John is sleeping with Mary. Mary is married to Daniel. Both men work for her father, the Top Man. Daniel is his son-in-law, next in line to take over his little empire. John is muscle. The Top Man orchestrates robberies—banks, pay rolls, anything that will bring in some easy money. When Daniel discovers his wife’s illicit liaison, he wants John dead. The Top Man signs off on it.But John’s a man you only get one shot at. When Daniel happens to botch that one shot, then everyone involved needs to watch their back. Because John will be coming for them, and he won’t stop until he’s taken revenge on every last one involved in leaving him for dead.

     Now only fifteen are left to call themselves the Glasshouse Gang Commando Unit, and live on their wits and their desert knowledge and their fighting skills, and evade both the Eighth Army and Rommel’s Afrika Korps. One far-sighted general at Cairo H.Q. had seen a use for John Offer’s misfits and sent them to wreak death and destruction behind Rommel’s lines. And now the Germans hold hostages—two of the Glasshouse Gang, prisoners in the hands of the S.S. in Benghazi. They will not live long unless their comrades can pull off another of their daring exploits... Praise for Gordon Landsborough “An exciting tough, fast and moving novel” – Times Literary Supplement “It has everything…supremely good characterisation, descriptive brilliance, and masterly in its simplicity" - Birmingham Post "A punchy tale coupled with plenty of action - an engaging read!" - Philip McCormac Gordon Landsborough was a publisher, author and bookseller. In the 1950s to 1980s, the publishing industry went through significant changes. Landsborough found himself at the forefront of this and used this opportunity to bring forth his innovative ideas. Other works by Landsborough included, The Violent People (1960), The Dead Commando (1976) and Black Death (1951), among many more.

    Focusing on the youth-driven phenomenon of otaku (roughly translated as “geek culture” or “pop cult fanaticism”), Takashi Murakami and a notable group of contributors explore the complex historical influences that shape Japanese contemporary art and its distinct graphic languages. The book’s title, Little Boy, is a reference to the atomic bomb dropped on Hiroshima in 1945, thus clearly locating the birth of these new cultural forms in the trauma and generational aftershock of the atomic bomb.This generously illustrated book showcases the work of key otaku artists and designers, many of whom are cult celebrities in Japan, and discusses their feature film and video animations, video games and internet sites, music, toys, fashion, and more. In the process, the following questions are posed: What is otaku, and what does it tell us about contemporary social, economic, and cultural life in Japan and throughout the world? How is it related to the pervasive and curious fixation on “cuteness” evident in Japanese popular culture? What impact did the atomic devastation of World War II have on the development of Japanese art and culture?This brilliantly designed, bilingual (English and Japanese) publication examines these themes to explore how contemporary Japanese art has become inseparable from the subcultural realms of manga and animé (Japanese animation)—a world where meticulous technique, apocalyptic imagery, and high and low cultures meet.Little Boy concludes Murakami’s “Superflat” trilogy, a project conceived in 2000 to introduce a new wave of Japanese artists and to place their work in the historical context of traditional styles and concepts.

    This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context.Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter B�rger, Jen-Luc Nancy, Edoaurd Glissant, and F�lix Guattari, as well as the first translation into English of Jacques Ranci�re's influential Problems and Transformations in Critical Art. The book also includes central writings by such artists as Lygia Clark and H�lio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist.Copublished with Whitechapel Art Gallery, London

    . . . [and] the iconoclastic charm of the artist keeps the pages turning ." -The Washington Post "A definitive life of Francis Bacon. . . . Stevens and Swan are vivid scene setters. . . . Francis Bacon does justice to the contradictions of both the man and the art." -The Boston Globe A decade in the making: the first comprehensive look at the life and art of Francis Bacon, one of the iconic painters of the twentieth century--from the Pulitzer Prize-winning authors of de Kooning: An American Master. Francis Bacon created an indelible image of mankind in modern times, and played an outsized role in both twentieth century art and life--from his public emergence with his legendary Triptych 1944 (its images so unrelievedly awful that people fled the gallery), to his death in Madrid in 1992.Bacon was a witty free spirit and unabashed homosexual at a time when many others remained closeted, and his exploits were as unforgettable as his images. He moved among the worlds of London's Soho and East End, the literary salons of London and Paris, and the homosexual life of Tangier. Through hundreds of interviews, and extensive new research, the authors probe Bacon's childhood in Ireland (he earned his father's lasting disdain because his asthma prevented him from hunting); his increasingly open homosexuality; his early design career--never before explored in detail; the formation of his vision; his early failure as an artist; his uneasy relationship with American abstract art; and his improbable late emergence onto the international stage as one of the great visionaries of the twentieth century. In all, Francis Bacon: Revelations gives us a more complete and nuanced--and more international--portrait than ever before of this singularly private, darkly funny, eruptive man and his equally eruptive, extraordinary art. Bacon was not just an influential artist, he helped remake the twentieth-century figure.

