The man strikes the piano player as forgettable.He looks bland and inconspicuous. Not at all what you think a serial killer looks like. But that’s what he is, and tonight, he has his sights set on a gray haired man. He will not be his first victim.Nor will he be his last.The Last Call Killer preyed upon gay men in New York in the ‘80s and ‘90s and had all the hallmarks of the most notorious serial killers. Yet because of the sexuality of his victims, the skyhigh murder rates, and the AIDS epidemic, his murders have been almost entirely forgotten.This gripping true-crime narrative tells the story of the Last Call Killer and the decades-long chase to find him. And at the same time, it paints a portrait of his victims and a vibrant community navigating threat and resilience.

    He stood for Modernism but he also embodied tradition. His pictures polarized and divided the art-loving world. The press and general public alike were split over the question: For or against Klimt? This monograph explores Klimt’s oeuvre with particular emphasis upon such contemporary voices. With a complete catalogue of his paintings, including new photographs of the Stoclet Frieze commissioned exclusively for this book, it examines the reactions to Klimt’s work throughout his career. Subjects range from Klimt’s portrayal of women to his adoption of landscape painting. The theory that Klimt was a man of few words who rarely put pen to paper is also dispelled with the inclusion of 179 letters, cards, writings, and other documents from the artist.Contributing authors: Evelyn Benesch, Marian Bisanz-Prakken, Rainald Franz, Anette Freytag, Christoph Grunenberg, Hansjörg Krug, Susanna Partsch, Angelina Pötschner, and Michaela ReichelThe Editor and Author:Tobias G. Natter is an internationally acknowledged expert on art in “Vienna around 1900.” For many years he worked at the Austrian Belvedere Gallery in Vienna, latterly as head curator. He also worked as guest curator at the Tate Liverpool, the Neue Galerie New York, the Hamburger Kunsthalle, the Schirn in Frankfurt am Main, and the Jewish Museum in Vienna. From 2006 to 2011, he directed the Vorarlberg Museum in Bregenz, and from 2011 to 2013 was director of the Leopold Museum in Vienna. In 2014 he founded Natter Fine Arts, which specializes in assessing works of art and developing exhibition concepts. He is the author of TASCHEN’s Gustav Klimt: The Complete Paintings; Art for All: The Colour Woodcut in Vienna around 1900; and Egon Schiele: The Complete Paintings, 1909–1918.Details:Gustav Klimt: The Complete PaintingsTobias G. NatterHardcover with fold-outs, 29 x 39.5 cm, 676 pagesISBN 978-3-8365-2795-8Edition: EnglishSUZY MENKES:“Surely TASCHEN’s Klimt: The Complete Paintings. Each unfolding page — with its strokeable surface of intense paintwork and its meld of Byzantine imagery and Venetian mosaics — brings to life the exotic eroticism of an exceptional artist.”

       • Close-up focus on 22 masterpieces, from Ancient Greek sculpture to 1960s Pop Art.    • Well-known icons along with lesser-known gems — carefully chosen to illuminate the points made in the text.    • Features on major schools and movements to explore and explain their stylistic trademarks, characteristics, and favored subjects. Art: A Visual History is a knowledgeable, thought-provoking, and accessible tour of the creators of Western art.

    Committed to free speech, free love, and politically engaged art, they swept away sexual prudery, stodgy bourgeois art, and political conservatism as they clamorously declared the birth of the new.Christine Stansell offers the first comprehensive history of this legary period. She takes us deep into the downtown bohemia, which brought together creative dissenters from all walks of life: hoboes and Harvard men, society matrons and immigrant Jews, Wobblies and New Women, poets and anarchists. And she depicts their lyrical hopes for the century they felt they were sponsoring -- a radiant vision of modernity, both egalitarian and artful, that flourished briefly, poignantly, until America entered the First World War and patriotism trumped self-expression.

    His sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings. A new preface and two new additional essays published in the 1990s bring this valuable collection up to date.

    Adopting an innovative year-by-year approach, Foster, Krauss, Bois and Buchloh present more than one hundred short essays, each focusing on a crucial event - such as the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition - to tell the story of the dazzling diversity of practice and interpretation that characterized the art of the period. are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' fine texts are more than six hundred of the most important works of the century, most reproduced in full colour. The book's flexible structure and extensive cross-referencing allow readers to plot their own course through the book and to follow any one of the many narratives that unfold through the century, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as Surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. and issues surrounding the art. In their perceptive introductions, the four authors set out and explain the different methods of art history at work in the book, providing the reader with the conceptual tools to further his or her own study. Two roundtable discussions - one at mid-century, the other at the close of the book - consider some of the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.

