Collected here for the first time is an anthology of pieces artist Tracey Emin wrote for The Independent newspaper in London-a weekly column that ran to great acclaim between 2005 and 2009-that touch on everything from the themes behind her work to her process, inspirations, and her alternately humorous and profound observations of daily life. Moving from diatribes on contemporary art and culture to confessional pieces chronicling her travels abroad and reflecting on her private life in London, the columns bring together elements of essay and diary that present a unique perspective on life and the work of the queen of the Young British Artists. Edited and introduced by the artist, and illustrated with forty reproductions of photographs that recall the original format of the columns, Tracey Emin: My Life in a Column makes a giant of the art world at once more familiar and more profound.

    In Where Is Ana Mendieta? art historian Jane Blocker provides an in-depth critical analysis of Mendieta’s diverse body of work. Although her untimely death in 1985 remains shrouded in controversy, her life and artistic legacy provide a unique vantage point from which to consider the history of performance art, installation, and earth works, as well as feminism, multiculturalism, and postmodernism. Taken from banners carried in a 1992 protest outside the Guggenheim Museum in New York, the title phrase “Where is Ana Mendieta?” evokes not only the suspicious and tragic circumstances surrounding her death but also the conspicuous absence of women artists from high-profile exhibitions. Drawing on the work of such theorists as Judith Butler, Joseph Roach, Edward Said, and Homi Bhabha, Blocker discusses the power of Mendieta’s earth-and-body art to alter, unsettle, and broaden the terms of identity itself. She shows how Mendieta used exile as a discursive position from which to disrupt dominant categories, analyzing as well Mendieta’s use of mythology and anthropology, the ephemeral nature of her media, and the debates over her ethnic, gender, and national identities. As the first major critical examination of this enigmatic artist’s work, Where Is Ana Mendieta? will interest a broad audience, particularly those involved with the production, criticism, theory, and history of contemporary art.

     Donna Tartt's Pulitzer Prize-winning, #1 New York Times bestselling novel, The Goldfinch, introduced millions of readers to a painting that becomes a lifelong obsession. Painted in 1654 by Carel Fabritius, the work is of a small bird, chained to its perch. This mysterious portrait, a masterpiece of the Dutch Golden Age, has been lost and found, adored and abandoned, for nearly four centuries. Now more famous than ever, this painting is the subject of its own book—a look behind the scenes at its creation and the tumultuous life of its creator. This gripping, true story of adventure, romance, and artistic fervor has never before been told and will enthrall readers of the now famous novel. Set against the vibrant backdrop of Holland in the seventeenth century, when it was the economic capital of the world, the book is populated by a glittering crowd of the wealthy and young, high society with appetites for success and excess. Holland was the center of the art world as well, boasting both Rembrandt, (Fabritius' mentor), and Vermeer (his rival). And there is Carel Fabritius himself—handsome, talented, hell-bent on greatness, but unable to escape tragedy. Yet through The Goldfinch, he achieves immortality. Deborah Davis is the author of the best-selling Strapless: John Singer Sargent and the Fall of Madame X, Party of the Century: The Fabulous Story of Truman Capote and His Black and White Ball, Gilded: How Newport Became the Richest Resort in America, and the prize-winning Guest of Honor: Booker T. Washington, Theodore Roosevelt, and the White House Dinner that Shocked a Nation. Cover design by Adil Dara

    A woman's journey ended at the altar. Professor Heilbrun notes that the diversity of women's lives now makes it possible for women to dare to choose their own scripts.

    Coe's Mexico has long been recognized as the most readable and authoritative introduction to the region’s ancient civilizations. This companion to his best-selling The Maya has now been completely revised and expanded for the fifth edition by Professor Coe and Rex Koontz. Colour plated an a section on touring Mexico have been added, making the book an even more valuable companion on any visit to Mexico's rich archaeological treasures.