    Freud—once dubbed "the Ingres of existentialism"—has almost single-handedly redefined the figurative painting of our time. No other living artist possesses his ability to paint the texture and thinness of skin over flesh, and his distinctive portraits have a haunting quality that makes them impossible to forget. This volume, with over one hundred superb reproductions of his greatest paintings, pays tribute to one of the most original and accomplished artists of the twentieth century.

    Most deal with questions of design in a wide range of areas, from architecture and furniture, to clothes and jewellery, pottery, plumbing, and printing; others are polemics on craft education and training, and on design in general. Loos, the great cultural reformer and moralist in the history of European architecture and design was always a 'revolutionary against the revolutionaries'. With his assault on Viennese arts and crafts and his conflict with bourgeois morality, he managed to offend the whole country. His 1908 essay 'Ornament and Crime', mocked by an age in love with its accessories, has come to be recognised as a seminal work in combating the aesthetic imperialism of the turn of the century. Today Loos is recognised as one of the great masters of modern architecture.

    Fishing, swimming, golf, tennis. Seems like the ideal location for a former secret agent posing as a retired police officer and part-time private investigator. Until people start disappearing. Suggested reading order for the Nicholas Colt series: COLT LADY 52 POCKET-47 CROSSCUT SNUFF TAG 9 KEY DEATH BLOOD TATTOO SYCAMORE BLUFF THE JACK REACHER FILES: FUGITIVE THE JACK REACHER FILES: VELOCITY (Novella) THE BLOOD NOTEBOOKS Note: Although published at a later date, the events in COLT and LADY 52 precede those in Jude Hardin's debut thriller POCKET-47. All of the books listed work as stand-alone thrillers, depending on reader preference. Nicholas Colt also appears in several short stories, including the one titled RATTLED and the one titled RACKED. Praise for Jude Hardin’s Thrillers: POCKET-47 sucked me in and held me enthralled. Author Jude Hardin keeps the pace frantic, the thrills non-stop, but best of all is his hero, the wonderfully ironic Nicholas Colt. This is a character I'm eager to follow through many adventures to come. —Tess Gerritsen, New York Times bestselling author of ICE COLD. The best PI debut I've read in years, fit to share shelf space with the best of Ross Macdonald, Sue Grafton, and Robert B. Parker. POCKET-47 is so hot you may burn your hands reading. Highly recommended. —J.A. Konrath, author of the Jack Daniels mysteries Hardin gets everything right in his powerhouse thriller debut, which introduces rock star–turned–PI Nicholas Colt. —Publishers Weekly on POCKET-47 KEY DEATH is an exhilarating thriller that punches way above its weight. It hits you hard and fast with crackling suspense, hair-raising twists and stunning revelations. Word of advice: don't start on this one unless you're prepared to stay up all night. —John Ling, author of THE BLASPHEMER Colt is a physical, no-holds-barred PI, reminiscent of Robert B. Parker's Spenser and Lee Child's Jack Reacher, and his debut is action-packed. With a hefty toll of dead bodies, some described in cringe-inducing detail, this is crime fiction at its rawest. Hard-boiled connoisseurs should make Colt's acquaintance now. —Booklist on POCKET-47 With CROSSCUT, Jude Hardin takes the PI novel and psychological suspense to a new, unrestrained level. Fast, fierce, and relentless. —David Morrell, New York Times bestselling creator of Rambo

    Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture. 8 illustrations.

    

    A fascinating fantasia on an elementary theme."And Elysabeth Yates Burns McKee, from Design Book Review says that "perhaps the most successful aspect of The ABC's is its ability to elucidate complexand fundamentaltheroetical aspects of the Bauhaus program."

    This funny, personal journey through the art world answers the basic questions that might occur to us in an art gallery but that we’re too embarrassed to ask. Questions such as: What is “good” or “bad” art—and does it even matter? Is art still capable of shocking us or have we seen it all before? And what happens if you place apiece of art in a rubbish dump?

    is the latest blockbuster by Ireland's most respected crime writer and journalist, Paul Williams. Murder Inc. is the definitive account of how organized crime exploded in Limerick from the 1990s and in the noughties. It describes the depravity and decadence of the gangs, their deadly rivaliries, and their reigns of terror over the community in which they lived. Finally, Williams traces the faultlines that eventually led to the implosion of the gangs and their defeat.Drawing on his vast inside knowledge of the criminal underworld, an unparalleled range of contacts and eye witness interviews, Paul Williams provides a chilling insight into the mobsters and events that corroded entire neighbourhoods and devastated countless lives.

    High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years.

    Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.