But a very different image of the polarizing president emerges in this fascinating portrait of his relationship with Pat. Now, the couple’s recently released love letters and other private documents reveal that as surely as unremitting adversity can fray the fabric of a marriage, devotion can propel it to surmount disgrace and defeat. In Pat and Dick, biographer Will Swift brings his years of experience as a historian and as a marital therapist to this unique examination of a long-misunderstood marriage. Nixon the man was enormously complicated: brilliant, insecure, sometimes coldly calculating, and capable of surprising affection with his wife. Much less is known about Pat. With the help of personal writings and interviews with family and friends, Swift unveils a woman who was warm and vivacious, yet much shrewder and more accomplished than she has been given credit for. From Dick’s unrelenting crusade to marry the glamorous teacher he feared was out of his league through the myriad crises of his political career, the Nixons’ story is filled with hopes and disappointments, both intimate and global. This remarkable biography shows us the couple at their most human: a wife walking a delicate line between self-sacrifice and healthy love while her husband struggles to balance global ambitions and personal intimacy. The Nixons came to represent the best and worst of American life and culture. But though their union was tested by all manner of trials, they managed to find the strength, courage, and resilience to sustain a true connection for more than half a century.

    His subject is the forbidden Paris of the 1930s, its opium dens, its brothels and its whores, where high society mingled with the underworld.

    In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.

    Now Under Secretary for Art, History, and Culture Richard Kurin, aided by a team of top Smithsonian curators and scholars, has assembled a literary exhibition of 101 objects from across the Smithsonian's museums that together offer a marvelous new perspective on the history of the United States.Ranging from the earliest years of the pre-Columbian continent to the digital age, and from the American Revolution to Vietnam, each entry pairs the fascinating history surrounding each object with the story of its creation or discovery and the place it has come to occupy in our national memory. Kurin sheds remarkable new light on objects we think we know well, from Lincoln's hat to Dorothy's ruby slippers and Julia Child's kitchen, including the often astonishing tales of how each made its way into the collections of the Smithsonian. Other objects will be eye-opening new discoveries for many, but no less evocative of the most poignant and important moments of the American experience. Some objects, such as Harriet Tubman's hymnal, Sitting Bull's ledger, Cesar Chavez's union jacket, and the Enola Gay bomber, tell difficult stories from the nation's history, and inspire controversies when exhibited at the Smithsonian. Others, from George Washington's sword to the space shuttle Discovery, celebrate the richness and vitality of the American spirit. In Kurin's hands, each object comes to vivid life, providing a tactile connection to American history.Beautifully designed and illustrated with color photographs throughout, The Smithsonian's History of America in 101 Objects is a rich and fascinating journey through America's collective memory, and a beautiful object in its own right.

    Introducing art in its international context, this accessible book explores core issues about how art is made, interpreted, and displayed, without any of the unnecessary terminology. Divided into themes, A Short Book About Art presents new ways of thinking about the relationship between artists and their work, as well as fresh comparisons between works of art from different periods and places. Thought-provoking and stimulating, it is the ideal companion for anyone who wants to learn about art without a dictionary in their hands.

    But which ones? As he guides readers through an intellectual hall of mirrors, Lawrence Weschler revisits the 16th-century "wonder cabinets" that were the first museums and compels readers to examine the imaginative origins of both art and science. Illustrations.

    Steve Alpert, a Japanese-speaking American, was the “resident foreigner” in the offices of Ghibli and its parent Tokuma Shoten and played a central role when Miyazaki’s films were starting to take off in international markets. Alpert describes hauling heavy film canisters of Princess Mononoke to Russia and California, experiencing a screaming Harvey Weinstein, dealing with Disney marketers, and then triumphantly attending glittering galas celebrating the Oscar-winning Spirited Away. His one-of-a-kind portraits of Miyazaki and long-time producer Toshio Suzuki, and of sly, gruff, and brilliant businessman Yasuyoshi Tokuma, capture the hard work and artistry that have made Ghibli films synonymous with cinematic excellence. And as the lone gaijin in a demanding company run by some of the most famous and influential people in modern Japan, Steve Alpert tackles his own challenges of language and culture. No one else could have written this book.

    The story of how it came to be is a remarkable one: two young citizens with no prior experience in planning and development collaborated with their neighbors, elected officials, artists, local business owners, and leaders of burgeoning movements in horticulture and landscape architecture to create a park celebrated worldwide as a model for creatively designed, socially vibrant, ecologically sound public space.Joshua David and Robert Hammond met in 1999 at a community board meeting to consider the fate of the High Line. Built in the 1930s, it carried freight trains to the West Side when the area was defined by factories and warehouses. But when trains were replaced by truck transport, the High Line became obsolete. By century's end it was a rusty, forbidding ruin. Plants grew between the tracks, giving it a wild and striking beauty.David and Hammond loved the ruin and saw in it an opportunity to create a new way to experience their city. Over ten years, they did so. In this candid and inspiring book— lavishly illustrated—they tell how they relied on skill, luck, and good timing: a crucial court ruling, an inspiring design contest, the enthusiasm of Mayor Bloomberg, the concern for urban planning issues following 9/11. Now the High Line—a half-mile expanse of plants, paths, staircases, and framed vistas—runs through a transformed West Side and reminds us that extraordinary things are possible when creative people work together for the common good.

