Discarded valentines. Ransom notes. To-do lists. Diaries. Homework assignments. A break-up letter written on the back of an airsickness bag. Whether they are found on buses, at stores, in restaurants, waiting rooms, parking lots, or even prison yards, these items give readers an uncensored, poignant, and often hilarious peek into other people's lives. By collecting them in his hit magazine, "Found" (and its companion website, www.foundmagazine.com), Davy Rothbart has bewitched the nation with a surprising window into its heart and soul and turned his many readers into an army of sharp-eyed finders. "Found" is chock-full of the latest and greatest of these finds, arranged in the style of the magazine, laying bare the tantalizing tales to be discovered in the trash we toss. By turns heartbreaking and hysterically funny, "Found" is a mesmerizing tribute to everyday life and our eternal curiosity about our fellow human beings.

    The drip paintings of Jackson Pollock, trailblazing Abstract Expressionist, appear to be the polar opposite of Thomas Hart Benton’s highly figurative Americana. Yet the two men had a close and highly charged relationship dating from Pollock’s days as a student under Benton. Pollock’s first and only formal training came from Benton, and the older man soon became a surrogate father to Pollock. In true Oedipal fashion, Pollock even fell in love with Benton’s wife.Pollock later broke away from his mentor artistically, rocketing to superstardom with his stunning drip compositions. But he never lost touch with Benton or his ideas—in fact, his breakthrough abstractions reveal a strong debt to Benton’s teachings. In an epic story that ranges from the cafés and salons of Gertrude Stein’s Paris to the highways of the American West, Henry Adams, acclaimed author of Eakins Revealed, unfolds a poignant personal drama that provides new insights into two of the greatest artists of the twentieth century.

    In this heated context, sociologist Margaret A. Hagerman zeroes in on affluent, white kids to observe how they make sense of privilege, unequal educational opportunities, and police violence. In fascinating detail, Hagerman considers the role that they and their families play in the reproduction of racism and racial inequality in America.White Kids, based on two years of research involving in-depth interviews with white kids and their families, is a clear-eyed and sometimes shocking account of how white kids learn about race. In doing so, this book explores questions such as, "How do white kids learn about race when they grow up in families that do not talk openly about race or acknowledge its impact?" and "What about children growing up in families with parents who consider themselves to be 'anti-racist'?"Featuring the actual voices of young, affluent white kids and what they think about race, racism, inequality, and privilege, White Kids illuminates how white racial socialization is much more dynamic, complex, and varied than previously recognized. It is a process that stretches beyond white parents' explicit conversations with their white children and includes not only the choices parents make about neighborhoods, schools, peer groups, extracurricular activities, and media, but also the choices made by the kids themselves.By interviewing kids who are growing up in different racial contexts--from racially segregated to meaningfully integrated and from politically progressive to conservative--this important book documents key differences in the outcomes of white racial socialization across families. And by observing families in their everyday lives, this book explores the extent to which white families, even those with anti-racist intentions, reproduce and reinforce the forms of inequality they say they reject.

    Hunter also explains the sources of certain songs and describes the evolution of others over years of performance. Complete discography.

    As the crossroads between Europe and Asia, Istanbul has lived through several empires and has a character that is as many layered as its history – something that Güler’s photographs convey with great sensitivity. In these remarkable black-and-white images, the city’s melancholy aesthetic oscillates between tradition and modernity. Both writer and photographer were born in Istanbul, and each in his youth held the ambition of becoming a painter. Here, each in his own way paints a picture of his home town and captures its very soul.

    But whether they were in the Louvre or the Prado, the Mauritshuis of the Palazzo Pitti, they reveal the pleasures of truly looking.De Montebello shares the sense of excitement recorded by Goethe in his autobiography—"akin to the emotion experienced on entering a House of God"—but also reflects on why these secular temples might nevertheless be the "worst possible places to look at art." But in the end both men convey, with subtlety and brilliance, the delights and significance of their subject matter and some of the intense creations of human beings throughout our long history.

    “A tantalizing whodunit” (Boston Globe) and a “riveting, wonderfully vivid account [that] takes you into the underworld of obsessed art detectives, con men, and thieves” (Jonathan Harr, author of The Lost Painting), The Gardner Heist is true crime history at its most spellbinding.

    Since its 1970 s renaissance in the iconic album designs of bands such as the Grateful Dead, the skull has found its way into the visual vocabulary of urban life, adorning T-Shirts, badges and rock memorabilia as the ultimate symbol of anarchy and rebellion. Repurposed and recast by artists, illustrators and designers, it has become one of the most iconic cultural symbols of our time. In response to this cultural phenomenon, The Book of Skulls presents a cool visual guide to the skull, charting its rebirth through music and street fashion to become today s ultimate anti-establishment icon. From Black Sabbath to Cypress Hill, skater punk graffiti to Gothic tattoos, from high-couture to Hello Kitty and Dali to Damien Hirst, this book is the ultimate collection of cool and iconic skull motifs. Drawing together artwork from music, fashion, street art and graphic design The Book of Skulls is a celebration of one of today s most iconic cultural symbols.

    With the help of the entire creative collective, Gordon-Levitt culled, edited and curated over 8,500 contributions into this finely tuned collection of original art from 67 contributors. Reminiscent of the 6-Word Memoir series, The Tiny Book of Tiny Stories: Volume 1 brings together art and voices from around the world to unite and tell stories that defy size.

    In this mock autobiographical collection his mischievous drawings capture life's anxieties and ambitions from the mundane to the surreal. Here, at last, is The Truth about beer, doctors, shadow puppets, lunch, dolphins, boredom, and supernatural forces. Seductively strange and addictively amusing, this edgy little book welcomes the uninitiated and rewards the faithful.

