Millions of Americans are drawn to antiques and flea-market culture, whether as participants or as viewers of the perennially popular Antiques Roadshow or the recent hit American Pickers. This world has the air of a lottery: a $20 purchase might net you four, five, or six figures. Master dealer Curt Avery, the unlikely star of Killer Stuff and Tons of Money, plays that lottery every day, and he wins it more than most. Occasionally he gets lucky, but more often, he draws on a deep knowledge of America's past and the odd, fascinating, and beautiful objects that have survived it. Week in, week out, Avery trawls the flea and antiques circuit-buying, selling, and advising other dealers in his many areas of expertise, from furniture to glass to stoneware, and more. On the surface, he's an improbable candidate for an antiques dealer. He wrestled in high school and still retains the pugilistic build; he is gruff, funny, and profane; he favors shorts and sneakers, even in November; and he is remarkably generous toward both competitors and customers who want a break. But as he struggles for a spot in a high-end Boston show, he must step up his game and, perhaps more challenging, fit in with a white-shoe crowd. Through his ascent, we see the flea-osphere for what it truly is-less a lottery than a contact sport with few rules and many pitfalls. This rich and sometimes hilarious subculture rewards peculiar interests and outright obsessions-one dealer specializes in shrunken heads; another wants all the postal memorabilia he can get. So Avery must be a guerrilla historian and use his hard-earned knowledge of America's past to live by and off his wits. Only the smartest survive in one of America's most ruthless meritocracies. Killer Stuff and Tons of Money is many things: an insider's look at a subculture replete with arcane traditions and high drama, an inspiring account of a self-made man making his way in a cutthroat field, a treasure trove of tips for those who seek out old things themselves, and a thoroughly fresh, vibrant view of history as blood sport.

    The company owns nothing. All our bands have the freedom to f**k off''Written in blood, The Factory non-contract set out the manifesto for one of the most influential and progressive record labels of our time...Manchester, 1976: Anthony Wilson, Granada TV presenter, is at an early Sex Pistols gig. Inspired by this pivotal moment in music history, he and his friends set up Factory Records. They go on to conquer the world with Joy Division (who become New Order) then again with the Happy Mondays.Riding high on their success and just about keeping the business afloat, the Factory directors decide to give something back to their city, to open a club - The Hacienda. Packed on opening night but losing money hand over fist for the first five years, The Hacienda and the Happy Mondays take their unique brand of hedonism to breaking point.From the dawn of punk to the death of acid house, Anthony Wilson was at the centre of it all. Love him or hate him, you can't possibly ignore him.

             Design experts Rebecca Thuss and Patrick Farrell inspire you to get creative with their time-tested techniques. Customize every petal, leaf or stem to go dramatic or delicate; mimic nature or fashion your blossoms in any color you can imagine to make something uniquely personal. You’ll be amazed how easy it is to produce these gorgeous flower projects. These exquisite blooms never wilt, are always in style, and are endlessly fun to create, share, and give to everyone you love.

    In Foundations for Comic Book Art, the Savannah College of Art and Design (SCAD)—a leading force in art and design education—enlists one of its top instructors, John Paul Lowe, to provide aspiring comic book makers with a thorough primer for creative comics, featuring must-know concepts like contour drawing, mastering perspective, using photo-reference, and adding digital patterns. Examples from the works of SCAD faculty, alumni, and students are paired with Lowe’s easy-to-follow, step-by-step lessons and exercises for readers, demonstrating the vital processes all would-be sequential artists have to know before joining the ranks of the comic book–making elite.

    Amid Amidi, of the influential Animation Blast magazine and CartoonBrew blog, charts the evolution of the modern style in animation, which largely discarded the "lifelike" aesthetic for a more graphic and often abstract approach. Abundantly found in commercials, industrial and educational films, fair and expo infotainment, and more, this quickly popular cartoon modernism shared much with the painting and graphic design movements of the era. Showcasing hundreds of rare and forgotten sketches, model boards, cels, and film stills, Cartoon Modern is a thoroughly researched, eye-popping, and delightful account of a vital decade of animation design.

