When he became leader of the Liberal Party in 1967 at the age of just thirty-seven, he seemed destined for truly great things. But as his star steadily rose so his nemesis drew ever nearer: a time-bomb in the form of Norman Scott, a homosexual wastrel and sometime male model with whom Jeremy had formed an ill-advised relationship in the early 1960s. Scott's incessant boasts about their 'affair' became increasingly embarrassing, and eventually led to a bizarre murder plot to shut him up for good. Jeremy was acquitted of involvement but his career was in ruins.Michael Bloch's magisterial biography is not just a brilliant retelling of this amazing story; ten years in the making, it is also the definitive character study of one of the most fascinating figures in post-war British politics.

    This is such a book. For more than two years, Linda Cateura has pursued teacher / artist David A. Leffel, notebook in hand, as he critiqued the work of students. Linda Cateura's succinct notes capture his insights, philosophy, painting hints, and general comments.Leffel's classic, painterly, twentieth-century old master style, much in the manner of Rembrandt or Chardin, affords ample illustration of the ideas expressed - through his many paintings, details, demonstrations, and diagrams, almost all in color.No matter what your level of ability, there is something here to apply to your own work, ideas that will cause you to rething your own ways of painting, hints to save you effort, or solutions to persistent painting problems.

    Poetry didn't pay the bills, so he worked on Wall Street, spending his nights at the happenings, underground movie premiers, art shows, and poetry readings that brought the city to life. An intense romantic relationship with Andy Warhol—not yet the global superstar he would soon become—exposed Giorno to even more of the downtown scene, but after starring in Warhol's first movie, Sleep, they drifted apart. Giorno soon found himself involved with Robert Rauschenberg and later Jasper Johns, both relationships fueling his creativity. He quickly became a renowned poet in his own right, working at the intersection of literature and technology, freely crossing genres and mediums alongside the likes of William Burroughs and Brion Gysin.Twenty-five years in the making, and completed shortly before Giorno's death in 2019, Great Demon Kings is the memoir of a singular cultural pioneer: an openly gay man at a time when many artists remained closeted and shunned gay subject matter, and a devout Buddhist whose faith acted as a rudder during a life of tremendous animation, one full of fantastic highs and frightening lows. Studded with appearances by nearly every it-boy and girl of the downtown scene (including a moving portrait of a decades-long friendship with Burroughs), this book offers a joyous, life-affirming, and sensational look at New York City during its creative peak, narrated in the unforgettable voice of one of its most singular characters.

    He called it 'mind-to-hand flow'"). Cochran uses a thick black line to suggest Haring's creations, and renders figures in a Haring-esque style without seeming gimmicky. Of interest to young readers are Haring's frequent efforts to involve children in mural-making projects. The story, including a respectful acknowledgement of Haring's death from AIDS, makes the subject seem immediate and real--and presents a compelling vision of answering the call to create. --Starred Review, Publishers WeeklyI would love to be a teacher because I love children and I think that not enough people respect children or understand how important they are. I have done many projects with children of all ages. --Keith HaringTruly devoted to the idea of public art, Haring created murals wherever he went.From Matthew Burgess, the much-acclaimed author of Enormous Smallness, comes Drawing on Walls: A Story of Keith Haring. Often seen drawing in white chalk on the matte black paper of unused advertising space in the subway, Haring's iconic pop art and graffiti-like style transformed the New York City underground in the 1980s. A member of the LGBTQ community, Haring died tragically at the age of thirty-one from AIDS-related complications. Illustrated in paint by Josh Cochran, himself a specialist in bright, dense, conceptual drawings, this honest, celebratory book honors Haring's life and art, along with his very special connection with kids.

    Haring's original and instantly recognizable style, full of thick black lines, bold colors, and graffiti-inspired cartoon-like figures, won him the appreciation of both the art world and the general public; his work appeared simultaneously on T-shirts, gallery walls, and public murals. In 1986, Haring founded Pop Shop, a boutique in New York's SoHo selling Haring-designed memorabilia, to benefit charities and help bring his work closer to the public and especially street kids, with whom he never lost contact.

    In this volume, he is an observant guide to a world that he was once master of.

    Hollywood studios had large stables of contract and stock players from all walks of life and in all shapes, sizes and ages. This great population of personalities formed the league of character actors. They played the sidekicks and best friends of the stars who headlined the movies in which they appeared. They also portrayed parents, grandparents, oddball relatives, wise-cracking neighbors, smart-aleck store clerks and loveable barkeeps. Lest we forget the sinister side of this society, villains also claimed a stake in this assembly of saints, sinners and every type in between. These colorful personalities were usually one-dimensional, someone to whom the star could confide secrets or vent frustrations. In many cases they carried the same persona over from one film to the next, perfecting their stereotype so that audiences knew what to expect from them in a positive and affectionate way, collecting their beloved favorites over the years. The Name Below the Title features 20 of the best and most fun examples of the Hollywood character actor during Hollywood's most famous era from the 1930s through the 1950s.

    This childhood triptych comes to life in The Clancys of Queens, an electric, one-of-a-kind memoir.     From scheming and gambling with her force-of-nature grandmother, to brawling with eleven-year-old girls on the concrete recess battle yard of MS 172, to hours lounging on Adirondack chairs beside an immaculate croquet lawn, to holding court beside Joey O’Dirt, Goiter Eddy, and Roger the Dodger at her Dad’s local bar, Tara leapfrogs across these varied spheres, delivering stories from each world with originality, grit, and outrageous humor. But The Clancys of Queens is not merely an authentic coming-of-age tale or a rowdy barstool biography. Chock-full of characters who escape the popular imaginings of this city, it offers a bold portrait of real people, people whose stories are largely absent from our shelves. Most crucially, it captures—in inimitable prose—the rarely-heard voices of New York’s working-class women.  With a light touch but a hard hit, The Clancys of Queens blends savvy and wit to take us on an unforgettable strata-hopping adventure.

