Painter, sculptor, writer, and filmmaker, Salvador Dali (1904-1989) was one of the century's greatest exhibitionists and eccentrics - and was rewarded with fierce controversy wherever he went. He was one of the first to apply the insights of Sigmund Freud and psychoanalysis to the art of painting, approaching the subconscious with extraordinary sensitivity and imagination. This lively monograph presents the infamous Surrealist in full color and in his own words. His provocative imagery is all here, from the soft watches to the notorious burning giraffe. A friend of the artist for over thirty years, privy to the reality behind Dali's public image, author Robert Descharnes is uniquely qualified to analyze Dali - both the man and the myth.

    More than 250 color photos.

    From his studio in London, he starts by travelling to three "white hills" - sites in China, Germany and England that are key to porcelain's creation. But his search eventually takes him around the globe and reveals more than a history of cups and figurines; rather, he is forced to confront some of the darkest moments of twentieth-century history.Part memoir, part history, part detective story, The White Road chronicles a global obsession with alchemy, art, wealth, craft and purity. In a sweeping yet intimate style that recalls The Hare with Amber Eyes, de Waal gives us a singular understanding of "the spectrum of porcelain" and the mapping of desire.

    From the Pale Gold (15-0927 TPX) and Almost Mauve (12-2103 TPX) of the 1900 Universal Exposition in Paris to the Rust (18-1248 TPX) and Midnight Navy (19-4110 TPX) of the countdown to the Millennium, the 20th century brimmed with color. Longtime Pantone collaborators and color gurus Leatrice Eiseman and Keith Recker identify more than 200 touchstone works of art, products, d cor, and fashion, and carefully match them with 80 different official PANTONE color palettes to reveal the trends, radical shifts, and resurgences of various hues. This vibrant volume takes the social temperature of our recent history with the panache that is uniquely Pantone.

    Its history reads like a history of pleasure itself. It is also a story of invasions and migrations, of artists and conmen, of drop-outs and love-ins. The Carthaginians established a cult to their goddess of sex there, and named the island after Bez, their god of dance. Roman centurions in need of a bit of down time between campaigns would go to Ibiza to get their kicks. And over the centuries, cultures around the Med have used the island either as a playground or a dump for the kind of people who didn't quite fit in back home, but who you'd probably quite like to meet at a party...This is the history of Ibiza, the fantasy island, framed by one long, golden summer where anything can happen - and it usually does.

    Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries.

    Set in the studio, on the stage, and in great cities and small towns across the country, this book captures life on the road for Marsalis and his musicians, evoking its ritual and renewal, energy and spirituality. Describing the art of improvisation, the book's two voices mirror the interplay at the heart of jazz. "On the road and on the bandstand," Marsalis writes, "something great may happen at any moment, something that might even change your life." Alternately luminous and boisterous, often poignant, and always passionate, Marsalis and Vigeland's extraordinary dialogue is a must for fans, musicians, and anyone curious about America's only indigenous art form.

    Conclusions are perpetually delayed. Resolutions are continually postponed. The text is written for takeoff, not arrival. It is a first step for readers' explorations of current modes of art making and for their own future artistic achievements. The much-anticipated follow-up to Art on the Edge... and Over, Linda Weintraub's highly accessible introduction to contemporary art since the 1970s, In the Making: Creative Options for Contemporary Art explores essential but sometimes elusive facets of art making today. In her trademark writing style--straightforward and jargon-free--Weintraub sets out to itemize the conceptual and practical concerns that go into making contemporary art in all its endless permutations. In six clearly defined thematic sections---Scoping an Audience, - -Sourcing Inspiration, - -Crafting an Artistic 'Self', - -Expressing an Artistic Attitude, - -Choosing a Mission, - and -Measuring Success---Weintraub moves artist by artist, in 40 individual chapters, using each to explain a different aspect of art making. Isaac Julien makes work for a highly specific audience; Michal Rovner communicates through metaphor and symbol; Charles Ray disrupts the viewer's assumptions; Pipilotti Rist is inspired by female emotions; William Kentridge is moved by apartheid and redemption; Vanessa Beecroft epitomizes the biography of a smart, attractive, Caucasian woman; and Matthew Barney achieves success through resistance. Through a compelling combination of renowned and up-and-coming artists, Weintraub creates a complex understanding of how to make and look at contemporary art--but in a simple, easily digestible format and language.In addition to being a fine read for anyone who simply wants to understand how to look at contemporary art, In the Making is also an exceptional pedagogical tool, one that addresses what is fast becoming a huge gap in art education. Teaching artistic techniques no longer provides young artists with a sufficient education--a full range of conceptual issues needs to be considered in any well-rounded studio practice. Yet these very same conceptual issues are often those that are dealt with textually in art history and criticism classes. Weintraub persuasively offers a series of texts that fit squarely into this gap, addressing issues that concern anyone who is learning how to make art or how to understand it.In addition, In the Making includes a series of interviews in which many of the artists discuss the practical issues of their life's work. Conducted by Weintraub's students at Oberlin College, the interviews pose questions about the artists' schooling, their studio space, and how they support themselves if their main income doesn't come from their art--the kind of questions every art student has always wanted to ask the artists whose work they see on gallery walls.