    In Against Expression, editors Craig Dworkin and Kenneth Goldsmith present the most innovative works responding to the challenges posed by these developments.Charles Bernstein has described conceptual poetry as "poetry pregnant with thought." Against Expression, the premier anthology of conceptual writing, presents work that is by turns thoughtful, funny, provocative, and disturbing. Dworkin and Goldsmith, two of the leading spokespersons and practitioners of conceptual writing, chart the trajectory of the conceptual aesthetic from early precursors including Samuel Beckett and Marcel Duchamp to the most prominent of today’s writers. Nearly all of the major avant-garde groups of the past century are represented here, including Dada, OuLiPo, L=A=N=G=U=A=G=E, and Flarf to name just a few, but all the writers are united in their imaginative appropriation of found and generated texts and their exploration of nonexpressive language. Against Expression is a timely collection and an invaluable resource for readers and writers alike.

    This revised and expanded edition is brought up to date with discussions on the more comprehensive globalization of art since the mid-1990s, which can be seen in the growth of the exhibition calendar and the number of new contemporary art museums opening around the world. With over thirty additional illustrations and an updated timeline and bibliography, this book will prove indispensable to anyone interested in the evolution of modern art.

    There, scribbled by a cousin she hadn't seen for years, were the names of the masters whose works once belonged to her great-grandfather, Jules Strauss: Renoir, Monet, Degas, Tiepolo and more. Pauline Baer de Perignon knew little to nothing about Strauss, or about his vanished, precious art collection. But the list drove her on a frenzied trail of research in the archives of the Louvre and the Dresden museums, through Gestapo records, and to consult with Nobel laureate Patrick Modiano. What happened in 1942? And what became of the collection after Nazis seized her great-grandparents’ elegant Parisian apartment? The quest takes Pauline Baer de Perignon from the Occupation of France to the present day as she breaks the silence around the wrenching experiences her family never fully transmitted, and asks what art itself is capable of conveying over time.

    But Stephen's two expeditions to Mexico and Central America in 1839 and 1841 yielded the first solid information on the culture of the Maya Indians. In this work, and in his other masterpiece Incidents of Travel in Yucatan, he tells the story of his travels to some 50 ruined Mayan cities.In this book, he describes the excitement of exploring the magnificent ruined cities of Copan and Palenque, and his briefer excursions to Quirigua, Patinamit, Utatlan, Gueguetenango, Ocosingo, and Uxmal. For all these cities, his details are so accurate that more recent explorers used the book as a Baedeker to locate ruins forgotten by even the Indians.In addition to being a great book on archaeological discovery, Stephen's work is also a great travel book. Telling of journeying by mule back on narrow paths over unimaginable deep ravines, through sloughs of mud and jungles of heavy vegetation, describing dangers of robbery, revolution, fever, mosquitoes and more exotic insects, Stephen's narrative remains penetrating and alive. His account of his attempt to buy Copan for $50 is told with the adroitness of a Mark Twain, and his descriptions of Indian life — primitive villages a few miles from the ruins, burials, treatment of the sick, customs, amusements, etc. — never lose their interest.Frederick Catherwood's illustrations virtually double the appeal of the book. Highly exact, remarkably realistic drawings show overall views, ground plans of the cities, elevations of palaces and temples, free-standing sculpture, carved hieroglyphics, stucco bas-reliefs, small clay figures, and interior details.

    Described on the book jacket as an "autodidact extraordinaire," Zacks is also the author of History Laid Bare, making him something of an expert guide through history's back alleys and side streets. There's no fact too seamy or perverse for Zacks to drag out into the light of day, from matters scatological and sexual to some of history's most truly bizarre episodes. Curious about ancient nose-blowing etiquette? What about the sexual proclivities of Catherine the Great? Throughout chapters such as "The Evolution of Underwear" and "Dentistry Before Novocaine," Zacks proves a tireless debunker of popular myths as well as a muckraker par excellence.