    Paul and Julia moved to Paris in 1948 where he was cultural attaché for the US Information Service, and in this role he met Henri Cartier-Bresson, Robert Capa, Brassai, and other leading lights of the photography world. As Julia recalled: “Paris was wonderfully walkable, and it was a natural subject for Paul.”Their wanderings through the French capital and countryside, frequently photographed by Paul, would help lead to the classic Mastering the Art of French Cooking, and Julia’s brilliant and celebrated career in books and on television. Though Paul was an accomplished photographer (his work is in the collection of the Museum of Modern Art), his photographs remained out of the public eye until the publication of Julia’s memoir, My Life in France, in which several of his images were included. Now, with more than 200 of Paul’s photographs and personal stories recounted by his great-nephew Alex Prud’homme, France is a Feast not only captures this magical period in Paul and Julia’s lives, but also brings to light Paul Child’s own remarkable photographic achievement.

    1450–1516) was more than an anomaly. Bosch’s paintings are populated with grotesque scenes of fantastical creatures succumbing to all manner of human desire, fantasy, and angst. One of his greatest inventions was to take the figural and scenic representations known as drolleries, which use the monstrous and the grotesque to illustrate sin and evil, and to transfer them from the marginalia of illuminated manuscripts into large-format panel paintings. Alongside traditional hybrids of man and beast, such as centaurs, and mythological creatures such as unicorns, devils, dragons, and griffins, we also encounter countless mixed creatures freely invented by the artist. Many subsidiary scenes illustrate proverbs and figures of speech in common use in Bosch’s day. In his Temptation of St Anthony triptych, for example, the artist shows a messenger devil wearing ice skates, evoking the popular expression that the world was “skating on ice”—meaning it had gone astray. In his pictorial translation of proverbs, in particular, Bosch was very much an innovator. Bosch—whose real name was Jheronimus van Aken—was widely copied and imitated: the number of surviving works by Bosch’s followers exceeds the master’s own production by more than tenfold. Today only 20 paintings and eight drawings are confidently assigned to Bosch’s oeuvre. He continues to be seen as a visionary, a portrayer of dreams and nightmares, and the painter par excellence of hell and its demons. Featuring brand new photography of recently restored paintings, this exhaustive book, published in view of the upcoming 500th anniversary of Bosch’s death, covers the artist’s complete works. Discover Bosch’s pictorial inventions in splendid reproductions with copious details and a huge fold-out spread, over 110 cm (43 in.) long, of The Garden of Earthly Delights. Art historian and acknowledged Bosch expert Stefan Fischer examines just what it was about Bosch and his painting that proved so immensely influential.

    Rust Belt Chic tells stories about failure (mills closing), conflict (Pekar's constant grousing), growth (a thriving Iraqi immigrant community) and renewal (moving away only to, finally, return home). Put together, these stories create a new narrative about Cleveland that incorporates but deepens and widens the familiar tropes of manufacturing, stadiums and comebacks.

    When Youngwolfe recants his confession, saying he was forced to confess by the authorities, his city condemns him, except for one man—public defender and Creek Indian Elliott Howe. Recognizing in Youngwolfe the life that could have been his if not for a few lucky breaks, Howe risks his career to defend Youngwolfe against the powerful county attorney’s office. Forgotten today, the sensational story of the murder, investigation, and trial made headlines nationwide.Oklahoma’s Atticus is a tale of two cities—oil-rich downtown Tulsa and the dirt-poor slums of north Tulsa; of two newspapers—each taking different sides in the trial; and of two men both born poor Native Americans, but whose lives took drastically different paths. Hunter Howe Cates explores his grandfather’s story, both a true-crime murder mystery and a legal thriller. Oklahoma’s Atticus is full of colorful characters, from the seventy-two-year-old mystic who correctly predicted where the body was buried, to the Kansas City police sergeant who founded one of America’s most advanced forensics labs and pioneered the use of lie detector evidence, to the ambitious assistant county attorney who would rise to become the future governor of Oklahoma. At the same time, it is a story that explores issues that still divide our nation: police brutality and corruption; the effects of poverty, inequality, and racism in criminal justice; the power of the media to drive and shape public opinion; and the primacy of the presumption of innocence. Oklahoma’s Atticus is an inspiring true underdog story of unity, courage, and justice that invites readers to confront their own preconceived notions of guilt and innocence.

    IdeaIs There a Good Abstract Idea Underlying the Picture?What Details Could be Eliminated to Strengthen the Composition?Does the Painting “Read”?Could You Finish Any Part of the Painting?ShapesAre the Dominant Shapes as Strong and Simple as Possible?Are the Shapes Too Similar?ValueCould the Value Range be Increased?Could the Number of Values be Reduced?LightIs the Subject Effectively Lit?Is the Light Area Big Enough?Would the Light Look Stronger with a Suggestion of Burnout?Do the Lights Have a Continuous Flow?Is the Light Gradated?ShadowsDo the Shadow Shapes Describe the Form?Are the Shadows Warm Enough?DepthWould the Addition of Foreground Material Deepen the Space?Does the Background Recede Far Enough?Are the Halftones Properly Related to the Background?SolidityIs the underlying Form Being Communicated?Is the Symmetry in Perspective?ColorIs There a Color Strategy?Could a Purer Color Be Used?Do the Whites Have Enough Color in Them?Are the Colors Overblended on the Canvas?Would the Color Look Brighter if it Were Saturated into its Adjacent Area?PaintIs Your Palette Efficiently Organized?Is the Painting Surface Too Absorbent?Are You Using the Palette Knife as Much as You Could?Are You Painting Lines When You Should Be Painting Masses?Are the EdgesDynamic Enough?Is There Enough Variation in the Texture of the Paint?