    Still, this first-hand account does shed much light on what it was really like to come under the charge of many different Indian tribes.Although Brayton’s treatment was not entirely negative or positive, his frank and blunt story does much to dispel the romantic stories that have been perpetuated about young settlers’ children who became Indian chattel. It does much to tell true history and dispel any deliberate or accidental revisions. In many cases the Indians treated Brayton well, but there can be no doubt that they stole from him and his family a life that would end up confused and stuck between two worlds. Although Brayton did finally unite with many of his natural family, he never stopped identifying with Native Americans, and he was forced to leave an Indian wife and child behind. In fact, when the War of Rebellion or Civil War broke out, Brayton enlisted and served in an American Indian brigade. Chet DembeckPublisher of One

    It consists of 143 paintings of small size, rarely larger than 20 x 30 inches, many of them now considered icons of 20th century art, most of them seIf-portraits. The reasons for this ostensible narcissism were closely bound up with Kahlo's biography, with the country and epoch in which she grew up, and with her decidedly eccentric character. It was no coincidence that the major enigmatic minds of the 16th century, namely Hieronymous Bosch and Pieter Bruegel the Elder, were among her favorite painters. For Frida Kahlo never displayed her wounds directly--be it the physical wounds caused by accidents and illness, or the psychological inner wounds. Hers is a subtly enciphered symbolic language, rich in metaphors drawn from almost all the world's cultures. Aztec myths of creation. Far Eastern and Classical Greek mythology, and popular Catholic beliefs all mingle in Kahlo's pictures with Mexican folklore and the stuff of quotidian life, with Marx and Freud. Andre Breton, one of her many admirers among the European avant-garde, once described Kahlo's art as a "colored ribbon round a bomb." Exotic and explosive, sensuous and fascinatingly vital in terms of artistic statement. Kahlo's paintings shed a complex and often frightening light on her soul, her "inner reality." as she called it. If the incessant commercial marketing of Kahlo's paintings over the past decade had obscured a clear view of her extraordinary oeuvre, this present monograph attempts to make amends "Frida Kahlo: The Painter and Her Work returns to the heart, to 42 select masterpieces, reproduced in full and in detail. The painterly quality, the beauty, and theimmense wealth of details in Kahlo's paintings is laid out before the reader's eyes, as is the abyss in which the artist found herself.

    The book also includes some of her best fiction pieces.

    Posing as jewel thief “Donnie Brasco,” Pistone spent the next six years undercover in the Family, witnessing-and sometimes participating in-the Mafia's gruesome activities while gathering enough evidence to send over 200 gangsters to jail. Pistone told his story in the 1988 book Donnie Brasco: My Undercover Life in the Mafia-a New York Times bestseller and later a feature film starring Johnny Depp and Al Pacino. But because of pending trials at the time of publication, many details of the alleged crimes were held back. Now, in Donnie Brasco: Unfinished Business, Pistone for the first time reveals with great detail the horrific deeds of wiseguys Tony Mirra, “Lefty” Ruggiero, Sonny Black, and the rest of the cold-blooded Bonanno crew. Pistone puts the operation into historical perspective, detailing the timeline of Mafia trials that crippled the New York City crime family over the past 25 years. He also recounts his experiences after the operation, his time on the Hollywood set with Pacino and Depp, and other undercover operations through present-day. A tense, thrilling account of the greatest infiltration ever by a federal agent into the most brutal gang of killers in the world, Donnie Brasco: Unfinished Business is the final chapter in the story of a real American hero.

