She reveals the cruelty of the detention facilities, the excruciating pain of feeling her children ripped from her arms, the abiding faith that staved off despair—and the enduring friendship with Julie, which helped her navigate the darkness and the bottomless Orwellian bureaucracy.A gripping account of the human cost of inhumane policies, The Book of Rosy is also a paean to the unbreakable will of people united by true love, a sense of justice, and hope for a better future.