Edith Fiore explains how to detect spirit possession in yourself and others, how to protect yourself from entities, how to release your home from displaced spirits, and how to perform a depossession. Filled with shocking case histories.

    In this volume the author resurrects the world of goddess-worshipping, earth-centred cultures, bringing ancient matriarchal society to life.

    The subject of the first essay was John F. Kennedy and his young family, who sat for formal black-and-white portraits just three weeks prior to Kennedy's presidential inauguration. Six images appeared in the magazine's February 1961 issue.That same day, Avedon created more informal color portraits of Kennedy and his family at the Kennedy compound in Palm Beach. One of these images ran as the cover of LOOK magazine's February 28 issue, with photographs by Avedon inside. Just before the magazine hit the newsstands and was delivered to over 6.5 million people, a set of photographs, comprised mostly of the LOOK images, was released by the White House and appeared in newspapers across the country.During his lifetime, Richard Avedon donated more than two hundred images to the Smithsonian Institution, including all of the photographs of the Kennedy family sitting for Harper's Bazaar. Smithsonian curator Shannon Thomas Perich has culled more than seventy-five images from that donation for The Kennedys: Portrait of a Family, making these stunning photographs available for view for the first time. Perich's introductory essay—accompanied by a wealth of archival photographs of both Avedon and the Kennedy family—provides historical background on the two sittings within a political and cultural context and critically examines the work of one of the finest photographers of the twentieth century. A foreword by Robert Dallek, distinguished historian and author of the bet-selling An Unfinished Life: John F. Kennedy, 1917-1963, provides authoritative and compelling insight to one of the most fascinating presidents in American history.

    "An unprecedented account of the shaman's world and the way it is entered."Stanley Krippner, PhD, coauthor of Personal Mythology: The Psychology of Your Evolving Self and Healing State.Black Elk opens the Lakota sacred hoop.

    Originally published in 1986, this dark, democratic environment provided the setting for photographer Bruce Davidson's first extensive series in color. Subway riders are set against a gritty, graffiti-strewn background, displayed in tones Davidson described as "an iridescence like that I had seen in photographs of deep-sea fish." Never before has the subway been portrayed in such detail, revealing the interplay of its inner landscape and out vistas. The images include lovers, commuters, tourists, families, and the homeless. From weary straphangers to languorous ladies in summer dresses to stalking predators, Davidson's compassionate vision illuminates the stubborn survival of humanity. From the spring of 1980 to 1985, Davidson explored and shot six hundred miles of subway tracks. In his own words, "I wanted to transform this subway from its dark, degrading, and impersonal reality into images that open up our experience again to the color, sensuality, and vitality of the individual souls that ride it each day." Now nearly 25 years later, and on the eve of the subway's 100th anniversary, St. Ann's Press is publishing a new edition of Davidson's classic book. This edition adds forty unseen images to the original book, and includes a new introduction by Arthur Ollman of the Museum of Photographic Art in San Diego, and a foreword by Fred Braithwaite (aka Fab Five Freddy), the original graffiti artist. It also includes Bruce Davidson and Henry Geldzahler's original essays.

      Making art does not necessarily mean painting a gallery-worthy still life or belting out a Grammy-winning song. It simply means finding a way to give your inner muse a voice in this world. Sure, there’s drawing, dancing, singing, and writing. But there’s also art to be made from creating your own pair of angel wings or inventing a new toy or curating your own at-home film festival.   Each week features a project of self-examination, an inspirational message, a real-world example of a celebrity who has addressed similar obstacles, and three zany activities to awaken your infinite creativity.   It’s time to declare the beat of your own drum.

    D?rer's importance in the German High Renaissance was such that he can be considered to embody the movement entirely. His visits to Italy (where he studied most notably with Giovanni Bellini) had a profound effect on his artistic development and enabled him to combine both German and Italian influences in his work. In his later life, D?rer's passion for knowledge and progress led him to research and write on the subjects of art theory and mathematics, making him not only the greatest Northern European artist of his time, but also one of its leading thinkers. This overview of D?rer's entire oeuvre?covering his oil, tempera, and watercolor paintings, copper and wood engravings, and his drawings and sketches?is the perfect introduction to his work.

