Eventually the group came to include among its members Edmund Burke, Adam Smith, Edward Gibbon, and James Boswell. It was known simply as “the Club.”     In this captivating book, Leo Damrosch brings alive a brilliant, competitive, and eccentric cast of characters. With the friendship of the “odd couple” Samuel Johnson and James Boswell at the heart of his narrative, Damrosch conjures up the precarious, exciting, and often brutal world of late eighteenth‑century Britain. This is the story of an extraordinary group of people whose ideas helped to shape their age, and our own.

    Conclusions are perpetually delayed. Resolutions are continually postponed. The text is written for takeoff, not arrival. It is a first step for readers' explorations of current modes of art making and for their own future artistic achievements. The much-anticipated follow-up to Art on the Edge... and Over, Linda Weintraub's highly accessible introduction to contemporary art since the 1970s, In the Making: Creative Options for Contemporary Art explores essential but sometimes elusive facets of art making today. In her trademark writing style--straightforward and jargon-free--Weintraub sets out to itemize the conceptual and practical concerns that go into making contemporary art in all its endless permutations. In six clearly defined thematic sections---Scoping an Audience, - -Sourcing Inspiration, - -Crafting an Artistic 'Self', - -Expressing an Artistic Attitude, - -Choosing a Mission, - and -Measuring Success---Weintraub moves artist by artist, in 40 individual chapters, using each to explain a different aspect of art making. Isaac Julien makes work for a highly specific audience; Michal Rovner communicates through metaphor and symbol; Charles Ray disrupts the viewer's assumptions; Pipilotti Rist is inspired by female emotions; William Kentridge is moved by apartheid and redemption; Vanessa Beecroft epitomizes the biography of a smart, attractive, Caucasian woman; and Matthew Barney achieves success through resistance. Through a compelling combination of renowned and up-and-coming artists, Weintraub creates a complex understanding of how to make and look at contemporary art--but in a simple, easily digestible format and language.In addition to being a fine read for anyone who simply wants to understand how to look at contemporary art, In the Making is also an exceptional pedagogical tool, one that addresses what is fast becoming a huge gap in art education. Teaching artistic techniques no longer provides young artists with a sufficient education--a full range of conceptual issues needs to be considered in any well-rounded studio practice. Yet these very same conceptual issues are often those that are dealt with textually in art history and criticism classes. Weintraub persuasively offers a series of texts that fit squarely into this gap, addressing issues that concern anyone who is learning how to make art or how to understand it.In addition, In the Making includes a series of interviews in which many of the artists discuss the practical issues of their life's work. Conducted by Weintraub's students at Oberlin College, the interviews pose questions about the artists' schooling, their studio space, and how they support themselves if their main income doesn't come from their art--the kind of questions every art student has always wanted to ask the artists whose work they see on gallery walls.

    The theory is sound, but something goes wrong, and a highly contagious combination of virus and prion is unleashed, a middle-stage organism too dangerous to test. With emergency services overwhelmed, a small community hospital tries to combat the unthinkable--an illness that causes aggression, spreads through violence, and won’t allow the dead to rest.

    Each book features one of the childhood friends in the group nicknamed the Danger Girls, and each story is a complete romance. Color of Danger, Taste of Danger, and Touch of Danger were also published as solo books.Welcome to Rios Azules, a small south Texas town, where rivers and emotions run deep, and the secrets are deadly. Book 1: Color of Danger Life as the sister of a serial killer is never easy, especially when a former runaway Mari Del Lobo becomes a target herself. A recent crime has her late brother's signature and MO, what Mari finds highly unusual, as she still blames herself for her only sibling's death. Soon Mari encounters an unexpected - and a very attractive - ally in Dr. Luke Goodman. Luke couldn't save his fiancée from the Smiling Killer, but he'll do anything to prevent more murders, even ask help from the serial killer's sister. Finding a kindred tortured soul in Mari, Luke is determined to keep her alive, but it's not easy to protect the stubborn ex-rebel. Can Mari survive to solve the mystery, renew her faith, and find love and redemption? Book 2: Taste of Danger Small-town librarian Soledad Sokolova has three days to find a hidden Russian treasure - or she and her father will die. Out of options, she turns for help to a hunky stranger, private investigator James O'Hara. But she knows better than to let a ladies' man break her heart for the second time. Bound by his word to Soledad's father, James is ready to protect her at all costs. However, once betrayed, he's reluctant to fall in love again. Will James and Soledad escape danger and find treasures of faith, love, and hope? Book 3: Touch of Danger Rookie cop Ivan Vargas blames small-town accountant Julia Morrison for his brother's suicide, as claimed in the note. When Julia is attacked, Ivan wonders if she's right about the suicide being staged. He's determined to find his brother's killer and keep Julia safe but reluctant to lose his heart to the stubborn beauty who's known to break them...Hurt in the past, Julia has avoided letting men too close. But she needs Ivan's help to uncover traumatic secrets someone would kill to keep hidden. Can she stay alive long enough to learn to love and trust again?