    Dr. Walker gives recommendations on the optimal foods for nourishment, how to develop better lifestyle choices, and how to use our attitudes and thoughts to influence our health. Also includes true stories of men and women who have changed their health for the better using Dr. Walker's suggestions.

         From the beloved and best-selling author of The Snowman comes his first book in ten years: a charming and beautifully illustrated work for adults. In Notes from the Sofa, Raymond Briggs traces the course of his life in a series of wonderfully observed vignettes that take him from the awkwardness and embarrassment of growing up to the vicissitudes and frustrations of growing old.      This collection features the best pieces from Briggs' regular column -- 'Notes from the Sofa' -- in The Oldie, Richard Ingrams' humorous monthly magazine. Amusing and touching by turn, these include his unwavering dedication to the arts and why he takes pleasure in being labelled a 'creative sociopath'; amusing anecdotes, such as how he became an accidental Winnie the Pooh tour guide to Japanese tourists; and general musings on life, including his confusion as a young child as to exactly where babies come from.      This is Briggs like you've never read him before, with a newfound freedom to write and draw about whatever he wants, without the restrictions of children's books and sometimes without the happy endings.

    But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young

    

    Most had never left home, never experienced a different culture. None had any guarantee of success. That they achieved so much for themselves and their country profoundly altered American history. As David McCullough writes, "Not all pioneers went west." Elizabeth Blackwell, the first female doctor in America, was one of this intrepid band. Another was Charles Sumner, who enrolled at the Sorbonne because of a burning desire to know more about everything. There he saw black students with the same ambition he had, and when he returned home, he would become the most powerful, unyielding voice for abolition in the U.S. Senate, almost at the cost of his life. Two staunch friends, James Fenimore Cooper and Samuel F. B. Morse, worked unrelentingly every day in Paris, Cooper writing and Morse painting what would be his masterpiece. From something he saw in France, Morse would also bring home his momentous idea for the telegraph. Pianist Louis Moreau Gottschalk from New Orleans launched his spectacular career performing in Paris at age 15. George P. A. Healy, who had almost no money and little education, took the gamble of a lifetime and with no prospects whatsoever in Paris became one of the most celebrated portrait painters of the day. His subjects included Abraham Lincoln. Medical student Oliver Wendell Holmes wrote home of his toil and the exhilaration in "being at the center of things" in what was then the medical capital of the world. From all they learned in Paris, Holmes and his fellow "medicals" were to exert lasting influence on the profession of medicine in the United States. Writers Ralph Waldo Emerson, Nathaniel Hawthorne, Mark Twain, and Henry James were all "discovering" Paris, marveling at the treasures in the Louvre, or out with the Sunday throngs strolling the city's boulevards and gardens. "At last I have come into a dreamland," wrote Harriet Beecher Stowe, seeking escape from the notoriety Uncle Tom's Cabin had brought her. Almost forgotten today, the heroic American ambassador Elihu Washburne bravely remained at his post through the Franco-Prussian War, the long Siege of Paris and even more atrocious nightmare of the Commune. His vivid account in his diary of the starvation and suffering endured by the people of Paris (drawn on here for the first time) is one readers will never forget. The genius of sculptor Augustus Saint-Gaudens, the son of an immigrant shoemaker, and of painters Mary Cassatt and John Singer Sargent, three of the greatest American artists ever, would flourish in Paris, inspired by the examples of brilliant French masters, and by Paris itself. Nearly all of these Americans, whatever their troubles learning French, their spells of homesickness, and their suffering in the raw cold winters by the Seine, spent many of the happiest days and nights of their lives in Paris. McCullough tells this sweeping, fascinating story with power and intimacy, bringing us into the lives of remarkable men and women who, in Saint-Gaudens's phrase, longed "to soar into the blue." The Greater Journey is itself a masterpiece.

    How has portraiture changed over the centuries? How have portraits represented their subjects, and how have they been interpreted? The book provides a clear, yet thorough overview of the history of portraiture in terms of social, political, economic, and psychological factors over a broad time span. Issues such as identity, modernity, and gender are considered within their cultural and historical contexts.Shearer West uncovers intriguing aspects of portraiture-a genre that has often been seen as purely representational, featuring examples from African tribes to Renaissance princes, and from stars such as David and Victoria Beckham to everyday people. West examines the many meanings and uses of portraits throughout the ages and includes a wide range of artists from Botticelli to Picasso, and Hans Holbein to Frida Kahlo. In the process, she reveals the faces of the past in an exciting new way. Beautifully illustrated throughout, this book is a unique and accessible introduction to the history of portraiture.

    This edition includes thirty-nine photographs, many of them originally presented as slides with the speech, and a rich interpretive essay by the translator.