    This is apparent in the many attempts to purge colour from art, literature and architecture, either by making it the property of some "foreign" body - the oriental, the feminine, the infantile the vulgar or the pathological - or by relegating it to the realm of the superficial, the inessential or the cosmetic, which in many cases amounts to the same thing. In Chromophobia, David Batchelor analyzes the history of, and motivations behind, chromophobia, from its beginnings through examples of nineteenth-century literature, twentieth-century architecture and film, to Pop art, minimalism and the art and architecture of the present day. Batchelor suggests how colour fits, or fails to fit, into the cultural imagination of the West, exploring such diverse themes as Melville's "great white whale," Le Corbusier's "journey to the East," Huxley's experiments with mescaline. Dorothy's travels in the Land of Oz and the implication of modern artists' experiments with industrial paints and materials.

    This definitive book on Chicago's masterwork, reveals more fully than ever before the art and the artist's expanded research into the rich history embodied in the installation.

    Now back in print, this classic book (originally published in 1996) examines the country’s rich artistic culture in the seventeenth century, providing a full account of Dutch artists and patrons; artistic themes and techniques; and the political and social world in which artists worked.Distinguished art historian Mariët Westermann examines the “worldly art” of this time in the context of the unique society that produced it, analyzing artists’ choices and demonstrating how their pictures tell particular stories about the Dutch Republic, its people, and its past. More than 100 color illustrations complement this engaging discussion of an extraordinary moment in the history of art.

     A review of contemporary theory of art history provides readers with lucid prose and concrete examples. Discussion of eighteenth- and nineteenth- century theories that are important to art history offers readers a review of historically important issues in philosophy. Illustrations of well-known works of art show readers how theory has application to images. Art historians and educators.

    In Face Paint, Lisa Eldridge reveals the entire history of the art form, from Egyptian and Classical times up through the Victorian age and golden era of Hollywood, and also surveys the cutting-edge makeup science of today and tomorrow. Face Paint explores the practical and idiosyncratic reasons behind makeup’s use, the actual materials employed over generations, and the glamorous icons that people emulate and how they achieved their effects. An engaging history of style, it is also a social history of women and the ways in which we can understand their lives through the prism and impact of makeup.

    It presents a multidisciplinary collection of academic essays and analyses, personal narratives, and fiction and poetry about women's lives. The selections illustrate the variety of women's experiences, primarily in the United States, considering both commonalities and differences among women and appreciating women's diverse approaches to living and fostering change.

    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.

    Auguste Rodin spoke candidly to his protégé, Paul Gsell, who recorded the master's thoughts not only about the technical secrets of his craft, but also about its aesthetic and philosophical underpinnings.Here is the real Rodin—relaxed, intimate, open, and charming—offering a wealth of observations on the relationship of sculpture to poetry, painting, theater, and music. He also makes perceptive comments on Rembrandt, Michelangelo, Raphael, and other great artists, and he shares revealing anecdotes about Hugo, Balzac, and others who posed for him. Seventy-six superb illustrations of the sculptor's works complement the text, including St John the Baptist Preaching, The Burghers of Calais, The Thinker, and many others, along with a selection of exuberant drawings and prints.

    Focusing on Huli “passenger women,” (women who accept money for sex) Wayward Women explores the socio-economic factors that push women into the practice of transactional sex, and asks how these transactions might be an expression of resistance, or even revenge. Challenging conventional understandings of “prostitution” and “sex work,” Holly Wardlow contextualizes the actions and intentions of passenger women in a rich analysis of kinship, bridewealth, marriage, and exchange, revealing the ways in which these robust social institutions are transformed by an encompassing capitalist economy. Many passenger women assert that they have been treated “olsem maket” (like market goods) by their husbands and natal kin, and they respond by fleeing home and defiantly appropriating their sexuality for their own purposes. Experiences of rape, violence, and the failure of kin to redress such wrongs figure prominently in their own stories about becoming “wayward.” Drawing on village court cases, hospital records, and women’s own raw, caustic , and darkly funny narratives, Wayward Women provides a riveting portrait of the way modernity engages with gender to produce new and contested subjectivities.

    Who put all those naked men in the classical section of museums? What were the "do's" and "don'ts" for female artists as "civilization" marched across Europe? Why did nuns have more fun in medieval times? This wisecracking but cleverly wise story of art is guaranteed to turn history on its head - and maybe a few historians too. Sprinkled throughout are "believe it or not" quotations from so-called experts; useful facts (consider how many prostitutes and how few suffragettes were painted in the nineteenth century); and reproductions of famous art works "enhanced" for historical accuracy and revenge.