    Since then, painting has been declared dead several times over, and contemporary art has now expanded to include just about any object, action, or event: dance routines, slideshows, functional hair salons, seemingly random accretions of waste. In the meantime, being an artist has gone from a join-the-circus fantasy to a plausible vocation for scores of young people in America.But why--and how and by whom--does all this art get made? How is it evaluated? And for what, if anything, will today's artists be remembered? In The Contemporaries, Roger White, himself a young painter, serves as our spirited, skeptical guide through this diffuse creative world.White takes us into the halls of the RISD graduate program, where students learn critical lessons that go far beyond how to apply paint to canvases. In New York, we meet the neophytes who assist established artists--and who walk the fine line between "assistance" and "making the art." In Milwaukee, White trails a group of friends trying to create a viable scene where rent is cheap, but where the spotlight rarely shines. And he gives us an intimate perspective on three wildly different careers: that of Dana Schutz, an emerging star who is revitalizing painting; Mary Walling Blackburn, whose challenging art defies market forces; and Stephen Kaltenbach, a '70s wunderkind who is back on the critical radar, perhaps in spite of his own willful obscurity.From young artists trying to elbow their way in to those working hard at dropping out, White's essential book offers a once-in-a-generation glimpse of the inner workings of the American art world at a moment of unparalleled ambition, uncertainty, and creative exuberance.

    It is hard enough to find thesequalities in trained photographers with the benefit of schooling and mentors and a community of fellow artists and aficionados supporting and rewarding their efforts. It is incredibly rare to find it in someone with no formal training and no network of peers.Yet Vivian Maier is all of these things, a professional nanny, who from the 1950s until the 1990s took over 100,000 photographs worldwide—from France to New York City to Chicago and dozens of other countries—and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America’s post-war golden age.It wasn’t until local historian John Maloof purchased a box of Maier’s negatives from a Chicago auction house and began collecting and championing her marvelous work just a few years ago that any of it saw the light of day. Presented here for the first time in print, Vivian Maier: Street Photographer collects the best of her incredible, unseen body of work.

    It assumes no prior acquaintance with the classical world, and explains the necessary linguistic, historical, religious, social, and political background needed to fully understand Roman art.

    Beautifully illustrated with over 300 contemporary and historical photographs as well as dozens of paintings, The End of the Game is a legendary workvividly telling the story of explorers, missionaries, and big-game hunters whose quests have changed the face of Africa forever.

     An homage to Africa's people and wildlife   Sebastião Salgado is one the most respected photojournalists working today, his reputation forged by decades of dedication and powerful black-and-white images of dispossessed and distressed people taken in places where most wouldn’t dare to go. Although he has photographed throughout South America and around the globe, his work most heavily concentrates on Africa, where he has shot more than 40 reportage works over a period of 30 years. From the Dinka tribes in Sudan and the Himba in Namibia to gorillas and volcanoes in the lakes region to displaced peoples throughout the continent, Salgado shows us all facets of African life today. Whether he’s documenting refugees or vast landscapes, Salgado knows exactly how to grab the essence of a moment so that when one sees his images one is involuntarily drawn into them. His images artfully teach us the disastrous effects of war, poverty, disease, and hostile climatic conditions.  This book brings together Salgado’s photos of Africa in three parts. The first concentrates on the southern part of the continent (Mozambique, Malawi, Angola, Zimbabwe, South Africa, Namibia), the second on the Great Lakes region (Congo, Rwanda, Burundi, Uganda, Tanzania, Kenya), and the third on the Sub-Saharan region (Burkina Faso, Mali, Sudan, Somalia, Chad, Mauritania, Senegal, Ethiopia). Texts are provided by renowned Mozambique novelist Mia Couto, who describes how today’s Africa reflects the effects of colonization as well as the consequences of economic, social, and environmental crises.This stunning book is not only a sweeping document of Africa but an homage to the continent’s history, people, and natural phenomena.   *Salgado’s Africa was awarded the M2-El Mundo People’s Choice Award for best exhibition at PhotoEspaña 2007!*

    No one who has lips will be able to read it without smiling; it s guaranteed. The fact is, we all have our bad days -- they are an intrinsic part of being human. As prescribed by The Blue Day Book in its delightful photo and text messages, the solution is to see each incident in perspective, recognize that our feelings of failure and loss are not unique, and acknowledge the absurdities of our existence, and glory in the potential we all have. In less than one hundred sentences, The Blue Day Book conveys this message with great compassion and humor. Its vehicle is charming black-and-white photographs of animals that are strangely human and completely free of judgment or pretension. The humble marriage of easy text and beautiful images takes us through the entire evolution of a blue day -- examines what it feels like, what causes it, and how to get over it.

    Walking In This World picks up where The Artist's Way left off to present readers with a second course--Part Two in an amazing journey toward discovering our human potential. Cameron shows readers how to inhabit this world with a sense of wonder, a childlike inquisitiveness that each of us was born with. Full of valuable new strategies and techniques for breaking difficult creative ground, this is the "intermediate level" of the Artist's Way program.

    Professor, poetry award winner, performer, and former member of the National Council on the Arts, Harjo’s prose speaks of women's despair, of their imprisonment and ruin at the hands of men and society, but also of their awakenings, power, and love.