    But as a 43-year-old divorcee with an empty nest staring me in the face, I can hardly say no when my mama finally breaks down and does the impossible. She asks for help.I expect to lend a hand with running the family business.Instead, I end up inheriting witch powers and a magical family legacy.My mama's been hiding a secret for my whole life. The merciless gods and goddesses from Ancient Rome are trapped in my hometown... Unfortunately for me, I'm the only thing standing between them and all hell breaking loose…With the fate of the world hanging in the balance, I’ve only got three weeks to solve the mystery of why my Earth witch powers don't work.Saving the world won’t be easy. Of course, neither is being a middle-aged woman.I might be midlife, but sugar, I’m just getting started!Dive into this paranormal women's fiction story about midlife women, mythical gods, and the magic that happens when life forces you to change.

    She's seen it fail a number of times and knows the probability of it working out is not great. She is a scientist, after all. Over the years, she's found it smarter to invest in something that will pay back the effort she puts into it. Something like her career. But she wakes up one morning to realize she's overworked, underpaid, with no one to share her life with, and she wonders if she's been right about love. Jack Wheeler not only just lost his dad, but he's about to lose their family ranch and home. Unable to allow that to happen, Jack does everything he can, including selling all of his personal belongings to protect the land that has been in their family for generations. But when even that isn't enough, Jack isn't sure what to do.  When Tessa flies to Blue Falls to spend Christmas with her family and she meets Jack, the chemistry is immediate. But she's from New York, and his life is in Blue Falls. She's one of the heirs to the Heathcliff billions, and he can barely scrape together his next mortgage payment. Can they see past their differences and find some common ground to cultivate their fledging love? Or will this Christmas come and go without any miracles? Grab your copy today!The ninth book in the sweet and wholesome Heathcliff Family Romances series. Read all of the Heathcliff Family Romances by Julia Keanini! 1. His to Save2. His to Marry3. His to Protect4. Her Favorite Risk5. Her Forever Love6. Her Perfect Mistake7. Their Second First Kiss8. The Island Patriot9. Their White Christmas

    Twelve Caesars asks why these murderous autocrats have loomed so large in art from antiquity and the Renaissance to today, when hapless leaders are still caricatured as Neros fiddling while Rome burns.Beginning with the importance of imperial portraits in Roman politics, this richly illustrated book offers a tour through 2,000 years of art and cultural history, presenting a fresh look at works by artists from Memling and Mantegna to the nineteenth-century African American sculptor Edmonia Lewis, as well as by generations of now-forgotten weavers, cabinetmakers, silversmiths, printers, and ceramicists. Rather than a story of a simple repetition of stable, blandly conservative images of imperial men and women, Twelve Caesars is an unexpected tale of changing identities, clueless or deliberate misidentifications, fakes, and often ambivalent representations of authority.From Beard's reconstruction of Titian's extraordinary lost Room of the Emperors to her reinterpretation of Henry VIII's famous Caesarian tapestries, Twelve Caesars includes some fascinating detective work and offers a gripping story of some of the most challenging and disturbing portraits of power ever created.Published in association with the National Gallery of Art, Washington, DC

    One of the most fascinating representatives of the Belle Epoque, Klimt is chenshed for his rich use of ornament and his paintings of fin de siecle Viennese high society, which bring to life the decadence of the era through vibrant colours and patterns. Yet there can be no doubt about Klimt's greatness as a draughtsman. Remarkable above all is the intensely sensual mood that he establishes in his limpid, fluid drawings and watercolours; the line with which his subjects are described explores and caresses as though the drawing itself was an act of seduction. Here, Rainer Metzger brings together hundreds of Klimt's works on paper in a way that enriches our knowledge of the artist and enhances the visual impact of his oeuvre. Many revolve around Klimt's taboo-breaking main themes - the naked woman, erotica and homoerotica - while others provide allegorical and historical insights. Between these...

