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.

    

    Toklas was written in 1933 by Gertrude Stein in the guise of an autobiography authored by Alice B. Toklas, who was her lover. It is a fascinating insight into the art scene in Paris as the couple were friends with Paul Cézanne, Henri Matisse and Pablo Picasso. They begin the war years in England but return to France, volunteering for the American Fund for the French Wounded, driving around France, helping the wounded and homeless. After the war Gertrude has an argument with T. S. Eliot after he finds one of her writings inappropriate. They become friends with Sherwood Anderson and Ernest Hemingway. It was written to make money and was indeed a commercial success. However, it attracted criticism, especially from those who appeared in the book and didn't like the way they were depicted.

    His style ranged from the social realism of his WPA murals through his abstract expressionist canvasses of the 1950s and 1960s (when he counted Pollock, Rothko, de Kooning, and Kline among his friends) to his cartoonlike paintings of Klansmen, disembodied heads, and tangled piles of everyday objects. Critics and public alike savaged Guston for his return to figurative art, but today his late work is recognized for the singular power of its darkly hilarious vision. Musa Mayer augments her firsthand knowledge with extensive interviews with his family, friends, students, and colleagues, as well as Guston's own letters, notes, and autobiographical writings, to re-create a turbulent era in American art. Night Studio, profusely illustrated (including almost a dozen paintings in full color), illuminates not only the life of a great artist, but the experience of growing up in his shadow.

    In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.Francesca Woodman (1958-1981) was born in Denver, Colorado, to the well-known artists George and Betty Woodman. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York, to attempt to build a career in photography. In 1981, at the age of 22, she committed suicide.

    The key supporter and muse of milliner Philip Treacy and designer Alexander McQueen, Blow was truly more than a muse or patron. She was a spark, an electrical impulse that set imaginations racing, an individual who pushed others to create their best work.Her fascination with clothing began early, as did a willingness to wear things—and say things—that would amuse and shock. She began her fashion career in New York City as assistant to Anna Wintour at Vogue. Over time she became famous for her work, yet it wasn't enough to assuage her devastating feelings of inadequacy. Still, in her darkest moments, even as she began a series of suicide attempts and prolonged hospital stays, Blow retained her wicked sense of humor, making her friends laugh even as they struggled to help.Lauren Goldstein Crowe has crafted a superbly entertaining narrative; wrapping the anecdotes of Isabella's antics around a candid, insightful portrayal of a woman whose thirst for the fantastical ultimately became irreconcilable with life in the real world.

    But a courageous and visionary young woman-Katharine Kuh-defied the odds and opened a gallery in Chicago, where she exhibited such relatively unknown artists as Fernand L ger, Paul Klee, Joan Mir, Ansel Adams, Marc Chagall, and Alexander Calder, to name but a few. Not only did Kuh survive these rocky early years but most of the artists became increasingly famous. In 1954, the Art Institute of Chicago named her its first curator of modern painting and sculpture. Kuh's prestigious position at the museum led to friendships with Marcel Duchamp, Mark Rothko, Mies van der Rohe, and Edward Hopper. In writing her memoir, she hoped to offer intimate portraits of these luminaries and contribute to a fuller understanding of their achievements. Her book also reveals how and why America became a major force in the world of contemporary art.After Katharine Kuh's death, Avis Berman-noted art historian and Kuh's close friend and literary executor-selected, edited, and completed her writings for this book.

    The most comprehensive retrospective of the artist's work ever produced.

    Martin identified with the Abstract Expressionists but her commitment to linear geometry caused her to be associated in turn with Minimalist, feminist, and even outsider artists. She moved through some of the liveliest art communities of her time while maintaining a legendary reserve. I paint with my back to the world, she says both at the beginning and at the conclusion of a documentary filmed when she was in her late eighties. When she died at ninety-two, in Taos, New Mexico, it is said she had not read a newspaper in half a century. No substantial critical monograph exists on this acclaimed artist the recipient of two career retrospectives as well as the National Medal of the Arts who was championed by critics as diverse in their approaches as Lucy Lippard, Lawrence Alloway, and Rosalind Krauss. Furthermore, no attempt has been made to describe her extraordinary life. The whole engrossing story, told here for the first time, Agnes Martin is essential reading for anyone interested in abstract art or the history of women artists in America."

    A relative unknown at the time, Sargent won the commission to paint her; the two must have recognized in each other a like-minded hunger for fame.Unveiled at the 1884 Paris Salon, Gautreau's portrait generated the attention she craved-but it led to infamy rather than stardom. Sargent had painted one strap of Gautreau's dress dangling from her shoulder, suggesting either the prelude to or the aftermath of sex. Her reputation irreparably damaged, Gautreau retired from public life, destroying all the mirrors in her home.Drawing on documents from private collections and other previously unexamined materials, and featuring a cast of characters including Oscar Wilde and Richard Wagner, Strapless is a tale of art and celebrity, obsession and betrayal.

