Add Drawing Autism to your wish list, tell your friends about it, and show it to your kids on the spectrum."-- Autism/Asperger's Digest "Mullin, a behavior analyst, brings together fascinating works by 40 artists on the spectrum with their answers to her questions about their process."-- The Boston Globe "Editor Jill Mullin has collected artwork from a host of painters and other graphic artists who are all somewhere on the spectrum. The fascinating and often lovely reprints in Drawing Autism help provide another perspective on the capabilities of people with autism."-- Time Out New York "Mullin's clinical background in Applied Behavior Analysis, combined with more than a decade helping individuals with ASD, serve her well as the book’s curator."-- The Portland Phoenix "[Editor Jill Mullin] has put together a beautiful and stimulating exhibition-in-a-book."--Story Circle Book Reviews"Drawing Autism is absolutely wonderful in its entirety."--Brain Pickings"Jill Mullin embraces the full range and spectrum of autism and artistic expression...Rich and varied images."--BookTrib"This book is like a key to opening doors across educational and medical landscapes. But perhaps even more importantly, the fact that many of the artists are able to explain what they were feeling at the time of their drawings will surely help this book find solid footing among parents, caregivers, and extended family members who have, up to this point, struggled to understand the inner workings of their precious loved one’s autistic mind."--New York Journal of Books"A book of astonishing beauty."-- BOOKS (France)"What is the actual experience of living with autism in a deep-felt sense, beyond the social stereotypes and headline-worthy superskills? Drawing Autism, a celebration of the artistry and self-expression found in artwork by people diagnosed with autism, explores just that. The stunning volume features works by more fifty international contributors, from children to established artists, that illustrate the rich multiplicity of the condition."-- The Atlantic Over the last decade autism spectrum disorder (ASD) has become an international topic of conversation, knowing no racial, ethnic, or social barriers. Behavior analyst and educator Jill Mullin has assembled a staggering array of work from established artists like Gregory Blackstock and Jessica Park to the unknown but no less talented. Their creations, coupled with artist interviews, comprise a fascinating and compelling book that serves to educate and inspire anyone who knows someone diagnosed with ASD. Mullin's introduction and the foreword by best-selling author Temple Grandin provide an overview of autism and advocate for nurturing the talents, artistic and otherwise, of autistic individuals.

    So, on October 1, 1966, McNamara lowered mental standards and inducted thousands of low-IQ men. Altogether, 354,000 of these men were taken into the Armed Forces and a large number of them were sent into combat. Many military men, including William Westmoreland, the commanding general in Vietnam, viewed McNamara’s program as a disaster. Because many of the substandard men were incompetent in combat, they endangered not only themselves but their comrades as well. Their death toll was appallingly high. In addition to low-IQ men, tens of thousands of other substandard troops were inducted, including criminals, misfits, and men with disabilities. This book tells the story of the men caught up in McNamara’s folly.

    Burroughs. Fug You traces the flowering years of New York's downtown bohemia in the 60s, starting with the marketing problems presented by publishing Fuck You/A Magazine of the Arts, as it faced the aboveground's scrutiny, & leading to Sanders's arrest after a raid on his Peace Eye Bookstore. The memoir also traces the career of the Fugs--formed in 1964 by Sanders & his neighbor, the legendary Tuli Kupferberg (called "the world's oldest living hippie" by Allen Ginsberg)--as Sanders strives to find a home for this famous postmodern, innovative anarcho-folk-rock band in the world of record labels.

