The first time the killer thought he had succeeded, and he left Stacy bleeding in her bed. But a few minutes later he must have heard her moaning and returned to her upstairs bedroom. This time he approached the bed, pointed a .22 caliber rifle at her young face, and pulled the trigger again. Then he left.Later that morning, Memorial Day, May 25, 2005, the Logan County Sheriff would declare it a rampage. According to Sheriff Henry, 18-year-old Scott Moody lived on a family farm with his mother and sister; his grandparents lived nearby. The night before his high school graduation something snapped, and Scott went on a shooting spree. He murdered his two grandparents, his mother, a high school classmate who had spent the night after a graduation party, his girlfriend, and then he turned the rifle on himself, committing suicide. He thought he had killed his 15-year-old sister, but she was life-flighted to a hospital in Columbus where she remained in critical condition. Sheriff Henry declared the mystery solved: “It was horribly tragic, a murder/suicide case.”Three days later, Stacy woke up in intensive care. When asked by the county coroner to explain what happened – clearly expecting her to say that her brother, Scott, had shot her – Stacy, in a weak, distressed voice said something else. It was an older man with gray hair, wearing a blue shirt, someone she had never seen before. And then, once again – what everyone suspected but were afraid to publicly talk about – was the Logan County Sheriff’s Office really corrupt?After Stacy was released from the hospital, Detective Jon Stout wanted to interview her in private, away from the influence of her father and stepmother. On a Sunday afternoon he took 15-year-old Stacy in his unmarked cruiser to a shaded parking lot behind the county children services building. It was there he coerced her into taking off her clothes, playfully handcuffing her to the steering wheel, and then forcibly having sex with her. It was only a matter of time before wrongful death actions were filed against Scott’s estate. That’s when Scott’s father, wanting to remove the stigma of his son’s reputation, hired outside experts, who easily refuted the idea that Scott had been the shooter. People in the community knew all along what had happened. The sheriff’s office was corrupt. Underage sex and illicit drugs had finally raised their ugly heads.

    Sargent “Sarge” Shriver founded the Peace Corps, launched the War on Poverty, created Head Start and Legal Services for the Poor, started the Special Olympics, and served as ambassador to France. Yet from the moment he married Joseph P. Kennedy’s daughter Eunice in 1953, Shriver had to navigate a difficult course between independence and family loyalty that tended to obscure his incredible achievements.Scott Stossel, through complete access to Shriver and his family, renders the story of his life in cinematic detail. Shriver’s myriad historical legacies are testaments to the power of his vision and his ability to inspire others. But it is the colorful personality and indomitable spirit of the man himself—traits that allowed him to survive the Depression, WWII, and the Kennedy family—that will inspire readers today to expand the “horizons of the possible.”

    Decades later she has written a deeply personal, profoundly intimate reflection on love and female creativity, and what happens when the two collide in a man's world.Dissolve is a conversation. A conversation with the young women of Gemmell's teenage daughter's generation, and of course with men.'Reading this memoir is like therapy for the soul' ArtsHub'one of the most enriching, yet debilitating reads I've experienced... tremendous, moving writing' Jessie Tu, Women's Agenda'Nikki Gemmell wrote this book for me, and I suspect there will be many women who feel the same way... Each page is imbued with startling self-awareness and profound wisdom... Vulnerable, honest and raw' Better Reading

    His influential work spans many practices over a 23-year period, from music packaging to installation work to printmaking. Here, he reveals his personal notebooks, photographs, sketches, and abandoned routes to iconic Radiohead artworks. Arranged chronologically, each chapter is dedicated to a major work—whether an album cover, promotional piece, or a personal project—and is presented as a step-by-step working case study. Featuring commentary by Thom Yorke and never-before-seen archival material, this is the first deep dive into Donwood’s creative practice and the artistic freedom afforded to him by working for a major music act. It is a must-have for fans of the band and anyone interested in graphic design and popular culture.

    Going beyond the practical application of techniques, Whyte helps new artists capture not just the model's physical likeness, but their unique personality and spirit. Richly illustrated, the book features Mary Whyte's vibrant empathetic watercolors and works by such masters of watercolor as Mary Cassatt, Thomas Eakins, Winslow Homer, John Singer Sargent, and Georgia O'Keeffe.

