The many-pointed star formed from large icicles balances on a rock in a quiet Dumfriesshire valley, a delicate bamboo screen stands on a Japanese beach, a great serpentine ridge of earth extends along a disused railway cutting on Tyneside, four massive snow rings mark the position of the North Pole.

    It focuses on critical analysis of the subject through a workbook section and self-quizzes along with prompts to explore the chapter's images and topics through the ArtStudy 2.0 CD-ROM, Web Site, and WebTutor? supplements.

    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.

    This full-length, exhaustively researched account of the thrash kings' career recaps and reevaluates the years guitar hero Jeff Hanneman and drum legend Dave Lombardo were in the group. Over the course of 59 chapters, 400 footnotes and three appendices, it profiles the members and presents dramatic scenes from 32 years in the Abyss: A fresh look at the group's early days. Reign in Blood tours. A European invasion. The Palladium riot. The seat cushion chaos concert. Newly unearthed details from Lombardo's turbulent history with the band. Historical artwork and photos never seen in public before. The entire diabolical discography. Hanneman’s hard times. The Big Four’s big year. Lombardo’s final exit. The top 11 Hanneman tributes. The mosh memorial service. Untold stories. Updates. And relevant digressions, including a contrasting look at other contemporaries and cutting-edge extreme bands. Over decades, Slayer experience triumph and loss, but never defeat, whether it's at the hands of rivals, peers, America's most infamous church, or the United States government itself. In addition to extensive archival material, this book features original content from the band, key affiliates, and firsthand witnesses, including Metal Blade CEO Brian Slagel, former tour manager Doug Goodman, engineer Bill Metoyer, former Metal Blade exec William "DJ Will" Howell, and cover artist Albert Cuellar (who went on to work with Tim Burton, Sublime, and Sir Mix-A-Lot). It also includes Jeff Hanneman's original diagram for the Live Undead picture disc (spoiler: it's a stick-figure sketch). Slayer fans will never see — or hear — the thrash metal champions the same way. 33 photos and 11 illustrations include lost artwork by Hell Awaits artist Albert Cuellar and stunning exclusive pictures by Harald Oimoen (of Murder in the Front Row renown). Written by D.X. Ferris, an Ohio Society of Professional Journalists Reporter of the Year and author of "Slayer's Reign in Blood," which is book no. 57 in Bloomsbury Academic's prestigious 33 1/3 series. The bargain-priced e-book edition features extensive interactive content, and can be read on any smart phone, tablet, computer, or portable communications device (with free Kindle software).

    The skeleton, muscles and joints are covered with descriptions of differences between female and male anatomy.This is a reproduction of a 1852 British publication and may contain non-standard spellings and characters. The work has been proof-read and edited to remove typographical errors and reformat the text for the Kindle. All images have been cleaned and resized.

    Her lifelong friend, Ingrid, has asked her to do the impossible -- authenticate the painting from a photograph. The photograph in question was passed down to Ingrid by her grandfather, Klaus Rettke a key member of the German Einsatzstab Reichsleiter Rosenberg, the Nazi organization appointed to confiscate art from the Jews. Obscure references in Klaus Rettke's diary convince Maggie that Rettke stole the painting from the Nazis. Now she must use science to verify that the painting in the photo is genuine, something that has never been done before. From the National Gallery of Art in Washington, D.C. to the Musee du Jeu de Paume in Paris, Maggie searches for answers. Finally, she confronts the possibility that there is not one painting, but the original and several forgeries. With tens of millions of dollars at stake and a killer at large, she is determined to find the authentic Van Gogh. To do so, Maggie must stay alive . . . something that's proving difficult to do.

    

    Whatever your circumstances, you can create the life you desire by following simple, counterintuitive steps; not the steps society wants you to follow. Unfortunately, you cannot even trust yourself when it comes to creating the life that you desire, because you’re programmed by your past, an accumulation of hundreds of thousands of years, a mind still adapted for a hunter-gatherer time period. What does this mean? It means every day you’re battling your emotions, logic versus emotion. Logically, you want to do one thing, but emotionally, you are drawn to something else. First, if this sounds familiar, then great, because it means you are human. But, if you’re going to win the game of life, you cannot sit around and wait for things to happen, because you’ll be living a life of supreme comfort and sameness; ultimately, a great sin. You are destined for great things, capable of forging dreams and living your aspirations. Maybe you’ve forgotten about this truth: that you are capable, worthy, and ready. Maybe you’ve been beaten into the ground by life, a teacher who doesn’t care if you’re rich or poor, weak or strong, ready or not, because life will continue forward regardless, waiting for no one. Fortunately, there’re things you can do to set yourself apart from the millions that will ultimately suffer and fail. One such thing, perhaps the most powerful of all, is by studying the great, people who have succeeded and who have gone beyond what is humanly thought possible. When it comes to studying someone great, there’s one name that stands tall, Stephen Hawking, a person who has persevered and flourished. Not only has he conquered great adversity, but he has inspired millions around the world with his brilliant mind. There is a reason why people compare him with the once living Albert Einstein, the genius. What follows are Stephen Hawking’s greatest life lessons, gems of wisdom that you can easily apply to your own life, which will help you live a more abundant, stronger life. If you’re in need of inspiration, a boost of confidence, or just a friendly reminder of the wonders in life, you’ve come to the right place. See for yourself why millions study his work and regard him as a genius. Scroll up and grab your copy today.*** Limited time offer ***

    In a body of work spanning over a half-century, he was variously a draughtsman, a printmaker, a sculptor and a painter. This short book is both a biography and a guide to his art. It focuses on the extraordinary works that Henri Matisse made during the last period of his life - the large-scale cut-outs on coloured paper, including his famous Blue Nudes, The Snail and Large Composition with Masks.

