For every incredible career high there was a hefty personal downside: divorce, drunkenness, and death seemed as synonymous with the Gibbs as falsetto harmonies, flares, and multi-platinum record sales.Not long before his death, Robin made it clear that he believed the Gibbs had been forced to pay the highest possible cost for their success. "All the tragedies my family has suffered . . . is a kind of karmic price we are paying for all the fame and fortune we've had." This is the story of the brothers' incredible careers and an examination of the Gibb 'curse'--an all-too-human look at the rollercoaster ride of fame.

    Arranged thematically from industrial to military sites, from ghosts towns to recreational sites, the book explains through extended captions the story of how each place came to be abandoned - natural or chemical disaster, war, economic collapse, changing attitudes and tastes. Often it's because the world has moved on and these places are no longer of use or interest in the march of progress. Throughout, though, emerges a picture not of what has been lost, but of what remains. Left to the elements but also ignored by humanity, the photographs of these ghost towns, crumbling structures and vessels illuminate worlds for us that we thought were lost. Through these, we gain a glimpse into the past. With more than 150 outstanding colour photographs exploring hauntingly beautiful places over one or two spreads, Abandoned Places is an excellent pictorial examination of worlds that we've left behind.

    Sean Shesgreen, a foremost authority on Hogarth, has consistently selected the best states of the plates to be used in this edition and has carefully introduced them, commenting upon the artist's milieu and the importance of plot, character, time, setting, and other dimensions. A most important aspect of this book, found in no other Hogarth edition, is the positioning of the editor's commentary on each plate on a facing page. With the incredible and sometimes overwhelming amount of detail and action going on in these engravings, this is a most helpful feature.

     Working alongside skilled photographers, Rockwell acted as director, carefully orchestrating models, selecting props, and choosing locations for the photographs -- works of art in their own right -- that served as the basis of his iconic images. Readers will be surprised to find that many of his most memorable characters -- the girl at the mirror, the young couple on prom night, the family on vacation -- were friends and neighbors who served as his amateur models. In this groundbreaking book, author and historian Ron Schick delves into the archive of nearly 20,000 photographs housed at the Norman Rockwell Museum. Featuring reproductions of Rockwell's black-and-white photographs and related full-color artworks, along with an incisive narrative and quotes from Rockwell models and family members, this book will intrigue anyone interested in photography, art, and Americana.

    Artists' manifestos are nothing if not revolutionary. They are outlandish, outrageous, and frequently offensive. They combine wit, wisdom, and world-shaking demands. This collection gathers together an international array of artists of every stripe, including Kandinsky, Mayakovsky, Rodchenko, Le Corbusier, Picabia, Dali, Oldenburg, Vertov, Baselitz, Kitaj, Murakami, Gilbert and George, together with their allies and collaborators - such figures as Marinetti, Apollinaire, Breton, Trotsky, Guy Debord and Rem Koolhaas. This title is edited with an Introduction by Alex Danchev.

    And that’s almost all he knew about them—his father rarely spoke of their family history or heritage. But when he passed away, and Simon received his father’s old papers, a story began to emerge.The Gutmanns, as they were known then, rose from a small Bohemian hamlet to become one of Germany’s most powerful banking families. They also amassed a magnificent, world-class art collection that included works by Degas, Renoir, Botticelli, Guardi, and many, many others. But the Nazi regime snatched from them everything they had worked to build: their remarkable art, their immense wealth, their prominent social standing, and their very lives.Simon grew up in London with little knowledge of his father’s efforts to recover their family’s prized possessions. It was only after his father’s death that Simon began to piece together the clues about the Gutmanns’ stolen legacy and the Nazi looting machine. He learned much of the collection had gone to Hitler and Hermann Goering; other works had been smuggled through Switzerland, sold and resold to collectors and dealers, with many works now in famous museums. More still had been recovered by Allied forces only to be stolen again by heartless bureaucrats—European governments quietly absorbed thousands of works of art into their own collections. Through painstaking detective work across two continents, Simon has been able to prove that many works belonged to his family, and successfully secure their return.With the help of his family, Simon initiated the first Nazi looting case to be settled in the United States. They also brought about the first major restitution in The Netherlands since the post-war era.Goodman’s dramatic story, told with great heart, reveals a rich family history almost obliterated by the Nazis. It is not only the account of a twenty-year long detective hunt for family treasure, but an unforgettable tale of redemption and restoration.

    It was the first Brian Eno album tobe composed almost completely in the confines of a recording studio,over a scant few months in the summer of 1975. The album was a proofof concept for Eno's budding ideas of "the studio as musicalinstrument," and a signpost for a bold new way of thinking aboutmusic.In this book, Geeta Dayal unravels Another Green World's abundantmysteries, venturing into its dense thickets of sound. How was analbum this cohesive and refined formed in such a seemingly ad hoc way?How were electronics and layers of synthetic treatments used to createan album so redolent of the natural world? How did a deck of cardsfigure into all of this? Here, through interviews and archivalresearch, she unearths the strange story of how Another Green Worldformed the link to Eno's future -- foreshadowing his metamorphosisfrom unlikely glam rocker to sonic painter and producer.

     Accidentally Wes Anderson began as a personal travel bucket list, a catalog of visually striking and historically unique destinations that capture the imagined worlds of Wes Anderson. Now, inspired by a community of more than one million Adventurers, Accidentally Wes Anderson tells the stories behind more than 200 of the most beautiful, idiosyncratic, and interesting places on Earth. This book, authorized by Wes Anderson himself, travels to every continent and into your own backyard to identify quirky landmarks and undiscovered gems: places you may have passed by, some you always wanted to explore, and many you never knew existed. Fueled by a vision for distinctive design, stunning photography, and unexpected narratives, Accidentally Wes Anderson is a passport to inspiration and adventure. Perfect for modern travelers and fans of Wes Anderson's distinctive aesthetic, this is an invitation to look at your world through a different lens.

