The collected posts of surreal website LiarTownUSA satirizing weird vintage books, albums, posters, and other printed ephemera of pop culture.

    Considering Indian art within a chronological framework, Vidya Dehejia analyses the great cities of the Indus civilization, the serene Buddha image, the intriguing art of cave sites, the sophisticated temple-building traditions, the luxurious art of the Mughal court, the palaces and pavilions of Rajasthan, the churches of Portuguese Goa, the various forms of art in the British Raj and the issues related to taking Indian art into the twenty-first century.

    This funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but that we’re too embarrassed to ask. Questions such as: What is “good” or “bad” art—and does it even matter? Is art still capable of shocking us or have we seen it all before? And what happens if you place apiece of art in a rubbish dump?

     Suzanne and Gertrude is a tale of intermittent griefs and wonderments. How do we live, not just with each other, but with memories, with impermanence, with the inevitable melancholy of being?   Suzanne and Gertrude is a spare novel with a profound impact.

    Written by J. Jason Horejs, owner of Xanadu Gallery in Scottsdale, AZ, Starving to Successful will give you pragmatic advice and concrete, actionable steps you can begin implementing immediately to become more successful in marketing your work to galleries.Gain insight into what a gallery owner is thinking as he or she reviews your portfolio. Understand why the most common approaches artists make to galleries are largely ineffective. Learn what most artists fail to do in preparing their work for sale.Starving to Successful will change the way you look at the artist/gallery relationship, and will set your art career on a new path.About the AuthorArt flows through Xanadu Gallery owner J. Jason Horejs veins. Second generation in the art business, (Horejs father is a nationally recognized oil painter John Horejs) Horejs life has always been filled with art. Though not interested in pursuing a life as an artist, Horejs fell in love with the business side of art at an early age. At age 12, the future gallery owner was employed by his father building custom canvas stretchers.In 1991, at the age of 17, Horejs began working for Legacy Gallery in Scottsdale, AZ, where he learned the gallery business from the ground up. Horejs handled logistics, shipping and installation, eventually working into a sales position at the western art gallery. Horejs worked in the gallery s Scottsdale and Jackson Hole, WY, locations.In 2001, Jason and his wife, Carrie, opened Xanadu Gallery in Scottsdale. In spite of opening on September 11th into a completely changed art world, Horejs built the gallery into a successful venture, showing dozens of artists and selling to collectors from around the world, including major municipal and private collections.In 2008, Horejs developed a series of art marketing workshops designed to help artists better understand the gallery business and better prepare themselves to approach galleries. This series of workshops has helped hundreds of artists get organized to show and sell their work through galleries."I discovered," says Horejs, "there was very little information out there for the aspiring professional artist regarding the business side of art, especially in terms of the crucial relationship between the artists and the fine art gallery. Even artists who have graduated with master s degrees leave school having never heard a word about how to approach galleries."Horejs observes that artists approaching his gallery are making many of the same mistakes, not because their work isn t gallery-ready, but simply because they don t have a clear idea of how to proceed. Horejs designed his workshops working closely with his parents and other artists who have learned the ropes of working with galleries by trial and error. The clear-headed advice the gallery owner gives is designed to give the artists concrete steps they can take to prepare their work, research galleries and approach galleries for representation.

    Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

    Compiled and written by 'New Musical Express' editors Roy Carr and Tony Tyler, with over 200 illustrations, a complete diary, selected quotes and all possible recording details.

    But she was gone and he was old. Nearly seventy. Only cool paint met his fingers. “Ma très chère . . .” Darkness started to fall, dimming the paintings. He felt the crumpled letter in his pocket. “I loved you so,” he said. “I never would have had it turn out as it did. You were with all of us when we began, you gave us courage. These gardens at Giverny are for you but I’m old and you’re forever young and will never see them. . . .”  In the mid-nineteenth century, a young man named Claude Monet decided that he would rather endure a difficult life painting landscapes than take over his father’s nautical supplies business in a French seaside town. Against his father’s will, and with nothing but a dream and an insatiable urge to create a new style of art that repudiated the Classical Realism of the time, he set off for Paris. But once there he is confronted with obstacles: an art world that refused to validate his style, extreme poverty, and a war that led him away from his home and friends. But there were bright spots as well: his deep, enduring friendships with men named Renoir, Cézanne, Pissarro, Manet – a group that together would come to be known as the Impressionists, and that supported each other through the difficult years. But even more illuminating was his lifelong love, Camille Doncieux, a beautiful, upper-class Parisian girl who threw away her privileged life to be by the side of the defiant painter and embrace the lively Bohemian life of their time.  His muse, his best friend, his passionate lover, and the mother to his two children, Camille stayed with Monet—and believed in his work—even as they lived in wretched rooms, were sometimes kicked out of those, and often suffered the indignities of destitution. She comforted him during his frequent emotional torments, even when he would leave her for long periods to go off on his own to paint in the countryside. But Camille had her own demons – secrets that  Monet could never penetrate, including one that when eventually revealed would pain him so deeply that he would never fully recover from its impact. For though Camille never once stopped loving the painter with her entire being, she was not immune to the loneliness that often came with being his partner.  A vividly-rendered portrait of both the rise of Impressionism and of the artist at the center of the movement, Claude and Camille is above all a love story of the highest romantic order.