    In this book, Mari Grinde Arntzen asks how and why this is—how can fashion simultaneously attract us to its glamour and repel us with its superficiality and how being called “fashionable” can be at once a compliment and an insult. Arntzen guides us through the major figures and brands of today’s fashion industry, showing how they shape us and in turn why we love to be shaped by them. She examines both everyday, affordable “fast fashion” brands, as well as the luxury market, to show how fashion commands a powerful influence on every socioeconomic level of our society. Stepping into our closets with us, she thinks about what happens when we get dressed: why fashion can make us feel powerful, beautiful, and original at the same time that it forces us into conformity. Stripping off the layers of the world’s fifth largest industry, garment by garment, she holds fashion up as a phenomenon, business, and art, exploring the questions it forces us to ask about the body, image, celebrity, and self-obsession. Ultimately, Arntzen asks the most direct question: what is fashion? How has it taken such a powerful hold on the world, forever propelling us toward its concepts of beauty?

    president; it was the very cornerstone of his campaign. No secrets. No masks. No smoke and mirrors. No excuses. But over the next four years, President Obama’s administration would prove to be one of the most guarded and duplicitous of our time. Tom Fitton of Judicial Watch, America’s largest nonpartisan government watchdog (challenging George W. Bush as well as Bill Clinton), has been investigating Obama ever since he splashed onto the national scene in 2006. Now Fitton exposes devastating secrets the Obama administration has desperately fought—even in court—to keep from the American public. For a while, the Obama stonewall seemed to be holding. Until now. And the revelations are astonishing. Judicial Watch has unearthed the truth behind such high-profile issues as the bailouts, Obamacare, Guantanamo, Obama’s true ties to Bill Ayers and to the Black Panthers voting intimidation scandal, and the Constitution-defying government czars. He reveals Obama’s personal war against FOX News, his real link to ACORN, and his radical Chicago connections. Through scores of smoking-gun government files, some replicated here and many unearthed after lengthy court battles, Fitton also discloses the facts of the Obama-backed $535-million loan guarantee to Solyndra, promoted by the president as a model for economic recovery—only months before its disastrous bankruptcy filing. Here too is the truth behind the gunrunning scandal, code-named Fast and Furious, which was a program generated in secrecy by the U.S. government that supplied thousands of firearms to murderous criminals in Mexico—an unconscionable act, and only one in a series of historical lows for an administration that few, if any, major media in this country dare to expose. This book details how the Obama machine is aggressively employing Chicago-style tactics to steal, if necessary, the 2012 elections. And how Judicial Watch is prepared to go to court with historic lawsuits to make sure the elections are fair and honest. Why do Obama supporters turn a blind eye to his astoundingly unethical and abusive approach to governing this country? The Corruption Chronicles boldly, honestly, and factually makes the case that the federal government is now off the rails and out of control, and has literally built its foundation on broken promises, fatal miscalculations, and a cynical manipulation of its trusting public. But it’s not over. Tom Fitton and Judicial Watch are proof that the Tea Party approach to government corruption can make a difference. A grassroots group can take on the president, the Congress, and the judiciary, and finally force the government to be held accountable. The uncontestable facts are here, in The Corruption Chronicles. To see what is true, you only have to look.  THE FULLY DOCUMENTED FACTS BEHIND: • The Solyndra Debacle • Obama’s Watergate: Operation Fast and Furious • The Obama Administration’s $20 Billion Government Extortion Scheme • The Unprecedented Threat to the Integrity of the 2012 Elections • The Czar Investigation Stonewall • The Undermining of Our Nation’s Immigration Laws • 9/11 Secrets

    Once it had been a forbidding place of exile, inhabited by thousands of the disease’s victims who had been removed from their families and confined against their will, far away from a society that feared and misunderstood their condition. When Brooke Jarvis came across a posting for a job in Kalaupapa, tending to the needs of the handful of remaining patients, it seemed like an impossibly exotic opportunity for a college student. But what she found there was both more remarkable and more familiar than what she had imagined. When We Are Called to Part is the absorbing, affecting, and often funny story of life in the last years of a rapidly vanishing community. “Even a prison,” she would learn, “eventually becomes a home, becomes something you mourn.”