Three essays by Barney experts articulate the series' diverse themes and explore the artist's innovative aesthetic vocabulary; interviews with key collaborators, a composer, costume designer, make-up artist, technicians and actors reveal his working process. A trailblazing essay by Curator of Contemporary Art Nancy Spector charts Barney's work from the 1990s to the present and provides critical insights into the aesthetic vocabulary of his five Cremaster films, while Neville Wakefield's "Cremaster Glossary" illuminates the films' most far-flung references with citations from sources as diverse as Freud's psychoanalytic studies, Mormon law and lore, and hardcore music fanzines. In addition to stills from the five films--including the final episode, Cremaster 3--the book features related sculptures, photographs, drawings and storyboards. For anyone intrigued by the Wagner of contemporary art, this is an atlas to his enticingly hypnotic worlds. Barney himself collaborated on all aspects of this extraordinary publication, including the selection of over 700 images, most of them never before published.

    This lavish volume examines the Lady's history and phenomenal rise, her music and videos, and her unique look and chameleon-like nature. Chock-full of photos that capture Gaga from childhood through stardom, it also includes images of those who have influenced her style and an appraisal of her place in the pantheon of performance artists.Gaga is a must-have for the millions who love this very special performer and celebrity.

    A betrayed husband is convinced by a brief telegram that his second ex-wife wants him to track her down—that she wants to be found. He hires the Ex-Detective, who sets out with a translator into a snowy, hostile forest where strange things happen and translation betrays both sense and one’s senses. Tales of Hansel and Gretel and Little Red Riding Hood haunt the Ex-Detective’s quest into a territory overrun with the primitive excesses of Capitalism—accumulation and expulsion, corruption and cruelty—though the lessons of her journey are more experiential than moral: that just as love can fly away, sometimes unloving flies away as well. That sometimes leaving everything behind is the only thing left to do.

    Rainer Maria Rilke was staying at Duino Castle, on a rocky headland of the Adriatic Sea near Trieste. One morning he walked out onto the battlements and climbed down to where the cliffs dropped sharply to the sea. From out of the fierce wind, Rilke seemed to hear a voice: Wer, wenn ich schriee, horte mich denn aus der Engel Ordnungen? (If I cried out, who would hear me up there, among the angelic orders?). He wrote these words, the opening of the first Duino Elegy, in his notebook, then went inside to continue what was to be his major opus—completely only after another ten, tormented years of effort—and one of the literary masterpieces of the century. Duino Elegies speaks in a voice that is both intimate and majestic on the mysteries of human life and our attempt, in the words of the translator David Young, “to use our self-consciousness to some advantage: to transcend, through art and the imagination, our self-deception and our fear.”

    Greatly admired as a master landscape painter, he was advised by Alexander von Humboldt to travel West from Europe to record the spectacular landscapes of Chile, Argentina, and Mexico. Rugendas did in fact become one of the best of the nineteenth-century European painters to venture into Latin America. However this is not a biography of Rugendas. This work of fiction weaves an almost surreal history around the secret objective behind Rugendas's trips to America: to visit Argentina in order to achieve in art the "physiognomic totality" of von Humboldt's scientific vision of the whole. Rugendas is convinced that only in the mysterious vastness of the immense plains will he find true inspiration. A brief and dramatic visit to Mendosa gives him the chance to fulfill his dream. From there he travels straight out onto the pampas, praying for that impossible moment, which would come only at an immense price—an almost monstrously exorbitant price that would ultimately challenge his drawing, and force him to create a new way of making art. A strange episode that he could not avoid absorbing savagely into his own body interrupts the trip and irreversibly and explosively marks him for life.

    The effect of the pill once digested, however, depends upon the viewer. This large, lavishly produced hardcover serves as the catalog for Camille Rose Garcia's first solo museum show outside of Los Angeles. Tragic Kingdom surveys her work with an emphasis on her most recent creations, showcasing paintings, drawings, sketchbooks, prints, and more.

    With an essay by Kevin Power.

    Lorca (1898-1937) is admired all over the world for the lyricism, immediacy and clarity of his poetry, as well as for his ability to encompass techniques of the symbolist movement with deeper psychological shadings. But Lorca's poems are, most of all, admired for their beauty. Undercurrents of his major influences--Spanish folk traditions from his native Andalusia and Granada, gypsy ballads, and his friends the surrealists Salvador Dali and Luis Bunuel--stream throughout Lorca's work. Poets represented here as translators are as diverse as Stephen Spender, Langston Hughes, Ben Belitt, William Jay Smith, and W.S. Merwin.