    Although Lee Marvin is best known for his icy tough guy roles—such as his chilling titular villain in The ManWho Shot Liberty Valance or the paternal yet brutally realistic platoon leader in The Big Red One—very little is known of his personal life; his family background; his experiences in WWII; his relationship with his father, family, friends, wives; and his ongoing battles with alcoholism, rage, and depression, occasioned by his postwar PTSD. Now, after years of researching and compiling interviews with family members, friends, and colleagues; rare photographs; and illustrative material, Hollywood writer Dwayne Epstein provides a full understanding and appreciation of this acting titan’s place in the Hollywood pantheon in spite of his very real and human struggles.

    In The Poisoner's Handbook Blum draws from highly original research to track the fascinating, perilous days when a pair of forensic scientists began their trailblazing chemical detective work, fighting to end an era when untraceable poisons offered an easy path to the perfect crime. Drama unfolds case by case as the heroes of The Poisoner's Handbook—chief medical examiner Charles Norris and toxicologist Alexander Gettler—investigate a family mysteriously stricken bald, Barnum and Bailey's Famous Blue Man, factory workers with crumbling bones, a diner serving poisoned pies, and many others. Each case presents a deadly new puzzle and Norris and Gettler work with a creativity that rivals that of the most imaginative murderer, creating revolutionary experiments to tease out even the wiliest compounds from human tissue. Yet in the tricky game of toxins, even science can't always be trusted, as proven when one of Gettler's experiments erroneously sets free a suburban housewife later nicknamed "America's Lucretia Borgia" to continue her nefarious work. From the vantage of Norris and Gettler's laboratory in the infamous Bellevue Hospital it becomes clear that killers aren't the only toxic threat to New Yorkers. Modern life has created a kind of poison playground, and danger lurks around every corner. Automobiles choke the city streets with carbon monoxide; potent compounds, such as morphine, can be found on store shelves in products ranging from pesticides to cosmetics. Prohibition incites a chemist's war between bootleggers and government chemists while in Gotham's crowded speakeasies each round of cocktails becomes a game of Russian roulette. Norris and Gettler triumph over seemingly unbeatable odds to become the pioneers of forensic chemistry and the gatekeepers of justice during a remarkably deadly time. A beguiling concoction that is equal parts true crime, twentieth-century history, and science thriller, The Poisoner's Handbook is a page-turning account of a forgotten New York.

    Thirty years on from his first hit single, 'Space Oddity'. he remains the most influential rock star from the post-Woodstock generation - yet unlike Hendrix, the Beatles or even Prince, his life has never been the subject of a major biography. Strange Fascination chronicles Bowie's career against the colourful backdrop of post-Beatles pop culture; of glam-era gender-bending, implausible substance abuse and sartorial silliness; 80s corporate sclock; 90s 'curator culture' and laddish Britpop. It's a story of amazing creativity, of huge, showboating theatricality and of an almost pathological quest to remain relevant and at pop's cutting edge.This revised and updated edition of Strange Fascination is an absorbing and fascinating history of Bowie and his times, through exclusive and revelatory interviews with his closest collaborators who have spoken in detail about the tours, the making of the albums, the arguments and split-ups, the music and, most importantly, the man himself. With an unrivalled degree of access to the main players and exclusive photographic material, Strange Fascination is the most complete account of David Bowie and his impact on pop culture ever written.As a critique-cum-re-establishment of the David Bowie character, "definitive" is pretty much it - Guardian.Cover Photograph: Kevin Cummins

    This book is about them, the so-called "mole people" living alone and in communities, in the frescoed waiting rooms of long-forgotten subway tunnels and in pick-axed compartments below busway platforms. It is about how and why people move underground, who they are, and what they have to say about their lives and the treacherous "topside" world they've left behind. There are even the voices of young children taken down to the tunnels by parents who are determined to keep their families together, although as one tunnel dweller explains, "once you go down there, you can't be a child anymore." Though they maintain an existence hidden from the world aboveground, tunnel dwellers form a large and growing sector of the homeless population. They are a diverse group, and they choose to live underground for many reasonssome rejecting society and its values, others reaffirming those values in what they view as purer terms, and still others seeking shelter from the harsh conditions on the streets. Their enemies include government agencies and homeless organizations as well as wandering crack addicts and marauding gangs. In communities underground, however, many homeless people find not only a place but also an identity. On these pages Jennifer Toth visits underground New York with various straight-talking guides, from outreach workers and transit police to vetern tunnel dwellers, graffiti artists, and even the "mayor" of a large, highly structured community several levels down. In addition to chilling and poignant firsthand accounts of tunnel life, she describes the fascinating and labryrinthine physical world beneath the city and discusses the literary allusions and historical points of view that prejudice our culture against those who "go underground". Toth has gained unprecedented access to a strange and frightening world, but The Mole People is not a daredevil jo