     The true story of how mildly successful guitarist and New York Times writer Dan Crane relinquished his instrument and became Björn Türoque (pronounced "b-yorn too-RAWK"), the second greatest air guitarist in the nation. This exploration of the international air guitar sub-culture addresses the issue of dedicating oneself to an invisible art in order to achieve the ultimate goal of "airness"-that is, when air guitar transcends the "real" art that it imitates and becomes an art form in and of itself.

    At the centre of the novel is Lena, a troubled girl who has " chosen" Mason and will teach him something of desire and despair. Impulsive, provocative, vulnerable, and sad, Lena becomes haunting for Mason in ways he does not always understand. We meet Mason's first " love, " an older girl destined for an arranged marriage; his mother, who takes a lover; and a wise and erudite blind man with a voyeuristic streak, to whom Mason reads. Playful, and with deadpan humour, the novel brilliantly captures the yearnings of youth, as well as the tantalizing possibilities and the confounding absurdities that sometimes lie at the heart of our most intimate relationships.

    

    Altered forms and transfigured ideas. Power and vulnerability. Parallel universes of the heart and mind. Space and time. In a few brief years, the stunning visual oeuvre of Tara McPherson has grown and evolved at thrilling speed. Expanding beyond the limits of rock poster art into the worlds of commercial illustration and fine art, her paintings, drawings, toys, sculptures, and installations have pushed her influence and authority across the breadth of creative expression and helped redefine the boundaries of pop surrealism. Lost Constellations: The Art of Tara McPherson Volume 2 is the compelling road map to the artist's most recent and ambitious journeys in paint, pencil, and vinyl.

    It will enrich the classes that current teachers are giving and gives the new teacher confidence and pride when providing that very first class. Practitioners will have a greater understanding of how to apply Reiki and what is actually happening during a session. You will never again be afraid or even worried about teaching a Reiki class or giving the attunement. You will be pleased and your students will be grateful for the rich content in your classes. "The Reiki Teacher's Manual" is a precise step-by-step guide to instruct all three levels or degrees of Reiki. This manual and its format provide you with: A concise manual that is user friendly; A quick reference to answer student's questions; Consecutive steps with time approximations to make sure you teach all the information and still have plenty of time for the hands on practice sessions. How to get the most for your students during their hands on practice; How to increase the power of your attunement; How to teach the attunement to others; Goals for different segments of each class; Detailed descriptions and uses for the symbols; 15 handouts that are concise, informative, and can be copied from the book; Complete written explanations for each handout; A list of supplies for each level and suggestions for your classroom environment; Guidelines in opening your own Reiki practice; Information regarding state licensing needs; How to avoid issues with physicians and the medical community.

    Critics and popular audiences alike marveled at these quilts that combined the best of contemporary design with a deeply rooted ethnic heritage and compelling human stories about the women. Gee's Bend: The Architecture of the Quilt is a major book and museum exhibition that will premiere at the Museum of Fine Arts, Houston (MFAH), in June 2006 before traveling to seven American museums through 2008. The book's 330 color illustrations and insightful text bring home the exciting experience to readers while displaying all the cultural heritage and craftsmanship that have gone into these remarkable quilts.

    The Charles of the painting was young—too young to be king—and yet also too young to be painted by the Flemish painter to which the work was attributed. Snare had found something incredible—but what?His research brought him to Diego Velazquez, whose long-lost portrait of Prince Charles has eluded art experts for generations. Velázquez (1599–1660) was the official painter of the Madrid court, during the time the Spanish Empire teetered on the edge of collapse. When Prince Charles of England—a man wealthy enough to help turn Spain’s fortunes—ventured to the court to propose a marriage with a Spanish princess, he allowed just a few hours to sit for his portrait. Snare believed only Velázquez could have met this challenge. But in making his theory public, Snare was ostracized, victim to aristocrats and critics who accused him of fraud, and forced to choose, like Velázquez himself, between art and family.A thrilling investigation into the complex meaning of authenticity and the unshakable determination that drives both artists and collectors of their work, The Vanishing Velázquez travels from extravagant Spanish courts in the 1700s to the gritty courtrooms and auction houses of nineteenth-century London and New York. But it is above all a tale of mystery and detection, of tragic mishaps and mistaken identities, of class, politics, snobbery, crime, and almost farcical accident. It is a magnificently crafted page-turner, a testimony to how and why great works of art can affect us to the point of obsession.