    Examining visual art from 1980 to the present, it takes an intriguing and accessible approach that motivates students and other readers to think actively about and discuss contemporary art--what it means and how it means what it does. The opening chapter provides a concise overview of the period, analyzing how four key changes (the rise of new media, a growing awareness of diversity, the influence of theory, and interactions with everyday visual culture) have resulted in an art world with dramatically expanded boundaries. Reflecting the paradigm shift from a formalist way of teaching studio art to more varied and open-ended concepts, the remaining six chapters each deal with a key theme--time, place, the body, language, identity, and spirituality. Each chapter features an introduction to the thematic topic; a brief look at historical precedents and influences; a detailed analysis of how contemporary artists have responded to and embodied aspects of the theme in specific works; and an in-depth and fascinating profile of an artist who has extensively explored aspects of the theme in his or her work. Themes of Contemporary Art: Visual Art after 1980 shows how art can be interpreted from several different angles: techniques and materials, historical circumstances, aesthetic qualities, theoretical issues, and an artist's ideas and intentions. Writing in a lucid and engaging style, the authors skillfully reveal the multiple levels of meaning in artworks, drawing connections between contemporary art, art of the past, and everyday existence. The volume is enhanced by 87 illustrations--19 in full color--that demonstrate an immense variety of materials, subjects, and styles. These well-chosen examples will help readers learn to critically describe, interpret, and evaluate contemporary visual art. A bibliography and a timeline that situates contemporary art in the context of major events in world history, art, and popular culture are also included. An ideal core text for courses in contemporary art history, Themes of Contemporary Art: Visual Art after 1980 can also be used as a supplement in modern art, art appreciation, art criticism/theory, and studio art courses.

    The projects are built around a focal cabochon and incorporate seed beads and crystals in imaginative ways. Designers learn to make the jewelry shown in the book, and they also use the techniques learned to create innovative jewelry pieces of their own.

    Recollections of Farrar's father are prominent throughout the stories. Ultimately, it is music and musicians that are given the most space and the final word since music has been the creative impetus and driving force for the past 35 years of his life.In writing these stories, he found a natural inclination to focus on very specific experiences; a method analogous to the songwriting process. The highlights and pivotal experiences from that musical journey are all represented as the binding thread in these stories, illustrated throughout with photography from his life. If life is a movie, then these stories are the still frames.

    

    

    Ed Bolian’s memoir recounts his path from a conversation in high school with Cannonball Run founder, Brock Yates to setting the fastest time ever for driving from New York to Los Angeles. The journey explores goal setting, criminal psychology, and spirituality in the pursuit of finding your true purpose and using what makes you unique to achieve something extraordinary.

    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.

    Follow-up volume to the best-selling The Art of Looking Sideways, Picturing and Poeting is the latest collection of mind-bending images and creative wordplay from Alan Fletcher, one of the most internationally influential figures in graphic design.

    Black humor is used in a series of cartoons depicting ironic situations in which people meet their end.

    And rightly so. The marriage of LaChapelle’s vivid, high-octane images with graphic artist, Tadanori Yokoo’s supersaturated designs make for an astonishing physical object. The reissue of this now classic, long out-of-print volume showcases all the lollipop giddiness of the original now lavishly reproduced in a larger format. “There’s a tradition of celebrity portraiture that attempts to uncover the ‘real person’ behind the trappings of their celebrity. I am more interested in those trappings,” says LaChapelle. Indeed, he exaggerates the artificiality of fame and Hollywood culture in a head on collision of color, plastic, and whimsy. His photographs confront our visual taste and challenge our ideas of celebrity, all the while taking us on a roller coaster ride through his hyper-sensationalized galaxy. Lil’ Kim becomes the ultimate status symbol, tattooed in the Louis Vuitton pattern. Madonna rises from pink waters as a mystical dragon princess. Pamela Anderson hatches out of an egg; and Alexander McQueen burns down the castle dressed as the Queen of Hearts. David LaChapelle’s uncompromising originality is legendary in the worlds of fashion, film, and advertising. His images, both bizarre and gorgeous, have appeared on and in between the covers of Vogue, Vanity Fair, Rolling Stone, Vibe and more. La Chapelle Land is fun park America gone surrealistically wrong — but in such an attractive way.