    You are missing what is happening in the distance and right in front of you. In reading these words, you are ignoring an unthinkably large amount of information that continues to bombard all of your senses. The hum of the fluorescent lights; the ambient noise in the room; the feeling of the chair against your legs or back; your tongue touching the roof of your mouth; the tension you are holding in your shoulders or jaw; the constant hum of traffic or a distant lawnmower; the blurred view of your own shoulders and torso in your peripheral vision; a chirp of a bug or whine of a kitchen appliance.On Looking begins with inattention. It is not meant to help you focus on your reading of Tolstoy; it is not about how to multitask. Rather, it is about attending to the joys of the unattended, the perceived "ordinary." Horowitz encourages us to rediscover the extraordinary things that we are missing in our ordinary activities. Even when engaged in the simplest of activities - taking a walk around the block - we pay so little attention to most of what is right before us that we are sleepwalkers in our own lives. So turn off the phone and portable electronics and get into the real world, where you'll find there are worlds within worlds within worlds.

    but you can just call him MR. NEW ORLEANS. Mr. New Orleans tells the incredible story of Frenchy Brouillette, a redneck Cajun teenager who stole his big brother's motorcycle and embarked on a 60-year vacation to New Orleans, where he became a legendary gangster and the underworld political fixer for his cousin, Louisiana Governor Edwin Edwards. Written by Crescent City native Matthew Randazzo V, the wickedly funny Mr. New Orleans is the first book to ever break the code of secrecy of the New Orleans Mafia Family, the oldest and most mysterious criminal secret society in America. "Mr. New Orleans is a rollicking, disturbing ride through the underbelly of a bygone New Orleans, lined with moments of dark, side-splitting hilarity. If you're a fan of James Lee Burke, drop what you're reading and pick this one up. In an era when popular wisdom tells us T.V. has stolen all depth from the literary true-crime narrative, Matthew Randazzo has found a way to beat that trend mightily; he's gone straight to the source and captured the singular, confounding voice of the New Orleans' mafia's top political fixer with fast-paced, riveting prose and a fine journalist's eye for detail." Chris Rice, New York Times Bestselling Author "Mr. New Orleans is a total knockout: Take everything you ever imagined about the sleazy good times to be had in New Orleans -- the sleazy good times capital of America -- and quadruple it, and you have a hint of what's inside these sticky pages." Bill Tonelli, Author of The Italian American Reader and Editor for Esquire and Rolling Stone

    Instead, in a daring stroke, Greil Marcus selects ten songs recorded between 1956 and 2008, then proceeds to dramatize how each embodies rock ’n’ roll as a thing in itself, in the story it tells, inhabits, and acts out—a new language, something new under the sun. “Transmission” by Joy Division. “All I Could Do Was Cry” by Etta James and then Beyoncé. “To Know Him Is to Love Him,” first by the Teddy Bears and almost half a century later by Amy Winehouse. In Marcus’s hands these and other songs tell the story of the music, which is, at bottom, the story of the desire for freedom in all its unruly and liberating glory. Slipping the constraints of chronology, Marcus braids together past and present, holding up to the light the ways that these striking songs fall through time and circumstance, gaining momentum and meaning, astonishing us by upending our presumptions and prejudices. This book, by a founder of contemporary rock criticism—and its most gifted and incisive practitioner—is destined to become an enduring classic.

    She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art. Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

    Today they provide an incendiary portrait of the flash and dash and power brokering of the Excessive Eighties in New York and Hollywood.The Vanity Fair Diaries is the story of an Englishwoman barely out of her twenties who arrives in New York City with a dream. Summoned from London in hopes that she can save Conde Nast's troubled new flagship Vanity Fair, Tina Brown is immediately plunged into the maelstrom of the competitive New York media world and the backstabbing rivalries at the court of the planet's slickest, most glamour-focused magazine company. She survives the politics, the intrigue, and the attempts to derail her by a simple stratagem: succeeding. In the face of rampant skepticism, she triumphantly reinvents a failing magazine.Here are the inside stories of Vanity Fair scoops and covers that sold millions--the Reagan kiss, the meltdown of Princess Diana's marriage to Prince Charles, the sensational Annie Leibovitz cover of a gloriously pregnant, naked Demi Moore. In this cinematic audiobook, the drama, the comedy, and the struggle of running an "it" magazine come to life. Brown's Vanity Fair Diaries is also a woman's journey, of making a home in a new country and of the deep bonds with her husband, their prematurely born son, and their daughter.Astute, open-hearted, often riotously funny, Tina Brown's The Vanity Fair Diaries is a compulsively fascinating and intimate chronicle of a woman's life in a glittering era.