    But today's readers are often confused when they encounter the myriad names of those deities and try to understand their roles in mythology. This entertaining and mind-expanding book charts 100 of the most prominent characters from Greco-Roman mythology, including the primordial deities, the great gods of Olympus, and the shadowy inhabitants of Hades. Addressing universal themes such as love, jealousy, anger, ambition, deceit, and beauty, the stories told here make fascinating reading while they add significance to countless classical references in our civilization's literature and art. Author Malcolm Day profiles each god with a short, very readable summary of that personage's acts. He sets each deity's story within the larger context of a family tree that encompasses all major gods. Full-color illustrations showing memorable scenes from classical mythology include reproductions from famous paintings and photos of statuary. Separate chapters are devoted to:The Primordial Gods: Gaia, Uranus, Cronus, and others The Gods of Olympus: Zeus, Poseidon, Athena, Apollo, and others Descendants of the Titans: Iris, Nike, Helios, Eos, Atlas, and others Legendary Heroes: Jason, Oedipus, Daedelus, Paris, Helen of Troy, and others Figures from the Odyssey: Odysseus, Penelope, Circe, and othersThis virtual roadmap through the complexities of classical mythology features more than 100 full-color illustrations.

    This Keepsake Book features recipes and paintings for Christmas -- put one in someone's stocking! Ribbon marker.

    How to use this journal 1. Carry it with you wherever you go. 2. Do at least one exercise every day. 3. Repeat the first two steps until the pages are full.From the New York Times bestselling author of Steal Like an Artist, Show Your Work!. and Keep Going, an interactive journal and all-in-one logbook to get your creative juices flowing, and keep a record of your ideas and discoveries.The Steal Like an Artist Journal includes page after page of ideas, prompts, quotes, and exercises are like a daily course in creativity. There are lists to fill in—Ten Things I Want to Learn, Ten Things I Probably Think About More Than the Average Person. Challenges to take. Illustrated creative exercises—Make a Mixtape (for someone who doesn’t know you) and Fill in the Speech Balloons. Pro and con charts—What Excites You?/What Drains You? Includes an elastic band for place-marking and a special pocket in the back—a “swipe file” to store bits and pieces of inspiration. Because if you want to steal like an artist, you need a place to keep your loot.

    Covering everything from holding a pen to the difficulties that left-handers face and the problems that may be caused by medical conditions, readers walk away from the book armed with the ability to write with ease and confidence.

    Now one of our most respected cultural historians chronicles these clamorous debates about the public appropriateness of paintings, sculpture, memorials, and monuments.Michael Kammen examines the nature, diversity, and persistence of major disputes generated by art and artists and shows what has changed since the 1830s and why. He looks at the role of artists and patrons, local and national governments, conservatives and liberals, and the media in creating and sustaining heated controversies. We see the notable acceleration of such episodes since the 1960s; the effect of the democratization of American museums; the quest for provocative shows to attract crowds; the increased visibility resulting from the public art movement that has stirred anger and created some of our stormiest battles; the desire of many artists and galleries to shock, provoke, and contest, engendering the perplexity, if not outright hostility, of audiences; the use of art as social criticism; the effort to include and appeal to minorities; the threat of litigation and the role of courts; and the commercialization stemming from dependence on corporate sponsorship.Kammen’s central themes include such questions as, What kind of art is most appropriate for a democratic society? What should our relationship be to Old World criteria of excellence in the arts? How can we achieve a distinctively American art? Why have so many controversies hinged upon issues of nudity, decency, and sexuality? Why has public art (most notably sculpture) become so politicized that began in the late 1960s? He explores the “death-of-art” debate since the 1970s and issues of censorship that have arisen over time. Finally, he asks whether art controversies have invariably had a negative effect—noticing the interesting ways in which minds have been changed and museums have overcome difficult episodes. He also reminds us that when New York’s Museum of Modern Art celebrated its twenty-fifth anniversary, President Dwight Eisenhower declared “as long as artists are at liberty to feel with high personal intensity, as long as our artists are free to create with sincerity and conviction, there will be healthy controversy and progress in art.” Kammen agrees.