    "For those who began to write at the end of the twenties or the beginning of the thirties, there were two great inescapable influences: Proust and Freud, who are mutually complementary." With its sweeping digressions into the past and reflections on the nature of memory, Proust's oceanic novel In Search of Lost Time looms over twentieth-century literature as one of the greatest, yet most endlessly challenging literary experiences. Influencing writers like Virginia Woolf and James Joyce, and even anticipating Albert Einstein in its philosophical explorations of space and time, In Search of Lost Time is a monumental achievement and a virtual rite of passage for any serious lover of literature.Now, in what renowned translator Arthur Goldhammer says might be "likened to a piano reduction of an orchestral score," the French illustrator Stéphane Heuet re-presents Proust in graphic form for anyone who has always dreamed of reading him but was put off by the sheer magnitude of the undertaking. This graphic adaptation reveals the fundamental architecture of Proust’s work while displaying a remarkable fidelity to his language as well as the novel's themes of time, art, and the elusiveness of memory. As Goldhammer writes in his introduction, the compression required by this kind of adaptation As Goldhammer writes in his introduction, "the reader new to Proust must attend closely, even in this compressed rendering, to the novel's circling rhythms and abrupt cross-cuts between different places and times. But this necessary attentiveness is abetted and facilitated by the compactness of the graphic format.”In this first volume, Swann's Way, the narrator Marcel, an aspiring writer, recalls his childhood when—in a now immortal moment in literature—the taste of a madeleine cake dipped in tea unleashes a torrent of memories about his family’s country home in the town of Combray. Here, Heuet and Goldhammer use Proust's own famously rich and labyrinthine sentences and discerning observations to render Combray like never before. From the water lillies of the Vivonne to the steeple and stained glass of the town church, Proust's language provides the blueprint for Heuet's illustrations. Heuet and Goldhammer also capture Proust's humor, wit, and sometimes scathing portrayals of Combray's many memorable inhabitants, like the lovelorn Charles Swann and the object of his affection and torment, Odette de Crécy; Swann's daughter Gilberte; local aristocrat the Duchesse de Guermantes; the narrator's uncle Adolphe; and the hypochondriac Aunt Léonie.Including a Proust family tree, a glossary of terms, and a map of Paris, this graphic adaptation is a surprising and useful companion piece to Proust’s masterpiece for both the initiated and those seeking an introduction.

    Finally, we got to the hallway where the wooden floor was the creakiest, and we sensed a strange whiff of excitement and fear. It smelled like a creature from a bygone time. It smelled like a dragon."Thirteen-year-old Juan’s summer is off to a terrible start. First, his parents separate. Then, almost as bad, Juan is sent away to his strange Uncle Tito’s house for the entire break! Who wants to live with an oddball recluse who has zigzag eyebrows, drinks fifteen cups of smoky tea a day, and lives inside a huge, mysterious library?As Juan adjusts to his new life among teetering, dusty shelves, he notices something odd: the books move on their own! He rushes to tell Uncle Tito, who lets his nephew in on a secret: Juan is a Princeps Reader, which means books respond magically to him, and he’s the only one who can find the elusive, never-before-read Wild Book. But will Juan and his new friend Catalina get to The Wild Book before the wicked, story-stealing Pirate Book does?An unforgettable adventure story about books, libraries, and the power of reading, The Wild Book is the young readers’ debut by beloved, prize-winning Mexican author Juan Villoro. It has sold over one million copies in Spanish.

    In his introduction John Ashbery calls the book "the finest work of Surrealist fiction," noting that de Chirico "invented for the occasion a new style and a new kind of novel . . . his long run-on sentences, stitched together with semi-colons, allow a cinematic freedom o f narration . . . his language, like his painting, is invisible: a transparent but dense medium containing objects that are more real than reality." Hebdomeros is accompanied by an appendix of previously untranslated or uncollected writings, including M. Dudron's Adventure, a second, fragmentary novel translated by John Ashbery.

    Whether you’re photographing children, weddings, maternity and boudoir, or portraits of any kind, The Luminous Portrait will inspire you with Elizabeth’s personal approach and award-wining images, sharing the art to making flattering portraits that appear “lit from within.”

    Following the death of his mother, photographer Phillip Toledano was shocked to learn of the extent of his father's severe memory loss. He started a blog on which he posted photographs and accompanying reflections on his father's changing state. Through sometimes sad, often funny, and always loving observations, we follow Toledano as he learns to reconcile the elderly man living in a twilight of half memories with the ambitious and handsome young man he occasionally still glimpses. Days With My Father is an honest and moving reflection about coming to terms with an aging parent.

    In Until Now, Geddes takes us behind the scenes to find out what she was thinking when she captured these images, her 113 most-favorite photographs. Her text also provides a background to each photograph and helps readers understand how this artist and her subjects work together.Consider, for example, Geddes' comments about the shot she captured in 1991, which she titled "Rebecca": "She didn't want to hold the tulips, and she didn't want to sit on the chair-there were too many other things to be done. How do you get a 14-month-old to sit still' Show her the jelly bean, and then put it down her trousers."From signature photos of newborns to touching interactions between parent and child to enthusiastic poses from older children, this gift-size hardcover edition of Until Now gathers together Geddes' most revealing and compelling work. Whether she's posing babies in the garden or in the studio, Anne Geddes' deep affection for babies and children is obvious in the award-winning images she creates.

    Woods, is a modern reworking of the Faust legend, in which Germany sells its soul to the Devil. Mann's protagonist, the composer Adrian Leverkühn, is the flower of German culture, a brilliant, isolated, overreaching figure, his radical new music a breakneck game played by art at the very edge of impossibility. In return for twenty-four years of unparalleled musical accomplishment, he bargains away his soul - and the ability to love his fellow man.Leverkühn's life story is a brilliant allegory of the rise of the Third Reich, of Germany's renunciation of its own humanity and its embrace of ambition and its nihilism. It is also Mann's most profound meditation on the German genius - both national and individual - and the terrible responsibilities of the truly great artist.