For five months I hiked through the California desert, the snows of the Sierra Nevada, and the Cascade Mountains of Oregon and Washington. My goal was to succeed in an epic challenge: to hike 2,650 miles and reach Canada before the October snows. It was an unforgettable summer of sunrises, river crossings, and high mountain passes; of physical and mental challenges and peaceful wilderness camps under the stars. In the fall colors of September I reached the border of Canada.This is the story of my thru-hike.

    Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight."Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature."One of Publishers Weekly's Best Nonfiction Books of 2013

    With characteristic perversity - and trademark originality - THE ONGOING MOMENT is Dyer's unique and idiosyncratic history of photography. Seeking to identify their signature styles Dyer looks at the ways that canonical figures such as Alfred Stieglitz, Paul Strand, Walker Evans, Kertesz, Dorothea Lange, Diane Arbus and William Eggleston have photographed the same scenes and objects (benches, hats, hands, roads). In doing so Dyer constructs a narrative in which those photographers - many of whom never met in their lives - constantly come into contact with each other. Great photographs change the way we see the world; THE ONGOING MOMENT changes the way we look at both. It is the most ambitious example to date of a form of writing that Dyer has made his own: the non-fiction work of art.

    Granddaughter of a local hero, Mercy Bennington moves out of the shadow of her elder brother to become a leader of the protestors, finding the strength to confront the enemies who endanger the survival of her village and her own life. Yet the violence wreaked upon the fragile fenlands unleashes a force no one can control – flood.

    Twenty miles up the Hudson River from Manhattan and the contemporary art scene Lissa wants to avoid, Tarrytown has a charming Main Street where she can set up her easel and paint, immersed in her subject, the way her beloved French Impressionists did. Charismatic cop Nick Bellini, whose family owns the ice cream shop she's painting, soon notices her expertise and asks her to be on the lookout for phony masterpieces he's heard are being made in town. She hesitates, afraid of being sued by unhappy art collectors, but takes the plunge after seeing a questionable Monet in the home of a local power couple. The danger goes from professional to personal when, responding to a vague request for help from another artist, she walks into his studio and finds him dead. Is there a link to the forgeries? Is someone in the arts community a murderer? Will Lissa be the next target?

    Scott doesn’t just show you which sliders do what (every Lightroom book will do that). Instead, by using the following three simple, yet brilliant, techniques that make it just an incredible learning tool, this book shows you how to create your own photography workflow using Lightroom: Throughout the book, Scott shares his own personal settings and studiotested techniques. Each year he trains thousands of Lightroom users at his live seminars and through that he’s learned what really works, what doesn’t, and he tells you flat out which techniques work best, which to avoid, and why. The entire book is laid out in a real workflow order with everything step by step, so you can begin using Lightroom like a pro from the start. What really sets this book apart is the last chapter. This is where Scott dramatically answers his #1 most-asked Lightroom question, which is: “Exactly what order am I supposed to do things in, and where does Photoshop fit in?” You’ll see Scott’s entire start-to-finish Lightroom 5 workflow and learn how to incorporate it into your own workflow. Plus, this book includes a downloadable collection of some of the hottest Lightroom Develop module presets to give you a bunch of amazing effects with just one click! Scott knows first-hand the challenges today’s digital photographers are facing, and what they want to learn next to make their workflow faster, easier, and more fun. He has incorporated all of that into this major update for Lightroom 5. It’s the first and only book to bring the whole process together in such a clear, concise, and visual way. Plus, the book includes a special chapter on integrating Adobe Photoshop seamlessly right into your workflow, and you’ll also learn some of Scott’s latest Photoshop portrait retouching techniques and special effects, which take this book to a whole new level. There is no faster, more straight-to-the-point, or more fun way to learn Lightroom than with this groundbreaking book.

    Creative Is a Verb is equally a book for people who say, “I’m not creative” or “I’m just a dabbler” or “I’m an artist.”

    When women posed with their knitting in the earliest nineteenth-century photographs, it demonstrated their virtue and skill as homemakers. Later, knitting became fashionable among the wealthy as a sign of culture and artistic ability. During the two world wars, images of nurses, soldiers, prisoners, and even knitting clubs composed of very serious small boys—all with heads bent down, intent on knitting items (especially socks) for the troops—abounded. In the 1950s and 1960s, as snapshots became ubiquitous, knitters took on a jauntier air, posing with handiwork held proudly aloft. People Knitting is a quirky and fascinating gift for the knitter in your life.

