Typical of Woodman's work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, by suicide. In less than a decade, Woodman produced a fascinating body of work--in black and white and in color--exploring gender, representation, sexuality and the body through the photographing of her own body and those of her friends. Since her death, Woodman's influence continues to grow: her work has been the subject of numerous in-depth studies and exhibitions in recent years, and her photographs have inspired artists all over the world. Published to accompany a travelling exhibition of Woodman's work, Francesca Woodman: On Being an Angel offers a comprehensive overview of Woodman's oeuvre, organized chronologically, with texts by Anna Tellgren, Anna-Karin Palm and the artist's father, George Woodman. Francesca Woodman (1958-81) was born in Denver, Colorado, to an artistic family and began experimenting with photography as a teenager. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York to attempt to build a career in photography. Woodman's working career was intense but brief, cut short by her death in 1981.

    To create profound, honest, and truly revealing portraits of these luminaries, Zuckerman has captured their voices, their physical presence, and the written word. The resulting book and film - included here on a DVD - provide an extraordinary legacy for the generations that follow, and a timeless portrait of the common experiences that unite us all.

    

    Legends about Cornell abound--as the shy hermit, the devoted family caretaker, the artistic innocent--but never before Utopia Parkway has he been presented for what he was: a brilliant, relentlessly serious artist whose stature has now reached monumental proportions. Cornell was haunted by dreams and visions, yet the site of his imaginings couldn't have been more ordinary: a small house he shared with his mother and invalid brother in Queens, New York. In its cluttered basement, he spent his nights arranging photographs, cut-outs and other humble disjecta into some of the most romantic works to exist in three dimensions. Cornell was no recluse, however: admired by successive generations of vanguard artists, he formed friendships with figures as diverse as Duchamp, de Kooning, and Warhol and had romantically charged encounters with Susan Sontag and Yoko Ono--not to mention unrequited crushes on countless shop girls and waitresses. All this he recorded compulsively in a diary that, along with his shadow boxes, forms one of the oddest and most affecting records ever made of a life. It is from such documents, and from a decade of sustained attention to Cornell, that Deborah Solomon has fashioned the definitive biography of one of America's most powerful and unusual modern artists.

    Covering a wide array of artistic mediums, this fascinating collection also contains infographics about artistic movements throughout history, statistics about women's representation in museums, and notable works by women. Women in Art celebrates the success of the bold female creators who inspired the world and paved the way for the next generation of artists.

    Inspirational, original, stunningly creative, they forged an extraordinary connection with their fans. Author Tom Bryant was given unparalleled access to the band over the years and now he draws on interviews with Gerard Way and his brother Mikey, Ray Toro and Frank Iero, as well as friends and associates, to bring their stories to life. In this unauthorized biography, he takes us behind the scenes from their very first gig in front of thirty kids in New Jersey - the Ways downing beer to calm their nerves - to international arena-storming superstardom. He sheds light on the personal demons the bandmates battled and the haunted recording session that resulted in the brilliance of "The Black Parade". He also explores the genesis of their music, the constant reinvention that culminated in the visual splendour of "Danger Days: The True Lives of the Fabulous Killjoys", and the strains that led to their split in 2013.Insightful and revealing, "The True Lives of My Chemical Romance" is the definitive biography of the most adored rock band this century, a story of self-belief and the pursuit of dreams.

    Published to accompany an exhibition held at the Whitney Museum of American Art, New York, in 1992-93, the book contains illustrations reproducing paintings, drawings, collages, silkscreens, and constructions, many previously unpublished.

    Star of BBC's Supersizers and hugely popular Times columnist's works through his anger about everything from dogs to cycle helmets.

    Collected here for the first time is an anthology of pieces artist Tracey Emin wrote for The Independent newspaper in London-a weekly column that ran to great acclaim between 2005 and 2009-that touch on everything from the themes behind her work to her process, inspirations, and her alternately humorous and profound observations of daily life. Moving from diatribes on contemporary art and culture to confessional pieces chronicling her travels abroad and reflecting on her private life in London, the columns bring together elements of essay and diary that present a unique perspective on life and the work of the queen of the Young British Artists. Edited and introduced by the artist, and illustrated with forty reproductions of photographs that recall the original format of the columns, Tracey Emin: My Life in a Column makes a giant of the art world at once more familiar and more profound.

    

    This Is For You is a magical, romantic and touching story of thoughts and dreams, loneliness and longing, the personal and the universal. Each page has been cut out of paper using a scalpel, sprayed and photographed.

    Born into a notorious London crime family, his uncle Micky was one of the key players in the legendary Brink's-Mat gold bullion caper. John bought his first gun at 16 and carved out a lucrative career in armed robbery. At one point he was one of Britain's most-wanted men. It took two spells in prison and the death of a friend on a botched heist to change his path. During his second stint in jail he discovered a miraculous natural talent while serving life in the Belmarsh high security unit - where fellow inmates included Abu Hamza, the hook-handed extremist cleric, and the 7/7 bombers. John broke three world rowing records while still an inmate and since his release has become one of the UK's leading Ironman competitors. He aims to turn pro in 2016 after competing in the European championships in Frankfurt. Redemption is the ultimate story of sporting salvation.

    In both subject and sound, it was like nothing else on the radio. It defied the cynicism and apathy of Generation X; it challenged the aesthetic expectations for a "pop song" (or even a "protest song"), fusing blues, opera, rock and gospel; and it demanded accountability in an era of corporate greed, globalization and environmental indifference. A massive hit globally (reaching #1 in over fifteen countries), it wasn't even offered as a single in the United States. Yet nearly two decades later, it stands as one of Jackson's greatest artistic achievements. In this groundbreaking monograph, author Joseph Vogel details the song's context and evolution from its inception in Vienna in 1988, to its release and reception in 1995, to Jackson's final live performance in Munich in 1999. Based on original research, including interviews with the song's key participants, Earth Song: Inside Michael Jackson's Magnum Opus offers a fascinating reassessment of this prophetic musical statement.

    She’s Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She’s Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she’s Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She’s haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She’s railing against her corsets, her chaperones, her husband and her brothers; she’s hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available.Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have – and, of course, continue to do so – often against tremendous odds, from laws and religion to the pressures of family and public disapproval.In THE MIRROR AND THE PALETTE, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery. This is a dazzlingly original and ambitious book by one of the most well-respected art critics at work today.

    Yet, Camille’s success is overshadowed by her lover’s rising star, and her obsessions cross the line into madness.Rodin’s Lover brings to life the volatile love affair between one of the era’s greatest artists and a woman entwined in a tragic dilemma she cannot escape.