This text takes Glamour magazine's best-loved feature and distils the advice into a guide for any fashion occasion.

    The perfect book for the Nana of today, it will make you laugh, it will make you cry...it will make you want to run out and buy something nice for your grandchild!

    This Choose Your Own Adventure 6-Book Boxed Set includes the following storied titles from the classic, interactive, children's series: The Abominable Snowman * Journey Under the Sea * Space and Beyond * The Lost Jewels of Nabooti * Mystery of the Maya * House of Danger.Book Details: Format: Paperback Publication Date: 6/1/2011 Pages: 864 Reading Level: Age 9 and Up

    Tracing the evolution of fashion — from the early draped fabrics of ancient times to the catwalk couture of today — Fashion: The Definitive History of Costume and Style is a stunningly illustrated guide to more than three thousand years of shifting trends and innovative developments in the world of clothing.Containing everything you need to know about changing fashion and style — from ancient Egyptian dress to Space Age Fashion and Grunge — and information on icons like Marie Antoinette, Clara Bow, Jacqueline Kennedy, and Alexander McQueen, Fashion catalogs the history of what people wear, revealing how Western fashion has been influenced by design from around the world and celebrating costume and haute couture.Fashion will captivate anyone interested in style — whether it's the fashion-mad teen in Tokyo, the wannabe designer in college, or the fashionista intrigued by the violent origins of the stiletto and the birth of bling.

    Martin identified with the Abstract Expressionists but her commitment to linear geometry caused her to be associated in turn with Minimalist, feminist, and even outsider artists. She moved through some of the liveliest art communities of her time while maintaining a legendary reserve. I paint with my back to the world, she says both at the beginning and at the conclusion of a documentary filmed when she was in her late eighties. When she died at ninety-two, in Taos, New Mexico, it is said she had not read a newspaper in half a century. No substantial critical monograph exists on this acclaimed artist the recipient of two career retrospectives as well as the National Medal of the Arts who was championed by critics as diverse in their approaches as Lucy Lippard, Lawrence Alloway, and Rosalind Krauss. Furthermore, no attempt has been made to describe her extraordinary life. The whole engrossing story, told here for the first time, Agnes Martin is essential reading for anyone interested in abstract art or the history of women artists in America."

    Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents—including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period.

    These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection—while comprehensive and authoritative—offers the reader some eclectic surprises as well.Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed.Kristine Stiles's general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images.Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's Theories of Modern Art (with Peter Selz and Joshua Taylor) and Joshua Taylor's Nineteenth-Century Theories of Art, will be an invaluable resource for anyone interested in contemporary art."In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm.' It was around that time that the word 'readymade' came to mind to designate this form of manifestation."—Marcel Duchamp (1961)"Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women."—Miriam Schapiro and Melissa Meyer (1978)"I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago."—Shigeko Kubota (1976)"Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space."—Maya Lin (1983)"Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art."—Andres Serrano (1989)

    Once a hodgepodge of short, squabbling lines, America’s railways soon exploded into a titanic industry helmed by a pageant of speculators, crooks, and visionaries. The vicious competition between empire builders such as Cornelius Vanderbilt, Jay Gould, J. P. Morgan, and E. H. Harriman sparked stock market frenzies, panics, and crashes; provoked strikes that upended the relationship between management and labor; transformed the nation’s geography; and culminated in a ferocious two-man battle that shook the nation’s financial markets to their foundations and produced dramatic, lasting changes in the interplay of business and government.   Spanning four decades and featuring some of the most iconic figures of the Gilded Age, Iron Empires reveals how the robber barons drove the country into the twentieth century—and almost sent it off the rails.

    J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm.What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike.   “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum

    In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs.

    D, Drawn and Quarterly), Bardín the Superrealist is a suite of stories, musings and gags that, much like Dan Clowes's Ice Haven, can be read individually or together as one overarching story.Heavily influenced by surrealists such as Luis Bunuel, and graphically by "clear-line" cartoonists from Herge (Tintin) to Chris Ware, Bardín the Superrealist begins when everyman Bardín finds himself suddenly transported (well, at least his upper half) to another dimension, where an "Andalusian Dog" (a reference to Bunuel's Un Chien Andalou) serves as his ill-tempered guide.In a series of vignettes, gags, illustrations, text pieces, and dream stories, ping-ponging back between the surrealist world and the "real" world, Bardín examines, questions, and defends his own beliefs, convictions and philosophies while tangling with the Dog and the Holy Trinity in a variety of guises (including a familiar-looking mouse with red shorts and white gloves).In other stories, he imagines himself in a painting by Brueghel the Elder, tries to deal with his onanism in a productive way, is enlightened, dodges his real "creator" Max in the street, has several horrific nightmares and marvelous hallucinations, and, in the book's climactic episode, "The Sound and the Fury," battles a bona fida dragon. Bardín the Superrealist is a playful, hilarious, thought-provoking (and beautifully illustrated) major work by one of the great European cartoonists.

    The story intertwines art, politics, historical memory, patriotism, racism, and a fascinating set of characters, from those who fought in the conflict and those who resisted it to politicians at the highest level. At its center are two enduring figures: a young, Asian-American architecture student at Yale whose abstract design won the international competition but triggered a fierce backlash among powerful figures; and Frederick Hart, an innovative sculptor of humble origins on the cusp of stardom. James Reston, Jr., a veteran who lost a close friend in the war and has written incisively about the conflict's bitter aftermath, explores how the debate reignited passions around Vietnam long after the war's end and raised questions about how best to honor those who fought and sacrificed in an ill-advised war. Richly illustrated with photographs from the era and design entries from the memorial competition, A Rift in the Earth is timed to appear alongside Ken Burns's eagerly anticipated PBS documentary, The Vietnam War.

    But Lorenzo de' Medici survives the attack and seeks revenge on everyone involved, plunging the city into murderous chaos. Bodies are dragged through the streets, and no one is safe.Five women steal away to a church to ply their craft in secret. Viviana, Fiammetta, Isabetta, Natasia and Mattea are painters, not allowed to be public with their skill but freed from the restrictions in their lives by their art. When a sixth member of their group, Lapaccia, goes missing and is rumored to have stolen a much sought-after painting before she vanished, the women must venture out into the dangerous streets to find their friend.They will have help from one of the most renowned painters of their era: the peaceful and kind Leonardo da Vinci. It is under his tutelage that they flourish as artists and with his access that they infiltrate some of the highest, most secretive places in Florence, unraveling one conspiracy as they build another in its place.Vibrant and absorbing, Portrait Of A Conspiracy is the first novel in Donna Russo Morin's Da Vinci's Disciples series.

    It presents 500 artists in an alphabetical order, each represented by a full-page colour plate of a definitive work and an incisive text which sheds light on both image and creator.

    This eleventh edition has been carefully revised to expand and clarify concepts throughout the text, while adding new material on developing ideas, critical thinking, and time and motion.