    Painter, sculptor, writer, and filmmaker, Salvador Dali (1904-1989) was one of the century's greatest exhibitionists and eccentrics - and was rewarded with fierce controversy wherever he went. He was one of the first to apply the insights of Sigmund Freud and psychoanalysis to the art of painting, approaching the subconscious with extraordinary sensitivity and imagination. This lively monograph presents the infamous Surrealist in full color and in his own words. His provocative imagery is all here, from the soft watches to the notorious burning giraffe. A friend of the artist for over thirty years, privy to the reality behind Dali's public image, author Robert Descharnes is uniquely qualified to analyze Dali - both the man and the myth.

    And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

    Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers-the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.

    Drawing from street culture, high art, and traditional Japanese painting, Murakami takes the contemporary art trend of mixing high and low to an unprecedented level (critics call him the new Warhol), producing original paintings and sculptures as well as mass-produced consumer objects such as toys, books, and most famously, a line of handbags for Louis Vuitton. A committed supporter and spokesperson for Japanese artists and a powerful commentator on postwar culture and society, Murakami has organized influential exhibitions of Japanese art as well as a biannual art fair in Tokyo. Murakami has positioned himself as a new type of artist for the twenty-first century: a hybrid of creator, entrepreneur, and cultural ambassador.In conjunction with the first major retrospective of his work, Murakami traces Murakami’s global impact socially, culturally, and art historically. Essays focus on Murakami’s early works, which were based on a social critique of Japan’s rampant consumerism; the development of his characters; his work with anime, fantasy; otaku culture; and his engagement with global pop culture. Representing output from original works of art to mass-produced multiples, the catalogue also considers the implications of Murakami’s working methods within the tradition of the Western avant-garde.

    This book provides the art history student with an introduction to the range of theoretical perspectives used in looking at and analyzing art. It covers a broad range of approaches, presenting individual arguments, controversies, and divergent perspectives.The book begins by introducing the concept of theory and explains why it is important to the practice of art history. Each of the six chapters that form the core of the book presents a group of related approaches that are then discussed in turn and applied to one or more works of art. The book ends with some practical ideas about writing theory-based art history essays.

    She began keeping a journal in 1927, when, after years of her work being derided and ignored, came unexpected vindication and triumph when the Group of Seven accepted her as one of them and encouraged her to overcome the years of despair when she stopped painting. Hundreds and Thousands is the sixth of seven books by Emily Carr to be published by Douglas McIntyre in a completely redesigned edition, each with an introduction by a noted Canadian writer or an authority on Emily Carr and her work.

    And his artistic vision remains palpably present today, through the countless statues, fountains, and buildings that transformed Rome into the Baroque theater that continues to enthrall tourists.            It is perhaps not surprising that this artist who defined the Baroque should have a personal life that itself was, well, baroque. As Franco Mormando’s dazzling biography reveals, Bernini was a man driven by many passions, possessed of an explosive temper and a hearty sex drive, and he lived a life as dramatic as any of his creations. Drawing on archival sources, letters, diaries, and—with a suitable skepticism—a hagiographic account written by Bernini’s son (who portrays his father as a paragon of virtue and piety), Mormando leads us through Bernini’s many feuds and love affairs, scandals and sins. He sets Bernini’s raucous life against a vivid backdrop of Baroque Rome, bustling and wealthy, and peopled by churchmen and bureaucrats, popes and politicians, schemes and secrets.The result is a seductively readable biography, stuffed with stories and teeming with life—as wild and unforgettable as Bernini’s art. No one who has been bewitched by the Baroque should miss it.