    Lucey illuminates four extraordinary women painted by the iconic high-society portraitist John Singer Sargent. With uncanny intuition, Sargent hinted at the mysteries and passions that unfolded in his subjects’ lives.Elsie Palmer traveled between her father’s Rocky Mountain castle and the medieval English manor house where her mother took refuge, surrounded by artists, writers, and actors. Elsie hid labyrinthine passions, including her love for a man who would betray her. As the veiled Sally Fairchild—beautiful and commanding—emerged on Sargent’s canvas, the power of his artistry lured her sister, Lucia, into a Bohemian life. The saintly Elizabeth Chanler embarked on a surreptitious love affair with her best friend’s husband. And the iron-willed Isabella Stewart Gardner scandalized Boston society and became Sargent’s greatest patron and friend.Like characters in an Edith Wharton novel, these women challenged society’s restrictions, risking public shame and ostracism. All had forbidden love affairs; Lucia bravely supported her family despite illness, while Elsie explored Spiritualism, defying her overbearing father. Finally, the headstrong Isabella outmaneuvered the richest plutocrats on the planet to create her own magnificent art museum.These compelling stories of female courage connect our past with our present—and remind us that while women live differently now, they still face obstacles to attaining full equality.

    Now, Michael Gross gives us the first unauthorized and definitive history of the museum and the juicy details of the lives of the powerful players who made it what it is today. With a colorful cast of characters that includes directors Guy-Philippe Lannes de Montebello, Luigi Palma di Cesnola, and Thomas P. F. Hoving, and a glittering array of supporting players such as John D. Rockefeller, Jr., Annette de la Renta, J. P. Morgan, Brooke Astor, Robert Moses, Diana Vreeland, and Jane Wrightsman, Gross looks at the museum’s rich social history and exposes the secrets behind the upper class’s cultural and philanthropic ambitions. From the trustees to the donors and the curators to the collectors, the startling 138-year tale of the Met and the masterpieces that live inside its walls makes for an astonishing and satisfying read.

    Rejected by his family, hounded by society for his interest in young girls, he expressed through his art a deep and bewildering loneliness and an obsession with sexuality, death and decay. He was only twenty-eight when he died, yet he left behind him a body of work that sustains a huge public reputation--and a myth. This book sets out to examine both. 151 illus., 20 in color.

    --Alexander Chee Twenty years in the making, Sarah Schulman's Let the Record Show is the most comprehensive political history ever assembled of ACT UP and American AIDS activism In just six years, ACT UP, New York, a broad and unlikely coalition of activists from all races, genders, sexualities, and backgrounds, changed the world. Armed with rancor, desperation, intelligence, and creativity, it took on the AIDS crisis with an indefatigable, ingenious, and multifaceted attack on the corporations, institutions, governments, and individuals who stood in the way of AIDS treatment for all. They stormed the FDA and NIH in Washington, DC, and started needle exchange programs in New York; they took over Grand Central Terminal and fought to change the legal definition of AIDS to include women; they transformed the American insurance industry, weaponized art and advertising to push their agenda, and battled--and beat--The New York Times, the Catholic Church, and the pharmaceutical industry. Their activism, in its complex and intersectional power, transformed the lives of people with AIDS and the bigoted society that had abandoned them.Based on more than two hundred interviews with ACT UP members and rich with lessons for today's activists, Let the Record Show is a revelatory exploration--and long-overdue reassessment--of the coalition's inner workings, conflicts, achievements, and ultimate fracture. Schulman, one of the most revered queer writers and thinkers of her generation, explores the how and the why, examining, with her characteristic rigor and bite, how a group of desperate outcasts changed America forever, and in the process created a livable future for generations of people across the world.

    (To date, it has won no fewer than 31 Emmys.) Seriously... I'm Kidding, Degeneres' first book in eight years, brings us up to date about the life of a kindhearted woman who bowed out of American Idol because she didn't want to be mean. Lively; hilarious; often sweetly poignant.

    Compiled by her son, this book offers a record of Miller's life and work.

    Set in New York's Lower East Side of the 1980s and mid-1990s, it is also a devastatingly candid look at the extreme naivet� and dysfunction that would destroy both their lives.Escaping the trauma of growing up gay in Syracuse and being bullied at school, McGough attended art school in New York, dropped out, and took jobs in clubs, where he met McDermott. Dazzled by McDermott, whom he found fascinating and worldly, McGough agreed to collaborate with him not only on their art but also in McDermott's very entertaining Victorian lifestyle. McGough evokes the rank and seedy East Village of that time, where he encountered Keith Haring, Rene Ricard, Kenny Scharf, Jean-Michel Basquiat, Andy Warhol, and Jacqueline and Julian Schnabel, among many others. Nights were spent at the Ninth Circle, Danceteria, and Studio 54; going to openings at the FUN Gallery; or visiting friends in the Chelsea Hotel. By the mid-1980s, McDermott & McGough were hugely successful, showing at three Whitney Biennials, represented by the best galleries here and abroad, and known for their painting, photography and "time experiment" interiors. Then, overnight, it was all gone. And one day in the mid-1990s, McGough would find that he, like so many of his friends, had been diagnosed with AIDS.I've Seen the Future and I'm Not Going is a compelling memoir for our time, told with humor and compassion, about how lives can become completely entwined even in failure and what it costs to reemerge, phoenix-like, and carry on.