    Featuring hundreds of photos of his impressive art and behind-the-scenes details about how these creations came to be, The Art of the Brick is an inside look at how Sawaya transformed a toy into an art form.Follow one man's unique obsession and see the amazing places it has taken him.

    Titillating text messages. It's-not-you-it's-me relationship-enders. In Other People’s Love Letters, Bill Shapiro has searched America’s attics, closets, and cigar boxes and found actual letters–unflinchingly honest missives full of lust, provocation, guilt, and vulnerability–written only for a lover’s eyes. Modern love, of course, is not all bliss, and in these pages you’ll find the full range of a relationship, with its whispered promises as well as its heartache. But what at first appears to be a deliciously voyeuristic peek into other people’s most passionate moments, will ultimately reawaken your own desires and tenderness…because when you read these letters, you’ll find the heart you’re looking into is actually your own.• "i think UR great. wanna have wine & Tequila again sometime?"• "I can't believe you're real, and I think about you constantly in some way or the other all day. I haven't given the finger to anyone driving since I met you."• "With you I learned how to fight cleaner, how to talk things out better, and how to make a strong loving family out of nothing. These are priceless gifts that I will carry with me the rest of my life. One more thing you did for me: you left, and I had to get through it."• "P.S. I look forward to your letters too much to call. Also, where do you stand on chains?"

    Three years later he was in Naples, where he painted The Seven Acts of Mercy. A year later he died at the age of thirty-eight under mysterious circumstances. Exploring Caravaggio's singular masterwork, in The Guardian of Mercy Terence Ward offers an incredible narrative journey into the heart of his artistry and his metamorphosis from fugitive to visionary.Ward's guide in this journey is a contemporary artist whose own life was transformed by the painting, a simple man named Angelo who shows him where it still hangs in a small church in Naples and whose story helps him see its many layers. As Ward unfolds the structure of the painting, he explains each of the seven mercies and its influence on Caravaggio's troubled existence. Caravaggio encountered the whole range of Naples's vertical social layers, from the lowest ranks of poverty to lofty gilded aristocratic circles, and Ward reveals the old city behind today's metropolis. Fusing elements of history, biography, memoir, travelogue, and journalism, his narrative maps the movement from estrangement to grace, as we witness Caravaggio's bruised life gradually redeemed by art.

    This is the story of the trials and exploits, the victories and defeats, of one of those units. This book takes us from the first ever assault against a terrorist ship carrying weapons of mass destruction to attack London, to the epic siege of the terrorist-held Qala-I-Janghi fortress in Afghanistan. In the interim, our half-a-dozen soldier-characters deliver suitcases stuffed with millions of dollars in cash to 'friendly' Afghan warlords; they penetrate the towering heights of the uncharted Naka Valley, where allied intelligence has identified the mother of all terrorist training camps; they fight in the labyrinthine tunnels running beneath the Afghan mountains; and they risk all to rescue their fellow soldiers from a downed aircraft stranded on a snow-blasted mountain peak. The book culminates in the single battle in which more terrorists were killed than any other in Afghanistan: the siege of Qala-I-Janghi, an ancient mud-walled fortress used to imprison the most dangerous Taliban and Al Qaeda fighters. The battle for Qala-I-Janghi would last a staggering eight days, from the moment of the first shots being fired at the start of the uprising to the hour that the fort yielded up the last Al Qaeda fighters. It is a battle in which over 500 terrorists would die - but which would also claim the life of a US serviceman and dozens of Northern Alliance allies, with scores of severely wounded British and American soldiers. And in the final denouement, this savage battlefield turns out to be populated by the most ultimately shocking enemy - John Walker Lindh, the white American Taliban who held out in the forts' bunker until the very last. At the same time as the story of the fort siege played out on TV screens all across the world, our band of British and American special forces were involved in a secret, deadly dual to rescue their fellow men - a duel that only one side could win.

    Call Us What We Carry is Gorman at her finest. Including “The Hill We Climb,” the stirring poem read at the inauguration of the 46th President of the United States, Joe Biden, and bursting with musical language and exploring themes of identity, grief, and memory, this lyric of hope and healing captures an important moment in our country’s consciousness while being utterly timeless.The breakout poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman.

    It harks back to the 1989 issue of the same name, themed around the response to the fall of the Berlin wall. Through the lenses of exile and migration, we ask ourselves what it means to be European now. Featuring a photoessay by Bruno Fert who steps inside the temporary homes of refugees in camps in Greece and France.

    Not only are there frequent references to specific works of art, but certain characters are also evoked by comparison to particular paintings. Bloch’s appearance as a boy is likened to the portrait of Mehmet II by Gentile Bellini; Odette de Crécy strikes Swann by her resemblance to a figure in a Botticelli fresco. Even the lesser figure of a certain Mme. Blattin becomes the subject of Proustian mischief by being described as “exactly the portrait of Savonarola by Fra Bartolomeo.” Eric Karpeles has identified and located the many paintings to which Proust makes reference and sets them alongside the relevant text from the novel; in other cases, where only a painter’s name is mentioned to indicate a certain style or appearance, Karpeles has chosen a representative work to illustrate the impression that Proust sought to evoke.With some 200 paintings beautifully reproduced in full color and texts drawn from the Moncrieff/Kilmartin/Enright translation, as well as concise commentaries on the evolving narrative, this book is an essential addition to the libraries of Proustians everywhere. The book also includes an authoritative introduction and a comprehensive index of artists and paintings mentioned in the novel.