    Even today remembered primarily as the mentor and lover of Robert Mapplethorpe, the once infamous photographer, Wagstaff, in fact, had an incalculable—and largely overlooked—influence on the world of contemporary art and photography, and on the evolution of gay identity in the latter part of the twentieth century.  Born in New York City in 1921 into a notable family, Wagstaff followed an arc that was typical of a young man of his class. He attended both Hotchkiss and Yale, served in the navy, and would follow in step with his Ivy League classmates to the "gentleman's profession," as an ad executive on Madison Avenue. With his unmistakably good looks, he projected an aura of glamour and was cited by newspapers as one of the most eligible bachelors of the late 1940s. Such accounts proved deceiving, for Wagstaff was forced to live in the closet, his homosexuality only revealed to a small circle of friends. Increasingly uncomfortable with his career and this double life, he abandoned advertising, turned to the formal study of art history, and embarked on a radical personal transformation that was in perfect harmony with the tumultuous social, cultural, and sexual upheavals of the 1960s.Accordingly, Wagstaff became a curator, in 1961, at Hartford's Wadsworth Atheneum, where he mounted both "Black, White, and Gray"—the first museum show of minimal art—and the sculptor Tony Smith's first museum show, while lending his early support to artists Andy Warhol, Ray Johnson, and Richard Tuttle, among many others. Later, as a curator at the Detroit Institute of Arts, he brought the avant-garde to a regional museum, offending its more staid trustees in the process.After returning to New York City in 1972, the fifty-year-old Wagstaff met the twenty-five-year-old Queens-born Robert Mapplethorpe, then living with Patti Smith. What at first appeared to be a sexual dalliance became their now historic lifelong romance, in which Mapplethorpe would foster Wagstaff's own burgeoning interest in contemporary photography and Wagstaff would help secure Mapplethorpe's reputation in the art world. In spite of their profound class differences, the artistic union between the philanthropically inclined Wagstaff and the prodigiously talented Mapplethorpe would rival that of Stieglitz and O’Keefe, or Rivera and Kahlo, in their ability to help reshape contemporary art history.Positioning Wagstaff's personal life against the rise of photography as a major art form and the simultaneous formation of the gay rights movement, Philip Gefter's absorbing biography provides a searing portrait of New York just before and during the age of AIDS. The result is a definitive and memorable portrait of a man and an era.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    He spent a large part of his life on the run, leaving a trail of illuminated chaos wherever he passed, most of it recorded in criminal justice records. When he did settle for long enough to paint, he produced works of staggering creativity and technical innovation. He was famous throughout Italy for his fulminating temper, but also for his radical and sensitive humanization of biblical stories, and in particular his decision to include the brutal and dirty life of the street in his paintings. Caravaggio was a rebel and a violent man, but he eyed the world with deep empathy, realism, and an unrelenting honesty.

    In this anthology the authors have edited material not only from his so-called Treatise on Painting but also from his surviving manuscripts and from other primary sources, some of which were here translated for the first time. The resulting volume is an invaluable reference work for art historians as well as for anyone interested in the mind and methods of one of the world’s greatest creative geniuses.“Highly readable. . . . Also included are documentary sources and letters illuminating Leonardo’s career; the manuscript sources for all of Leonardo’s statements are fully cited in the notes. The volume is skillfully translated and is illustrated with appropriate examples of drawings and paintings by the artist.”—Choice“Certainly easier to read and . . . more convenient than previous compilations.”—Charles Hope, New York Review of Books“A chaotic assemblage of Leonardo da Vinci’s writings appeared in 1651 as Treatise on Painting. . . . [Kemp] successfully applies . . . order to the chaos.”—ArtNews

    It documents her experience visiting the continent of Antarctica in January 2019 with photos taken by New Zealand photographer Harriet Were. Lorde expressed an interest in exploring the region of Antarctica since she was old enough to read. In January 2019, she visited Scott Base and McMurdo Station, Antarctica, travelling as an Antarctic Ambassador. During her visit, she observed microscopic species in environmental laboratories and spoke with scientists. Lorde described the book as "sort of a perfect precursor" to her upcoming third studio album. It will feature over 100 pages of images taken by New Zealand photographer Harriet Were and writings from Lorde. All proceeds will be used to fund a postgraduate scholarship created by Antarctica New Zealand, a government agency.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."