    Angel-like Blengins with butterfly wings, natural catastrophes, innocent girls, and murderous soldiers all appear in Darger's scenes, which are reproduced in this book in double-page and gatefold spreads. In the volume's introductory essay, Klaus Biesenbach examines the radical originality of Darger's art, including his use of collage, incorporation of religious themes and iconography, and frequent juxtaposition of innocence with violence. An essay by Brooke Davis Anderson illuminates Darger's source materials and techniques. Michael Bonesteel puts Darger's life in the context of his work and selects key texts to accompany the illustrations. The book also includes for the first time the text of Darger's History of My Life, A" the artist's autobiography. The only book of its kind, Henry Darger offers an authoritative, balanced, and insightful look at an American master

    The book's urgent, cinema verite style plunges the reader into the shattering events that brought hope, chaos, heroism, and horror to the citizens of the world's first workers' state.The Russian Revolution produced some of the most important advances in the fields of art, photography, and graphic design in the 20th century. More than 550 of these widely influential materials are reproduced here to the highest quality, accompanied by author David King's accessible text. Zooming in from the epic to the particular, King rescues from obscurity many lost heroes and villains through the work of the most brilliant Soviet artists, many of them anonymous or long forgotten.

    Now in    The Art of the Possible she adds wise words to the dream of creating a perfectly beautiful home, reminding all those who seek beauty to overcome the confines of perfectionism in favor of freedom that allows creativity to flourish.

    Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon’s writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham. In addressing key stakes within contemporary art, architecture, music, and the performance of male and female gender roles, Gordon provides a prescient analysis of such figures as Kelley, Glenn Branca, Rhys Chatham, Tony Oursler, and Raymond Pettibon, in addition to reflecting on her own position as a woman on stage. The result—Is It My Body?—is a collection that feels as timely now as when it was written. This volume additionally features a conversation between Gordon and Jutta Koether, in which they discuss their collaborations in art, music, and performance.

    Many people think of them as "an awe-inspiring group of ascetic, fanatic, and inhuman supermen."Ernest R. Pope knew all too well how illusory this idea was. As senior correspondent for Reuters in Munich from 1936-1941, American Ernest Pope saw the cruel and outrageous behavior of Nazis in their native habitat. In Munich they ran wild, let their hair down, and indulged in every fantasy money and power could avail them. Pope has all the gossip...and the confirmed stories. HISTORY AS IT HAPPENED "I have seen the leading actors in the Nazi tragedy, playing their parts on the Bavarian stage. Long before the climax—the outbreak of the war—I knew what the denouement in Hitler's theater would be."Pope knew, saw, and/or interviewed all the top Nazis and dozens of lower-level officials, including some of Hitler's security. He saw the Nazis for what they were: a corrupt, debauched, all-to-human menace.Once back in the U.S., Pope let loose his frustration and ire at what he'd seen—but couldn't write about when he was reporting from Germany. With great humor and faced-paced prose, he writes of encounters with Hitler, Hess, Streicher, and many more.He was in Munich during the fated compromise with Chamberlain. He reported on the Nazi invasions of Austria and Czechoslovakia.He reported on Hitler's obsession with Dorothy van Bruck's "blitz-tease" and he knew Hitler's English girlfriend, Unity Mitford. AT THE CENTER OF ACTION Pope turns his savage wit and erudition on his former hosts. Fluent in Bavarian German dialect, Pope made many friends in Munich with citizens and officials alike. He heard jokes from Munichers that could get them thrown in a concentration camp and he poked fun at Nazis whenever he dared.On the Austrian border during Hitler's invasion of that country:Guard: “Heil Hitler! What are you doing here?” Pope: “Just enjoying the scenery.” Guard: “Why did you come to Kiefersfelden today?” Pope: “Well, I'll tell you. It's like this. I'm an American student, and I came to Munich when I read the fascinating travel prospectuses which invited me to ‘Visit the beautiful Alps.’ My friend and I have already seen the Alps at Garmisch, so we thought we might look at them today around Kufstein. They really are pretty, in spite of all the uniforms we didn't expect to find here. But I do think it is odd of you to ask me why I am here. For if I were walking in Central Park in New York, I would not expect a policeman to ask me why I wasn't feeding the pigeons in front of the Public Library.”You won't find another account like this of the Nazis in their favorite playground. INCLUDED CHAPTERS: DER FÜHRER AT PLAY MY FRIENDS THE GESTAPO PORTRAIT OF A NAZI GRAFTER HITLER DABBLES IN ART THE ONE-LEGGED BOSS OF BAVARIA CATHOLICISM IN THE NAZI CAPITAL LUNCH WITH JULIUS STREICHER And more Pope turns serious in the final chapters. As he left Germany, he knew he was saying goodbye to friends he would never see again.