    Now she’s ready to take on the thirtysomething years . . . and almost middle age has never been more hilarious.Laurie is married, mortgaged, and now—miraculously—employed in the corporate world, discovering that bosses come in all shapes, sizes, and degrees of mental stability. After maxing out her last good credit card at Banana Republic, she’s dressed for success and ready to face the jungle: surviving feral, six-foot-plus Gretchen (“Three Thousand Faces of Eve”) before battling the overbearing, overstuffed (in way-too-small pants) new mom Suzzi, who ruthlessly cancels Laurie’s newspaper column and learns that payback can be a bitch. Laurie also explores the backstabbing world of preschoolers at a Halloween party, the X-rated madness of a family trip to Disneyland, and the pressure from her QVC-addicted mother and the rest of the world to reproduce. But while losing more friends to babies than to booze, she realizes there’s a plus side: at least for a couple of months she gets to be the thinner friend.I Love Everybody (and Other Atrocious Lies) is Laurie Notaro at her deliciously quirky best. Can a woman prone to what her loved ones might term “meltdowns” (she considers them “Opportunities to Enlighten”) put a smile on her face and love everybody? Take a guess.

    After a dozen years at the court of Lodovico Sforza, the Duke of Milan, Leonardo was at a low point personally and professionally: at forty-three, in an era when he had almost reached the average life expectancy, he had failed, despite a number of prestigious commissions, to complete anything that truly fulfilled his astonishing promise. His latest failure was a giant bronze horse to honor Sforza's father: His 75 tons of bronze had been expropriated to be turned into cannons to help repel a French invasion of Italy. The commission to paint The Last Supper in the refectory of a Dominican convent was a small compensation, and his odds of completing it were not promising: Not only had he never worked on a painting of such a large size-15' high x 30' wide-but he had no experience in the extremely difficult medium of fresco.  In his compelling new book, Ross King explores how-amid war and the political and religious turmoil around him, and beset by his own insecurities and frustrations-Leonardo created the masterpiece that would forever define him. King unveils dozens of stories that are embedded in the painting. Examining who served as the models for the Apostles, he makes a unique claim: that Leonardo modeled two of them on himself. Reviewing Leonardo's religious beliefs, King paints a much more complex picture than the received wisdom that he was a heretic. The food that Leonardo, a vegetarian, placed on the table reveals as much as do the numerous hand gestures of those at Christ's banquet. As King explains, many of the myths that have grown up around The Last Supper are wrong, but its true story is ever more interesting. Bringing to life a fascinating period in European history, Ross King presents an original portrait of one of the world's greatest geniuses through the lens of his most famous work.

     Walk into any museum, or open any art book, and you'll probably be left wondering: where are all the women artists? A Big Important Art Book (Now with Women) offers an exciting alternative to this male-dominated art world, showcasing the work of dozens of contemporary women artists alongside creative prompts that will bring out the artist in anyone! This beautiful book energizes and empowers women, both artists and amateurs alike, by providing them with projects and galvanizing stories to ignite their creative fires. Each chapter leads with an assignment that taps into the inner artist, pushing the reader to make exciting new work and blaze her own artistic trail. Interviews, images, and stories from contemporary women artists at the top of their game provide added inspiration, and historical spotlights on art "herstory" tie in the work of pioneering women from the past. With a stunning, gift-forward package and just the right amount of pop culture-infused feminism, this book is sure to capture the imaginations of aspiring women artists.

    I want to tell the story of the moments - the ups and downs, the triumphs and traumas, the debacles and the dreams, that contributed to the person I am today. Though there have been countless stories about me throughout my career and very public personal life, it’s been impossible to communicate the complexities and depths of my experience in any single magazine article or a ten-minute television interview. And even then, my words were filtered through someone else’s lens, largely satisfying someone else’s assignment to define me.This book is composed of my memories, my mishaps, my struggles, my survival and my songs. Unfiltered. I went deep into my childhood and gave the scared little girl inside of me a big voice. I let the abandoned and ambitious adolescent have her say, and the betrayed and triumphant woman I became tell her side.Writing this memoir was incredibly hard, humbling and healing. My sincere hope is that you are moved to a new understanding, not only about me, but also about the resilience of the human spirit.Love,Mariah

    They saw their father, who was born into slavery, become America's first black Episcopal bishop. They saw their mother--a woman of mixed racial parentage who was born free--give birth to ten children, all of whom would become college-educated, successful professionals in a time when blacks could scarcely expect to receive a high school diploma. They saw the post-Reconstruction South, the Jim Crow laws, Harlem's Golden Age, and the Civil Rights movement--and, in their own feisty, wise, inimitable way, they've got a lot to say about it.More than a firsthand account of black American history, "Having Our Say" teaches us about surviving, thriving, and embracing life, no matter what obstacles are in our way.