With four new additions to the series, travelers can venture into new lands. The canals and waterways of St. Petersburg are present as well as famous museums, palaces, and churches. Cutaway artworks and full-color 3D maps combine with beautiful photography to highlight the essential elements of an area. Fully illustrated survival guide section. Accommodations, entertainment, and currency included.

    Rescued from neglect, he has become a cultural icon in the late twentieth century, not only for his art but also because of his violent and tragic life. Catherine Puglisi's highly praised monograph, now available for the first time in paperback, supersedes all previous studies of the artist. Making full use of new research and dramatic recent discoveries, she has produced a precise, clear-headed and comprehensive work of scholarship that also provides a moving biography of the artist and a penetrating analysis of the genius with which he absorbed and transformed the artistic tradition of his time. All Caravaggio's works are discussed and illustrated in colour, and the book has an appendix of documents, full notes and bibliography, checklist of works and full indexes. This authoritative and beautifully produced monograph is the standard work on Caravaggio.

    Lee's fascinating play . . . goes far beyond cheap satire, ultimately becoming a compassionate and stimulating exploration of one man's existential crisis . . . She proves unexpectedly adept at strict naturalism . . . [A] mournful and inquisitive play."—New York Times"She sacrifices nothing; bodies, voices, jokes, food, tragedy, cities are all artistic fodder, as are her various selves and the mirthful, bloody life of her imagination."—New YorkerProvocative playwright Young Jean Lee lends her shrewd perspective to this atypical take on the family drama. A father and his three sons unite and unravel, both aware of and undone by privilege and its pressure. When inherent social expectation conflicts with a desire to remain stagnant, the resulting identity confusion is new territory for the tightknit family. Strikingly observant and curiously drawn, Lee departs from her experimental style to create a naturalistic observation of the most socially unobstructed of our species, the straight white male.Young Jean Lee has been hailed as "one of the best experimental playwrights in America" by Time Out New York. She has written and directed nine shows in New York with Young Jean Lee's Theater Company and toured her work to over twenty cities around the world. Her other plays include We're Gonna Die, Untitled Feminist Show, The Shipment, Lear and Songs of the Dragons Flying to Heaven. Awards include two Obies, the Festival Prize of the Zuercher Theater Spektakel, a Prize in Literature from the American Academy of Arts and Letters, a Guggenheim Fellowship and a Doris Duke Artist Award.

    But Gregor Muir knew them at the start; his unique memoir chronicles the birth of Young British Art. Muir, YBA’s ‘embedded journalist’, happened to be in Shoreditch and Hoxton before Jay Jopling arrived with his White Cube Gallery, when this was still a semi-derelict landscape of grotty pubs and squats. There he witnessed, amid a whirl of drunkenness, scrapes and riotous hedonism, the coming-together of a remarkable array of young artists – Hirst, the Chapman brothers, Rachel Whiteread, Sam Taylor-Wood, Angus Fairhurst - who went on to produce a fresh, irreverent, often notorious form of art - Hirst’s shark, Sarah Lucas’s two fried eggs and a kebab. By the time of the seminal Sensation show at the Royal Academy YBA had changed the art world for ever.

    In Windsor's opinion, Pushkin is throwing away every good thing she has given him. When she was an unwed teen mother, Windsor attended Harvard, leaving her shady Detroit roots behind. She raised her son to be fiercely intelligent, well-spoken, and proud. Now he lives for pro football and a white woman of no account. Outraged by her son's decisions but devoted to loving him right, Windsor prepares to give up her last secret: the identity of Pushkin's father.

    In this new edition, new studies have been incorporated and the evaluation sections in each chapter have been expanded, ensuring that the book remains as fresh, engaging and useful as the day it was first published.

    This pitch-perfect illustrated book proves this simple fact by diving whiskers first into the unique personality, charisma, and character of 50 real all-black cats. From Alfie, who "has no tolerance for wet humans or being ignored," to Sashi, who "enjoys freeze-dried chicken by candlelight and full-on body rubs," each cat comes to life through a lovingly hand-drawn portrait and quick-witted profile. Delightfully quirky and utterly charming, this motley crew of black cats will win over anyone with a dry sense of humor.

    Either way, the primal materials of which this book is comprised -- love, sex, adolescence, space-time, depression, post-colonialism, and sugar -- are movingly and mysteriously transmuted: not into gold, but into a poet's philosopher's stone, in which language marries life.Structurally virtuosic, elaborate without being ornate, Loose Sugar is spun into series within series: each of the five sections has a dual heading (such as "space / time" or "time / work") in which the terms are neither in collision nor collusion, but in conversation. It's elemental sweet talk, and is Brenda Hillman's most experimental work to date, culminating in a meditation on the possibility of a native -- and feminine -- language.

    The first trip involved the last rites of her grandmother. The second involved a wedding, thankfully, but she returned home to her mother's funeral. She has never forgiven her mother for leaving her alone in a house full of men. Is there anyone at home she can share her deepest thoughts with? Anyone who can lend an ear to her endless relationship issues, manic obsessions and simple aspirations? Who's got the time? Kittu might live in a full house, but sometimes, she feels like she's all alone in the world. A House Full of Men is a novel about false starts and failed attempts, love and the importance of being understood.

    From her well-remembered New Yorker essays about the financial demands of big-city ambition and the ethereal, strangely old-fashioned allure of cyber relationships to her dazzlingly hilarious riff in Harper's about musical passions that give way to middle-brow paraphernalia, Daum delves into the center of things while closely examining the detritus that spills out along the way. She speaks to questions at the root of the contemporary experience, from the search for authenticity and interpersonal connection in a society defined by consumerism and media; to the disenchantment of working in a "glamour profession"; to the catastrophic effects of living among New York City's terminal hipsters. With precision and well-balanced irony, Daum implicates herself as readily as she does the targets that fascinate and horrify her. In a review of The KGB Bar Reader, in which Daphne Merkin singled out Daum's essay about the inability to mourn a friend's death, Merkin wrote: "It's brutally quick, the way this happens, this falling in love with a writer's style. Daum's story hooked me by the second line. Hmm, I thought, this is a writer worth suspending my routines for."

    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.

    But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young

    MRM5 includes expert advice from more than 60 acknowledged leaders in their disciplines. New with the 5th Edition are special teaching sections that challenge students and seasoned staff alike with questions about the process and procedures of accessioning and caring for objects. Contains bibliography, glossary and multiple sample forms. MRM5 continues a tradition of museum publishing that began with the inaugural edition in 1958.

    When he meets Julia Fitzpatrick, it seems as if this period of turbulence and misfortune is at an end.

    The life story, character and friends of Jacob are presented in a series for separate scenes and moments from his childhood, through college at Cambridge, love affairs in London, and travels in Greece, to his death in the war. Jacob's Room established Virginia Woolf's reputation as a highly poetic and symbolic writer who places emphasis not on plot or action but on the psychological realm of occupied by her characters.