    His style ranged from the social realism of his WPA murals through his abstract expressionist canvasses of the 1950s and 1960s (when he counted Pollock, Rothko, de Kooning, and Kline among his friends) to his cartoonlike paintings of Klansmen, disembodied heads, and tangled piles of everyday objects. Critics and public alike savaged Guston for his return to figurative art, but today his late work is recognized for the singular power of its darkly hilarious vision. Musa Mayer augments her firsthand knowledge with extensive interviews with his family, friends, students, and colleagues, as well as Guston's own letters, notes, and autobiographical writings, to re-create a turbulent era in American art. Night Studio, profusely illustrated (including almost a dozen paintings in full color), illuminates not only the life of a great artist, but the experience of growing up in his shadow.

    A master at communicating powerful ideas in astonishingly few words, Ai Weiwei is known for his innovative use of social media to disseminate his views. The short quotations presented here have been carefully selected from articles, tweets, and interviews given by this acclaimed Chinese artist and activist. The book is organized into six categories: freedom of expression; art and activism; government, power, and moral choices; the digital world; history, the historical moment, and the future; and personal reflections.Together, these quotes span some of the most revealing moments of Ai Weiwei's eventful career--from his risky investigation into student deaths in the 2008 Sichuan earthquake to his arbitrary arrest in 2011--providing a window into the mind of one of the world's most electrifying and courageous contemporary artists.Select Quotes from the Book:On Freedom of ExpressionSay what you need to say plainly, and then take responsibility for it.A small act is worth a million thoughts.Liberty is about our rights to question everything.On Art and ActivismEverything is art. Everything is politics.The art always wins. Anything can happen to me, but the art will stay.Life is art. Art is life. I never separate it. I don't feel that much anger. I equally have a lot of joy.On Government, Power, and Making Moral ChoiceOnce you've tasted freedom, it stays in your heart and no one can take it. Then, you can be more powerful than a whole country.I feel powerless all the time, but I regain my energy by making a very small difference that won't cost me much.Tips on surviving the regime: Respect yourself and speak for others. Do one small thing every day to prove the existence of justice.On the Digital WorldOnly with the Internet can a peasant I have never met hear my voice and I can learn what's on his mind. A fairy tale has come true.The Internet is uncontrollable. And if the Internet is uncontrollable, freedom will win. It's as simple as that.The Internet is the best thing that could have happened to China.On History, the Historical Moment, and the FutureIf a nation cannot face its past, it has no future.We need to get out of the old language.The world is a sphere, there is no East or West.Personal ReflectionI've never planned any part of my career--except being an artist. And I was pushed into that corner because I thought being an artist was the only way to have a little freedom.Anyone fighting for freedom does not want to totally lose their freedom.Expressing oneself is like a drug. I'm so addicted to it.

    This showcase of cutting-edge contemporary art from across the globe features galleries of collage by 30 practitioners, from the surreal landscapes of Beth Hoeckel to Fabien Souche's humorous appropriations of pop culture. Each artist has also created a new piece especially for this book—all using the same original image, but with results as wildly diverse as the medium of collage itself. This collection is visual inspiration for art lovers and an appreciation of the transformation of old into new.

    

    What is it that persuades us to camp outside Apple stores to be the first to buy an iPhone? Why is it that a generation ago a typewriter might have lasted someone a lifetime, but now we write on computers that we upgrade every couple of years to shinier, faster, sleeker models? Why do the clicks of some car doors sound “expensive”? Deyan Sudjic charts our relationship—both innocent and knowing—with all things designed. From the opulent excesses of the catwalk to the playfulness of an Alessi jam jar, he shows how we can be manipulated and seduced by our possessions. With scintillating wit he addresses these questions and more, exploring the reasons why every designer yearns to put a personal stamp on a chair or an adjustable lamp, and where design ends and art begins. 71 black-and-white and 5 color illustrations.

    Originally published in 1989 and until now unavailable in any edition, Just Looking had become one of Updike's rarest and most sought-after titles. It collects the best of the novelist and critic's multifarious musings on art and artists, museums and popular culture, the lives behind the works and the ways in which these works have informed his own life. Included here are pieces on Vermeer, Erastus Field, Modigliani, the major Impressionists, New Yorker cartoonist Ralph Barton, children's book illustrations, Fairfield Porter, and Jean Ipousteguy, among others, as well as extensive reflections on John Singer Sargent and Andrew Wyeth, a critical examination of writers' art, and a long essay on his impressions of the Museum of Modern Art. Featuring a new introduction by the author, this edition of Just Looking -- the first ever in paperback -- brings back into print a key work of art criticism by one of the most respected and accomplished writers of our time and is the first in the Museum of Fine Arts, Boston's new reprint series.

    He identifies a “global style” of architecture—as practiced by Norman Foster, Richard Rogers and Renzo Piano—analogous to the international style of Le Corbusier, Gropius and Mies. More than any art, today’s global style conveys both the dreams and delusions of modernity. Foster demonstrates that a study of the “art-architecture complex” provides invaluable insight into broader social and economic trajectories in urgent need of analysis.From the Trade Paperback edition.