It ends in around 1800 when the rough outline of the contemporary North America could be perceived.Dropping the usual Anglocentric description of North America's fate, Taylor brilliantly conveys the far more vivid and startling story of the competing interests--Spanish, French, English, Native, Russian--that over the centuries shaped and reshaped both the continent and its 'suburbs' in the Caribbean and the Pacific. It is one of the greatest of all human stories.

    High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years.

    The richness of Native American artis emphasized through discussions of basketry, wood and rock carvings, dance masks, and beadwork, alongside the contemporary vitality of paintings and installations by modern artists such as Robert Davidson, Emmi Whitehorse, and Alex Janvier. Authors Berlo and Philips fully incorporate substantivenew research and scholarship, and examine such issues as gender, representation, the colonial encounter, and contemporary arts. By encompassing both the sacred and secular, political and domestic, the ceremonial and commercial, Native North American Art shows the importance of the visual arts inmaintaining the integrity of spiritual, social, political, and economic systems within Native North American societies.

    Art

    The slave woman struggled to avoid an unwanted husband and the woman of privilege assumed a patriarch's role to endow a family of her former slaves with the means for a free life. Sandra Lauderdale Graham casts new light on larger meanings of slave and free, female and male, through these compact histories.

    A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams.With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by John Berger's eloquence and courageous moral imagination.

    Bernal Díaz del Castillo, himself a soldier under Cortes, presents a fascinatingly detailed description of the Spanish landing in Mexico in 1520, their amazement at the city, the exploitation of the natives for gold and other treasures, the expulsion and flight of the Spaniards, their regrouping and eventual capture of the Aztec capital. The Conquest of New Spain has a compelling immediacy that brings the past to life and offers a unique eyewitness view of the conquest of one of the greatest civilizations in the New World.J. M. Cohen’s clear, fluent translation is supplemented by an introduction that illuminates the life and memories of Bernal Díaz and explores changing views of the conquest, and there are also maps of the conquered territory.

    Coe's Mexico has long been recognized as the most readable and authoritative introduction to the region’s ancient civilizations. This companion to his best-selling The Maya has now been completely revised and expanded for the fifth edition by Professor Coe and Rex Koontz. Colour plated an a section on touring Mexico have been added, making the book an even more valuable companion on any visit to Mexico's rich archaeological treasures.

    In none of them would he find the wife to seal the emotional bond that he so perfectly imagined and ardently desired. He described it, too, in his correspondence, not only in the remarkable, justly famous letters exchanged with his brother Theo, but also in heartfelt missives to his aggrieved mother, his loyal sister Wil, and his devoted sister-in-law Johanna. Focusing especially on van Gogh’s letters to these three steadfast women he called his sisters, award-winning author Derek Fell examines Vincent’s interior life and poignantly documents his emotional decline. Indeed, the blows that Vincent’s psyche suffered—like his rejection by Kee and a dramatic showdown with her father in which the devastated Vincent held his hand in a lantern’s flame—continually undermined his self-worth. In a sensitive reading and astute interpretation of van Gogh’s own written words, Fell illuminates the passions that at once commanded Vincent’s genius and tormented his heart. Many illustrations are included in this revealing life of the artist, as seen through the lens of his loves and losses.

    It focuses on critical analysis of the subject through a workbook section and self-quizzes along with prompts to explore the chapter's images and topics through the ArtStudy 2.0 CD-ROM, Web Site, and WebTutor? supplements.

    Under the singular and brilliant lens that Ulrich brings to this study, ordinary household goods--Indian baskets, spinning wheels, a chimneypiece, a cupboard, a niddy-noddy, bed coverings, silk embroidery, a pocketbook, a linen tablecloth, a coverlet and a rose blanket, and an unfinished stocking--provide the key to a transformed understanding of cultural encounter, frontier war, Revolutionary politics, international commerce, and early industrialization in America. We discover how ideas about cloth and clothing affected relations between English settlers and their Algonkian neighbors. We see how an English production system based on a clear division of labor—men doing the weaving and women the spinning--broke down in the colonial setting, becoming first marginalized, then feminized, then politicized, and how the new system both prepared the way for and was sustained by machine-powered spinning.Pulling these divergent threads together into a rich and revealing tapestry of --the age of homespun,--Ulrich demonstrates how ordinary objects reveal larger economic and social structures, and, in particular, how early Americans and their descendants made, used, sold, and saved textiles in order to assert identities, shape relationships, and create history.

    In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one.Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.

    Emphasizing conflict and change, One Vast Winter Count offers a new look at the early history of the region by blending ethnohistory, colonial history, and frontier history. Drawing on a wide range of oral and archival sources from across the West, Colin G. Calloway offers an unparalleled glimpse at the lives of generations of Native peoples in a western land soon to be overrun.

    The palace itself has been radically altered since 1789, and the court was long ago swept away. Versailles sets out to rediscover what is now a vanished world: a great center of power, seat of royal government, and, for thousands, a home both grand and squalid, bound by social codes almost incomprehensible to us today.Using eyewitness testimony as well as the latest historical research, Spawforth offers the first full account of Versailles in English in over thirty years. Blowing away the myths of Versailles, he analyses afresh the politics behind the Sun King’s construction of the palace and shows how Versailles worked as the seat of a royal court. He probes the conventional picture of a “perpetual house party” of courtiers and gives full weight to the darker side: not just the mounting discomfort of the aging buildings but also the intrigue and status anxiety of its aristocrats. The book brings out clearly the fateful consequences for the French monarchy of its relocation to Versailles and also examines the changing place of Versailles in France’s national identity since 1789. Many books have told the stories of the royals and artists living in Versailles, but this is the first to turn its focus on the palace itself---from architecture and politics to scandal and restoration.

    Inga Clendinnen's account of the Aztecs recreates the culture of that city in its last unthreatened years. It provides a vividly dramatic analysis of Aztec ceremony as performance art, binding the key experiences and concerns of social existence in the late imperial city to the mannered violence of their ritual killings.