    A rich compendium of looniness!

    Martin’s working-class childhood, his education, and his musical influences at London’s Guildhall School of Music and Drama profoundly shaped his early career in the BBC’s Classical Music department and as head of the EMI Group’s Parlophone Records. These musical influences would become the fount out of which flowed the genius behind his seven years producing the Beatles’ incredible body of work, including such albums as Rubber Soul, Revolver, Sgt. Pepper’s Lonely Hearts Club Band, and Abbey Road. The first book of a two-part series, Maximum Volume traces Martin’s early years as a scratch pianist, his life in the Fleet Air Arm during the Second World War, and his groundbreaking work as the head of Parlophone Records during the 1950s, when Martin saved the company from ruin after making his name as a producer of comedy and spoken-word recordings. In its most dramatic moments, Maximum Volume narrates the story of Martin’s unlikely discovery of the Beatles and his painstaking efforts to prepare their newfangled sound for the British music marketplace. As the story unfolds, Martin and the band craft numerous number-one hits along the group’s progress towards The Ed Sullivan Show and such landmark songs as “Yesterday” and “In My Life”—Beatles tunes that bear Martin’s unmistakable musical signature.

    The glue holding the collection together is autobiography. Every item carries deep personal significance, and most are rooted in lived experience, in particular Sante’s youth on the Lower East Side of New York in the fertile 1970s and ’80s. He traces his deep engagement with music, his experience of the city, his progression as an artist and observer, his love life and ambitions. Maybe the People Would Be the Times is organized as a series of sequences, in which one piece leads into the next. Memoir flows into essay, fiction into critical writing, humor into poetry, the pieces answering and echoing one another, examining their subjects from multiple vantages. The collection shows Sante at his most lyrical, impassioned, and imaginative, a writer for whom every assignment brings the challenge of inventing a new form. “Luc Sante is a superb writer who can give astonishing form to floating moods and thoughts that no one noticed before.—JOHN ASHBERY

    Says author Daniel Pinkwater of this novel of sociological import: "I honestly don't remember writing this. Are you sure there hasn't been some mistake?"

    Lavishly illustrated with more than seventy-five boxes andcollages, as well as images of the fascinating source material that the artistcollected to create his exquisitely crafted worlds, it communicates to thereader the sense of surprise and delight that one experiences on viewingthe actual boxes with their toys, stuffed birds, maps, clay pipes, marbles,shells, and other paraphernalia of daily life.The book’s essays bring together the expertise of Lynda Roscoe Hartigan,former director of the Joseph Cornell Study Center; the compelling commentaryof Walter Hopps, art dealer, museum curator and director, and theartist’s personal friend; the wide-ranging scholarship of Richard Vine; andthe sensitivity of Robert Lehrman, a leading Cornell collector whose firsthandexperience lends this publication its distinctive intimacy. Among thetopics explored are the role of dualities in the artistic process, the dominantthemes of Cornell’s oeuvre, and the importance of his Christian Science faith.

    

    When he dies, Dez finds herself caught in a marriage of convenience, bound to the promise she made to save her father’s Shakespeare Theater, an especially difficult feat since the town faces almost certain flooding to create a reservoir. When she falls for fellow artist and kindred spirit Jacob Solomon, she sees a chance to escape with him and realize her New York ambitions, but her decisions will have bitter and unexpected consequences.Fans of Richard Russo, Amor Towles, Sebastian Barry, and Paula McLain will savor this transporting novel about the eternal tug between our duties and our desires, set in New York City and New England during the uncertain, tumultuous 1930s.