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On the heels of his bestselling and award-winning book Out/Lines: Underground Gay Graphics From Before Stonewall, Thomas Waugh offers more historic and erotically charged drawings, depicting aspects of gay male sexuality that were once hidden from public view.<P> The more than 200, never-before-published images in Lust Unearthed are from the private collection of Ambrose DuBek, a Hollywood costume and set designer (his work included George Cukor's 1939 film The Women) who died in 2002 at the age of 87, and whose estate included a wealth of erotic materials, including books, periodicals, prints, and films. DuBek was a passionate advocate and patron of the arts who felt that life and the body were to be celebrated; he had no patience for other people's attempts to make him feel guilty for his attractions and desires, nor any qualms about the different worlds in which he operated. The images from DuBek's collection published here are remarkably frank and explicit depictions of gay men "in action" created by numerous artists both famous and unknown, and produced during a time when even nude images of men were illegal, and thus rare. Lust Unearthed brings these images out of the boxes in which they were carefully kept and into the light of present-day, where expressions of gay male sexuality can be validated and indeed, celebrated.<P> Waugh's text is a remarkable history lesson that illuminates a once-furtive underground culture. Gay porn for the thinking man, Lust Unearthed will beguile and arouse.<P> Features an introduction by Willie Walker, the founding archivist at the Gay, Lesbian, Bisexual and Transgender History Society in San Francisco, where DuBek's erotic materials were donated.
This collection contains Bob Dylan's lyrics, from his first album, Bob Dylan, to 2001's "Love and Theft. "
The photojournalist Misha Friedman is renowned for his efforts to capture life in contemporary Russia, documenting subjects as varied as political corruption, the dangers of coal mining, the tuberculosis epidemic, and the Bolshoi Ballet. In publications ranging from the New York Times, the Washington Post, Time, and the New Yorker, Friedman's grimly evocative black-and-white images--"intimate, behind-the-scenes photos" (Time)--have been credited with capturing moments of intense pathos, bleak existence, and human dignity. He has received multiple international awards for his "unflinching" lens and his intrepid reporting.<P><P> For his new collection of photographs, Lyudmila and Natasha, Friedman trains his lens on a gay couple living on Saint Petersburg, offering a series of intimate snapshots of their relationship as it unfolds over the course of a year. Faced with a hostile political climate, financial difficulties, and often unstable living arrangements, the subjects of this stunning book reveal the possibilities for love in the most uncertain of times. With the fabled city of Saint Petersburg as its backdrop, Lyudmila and Natasha powerfully evokes both a vital place and the people who call it home.
Simon is anxious to draw in one of Father Anselm's manuscripts. But before he can do that, he must solve Father Anselm's puzzle.
Long ago there lived an orphan boy called Nib. He couldn't read, he couldn't write.. .But he did know how to draw... and more than anything else in the world, he wanted to be an artist. One day, as a reward for an act of bravery and an act of kindness, Nib is given the answer to his dream- or so it seems. With the magic paintbrush anything he paints looks as real and beautiful as life itself- so real that the painting leaps off the page. But so great a gift also brings danger. Hearing of the beautiful animals and objects that fly off Nib's canvas, a greedy king determines to have the boy's talents for his own. So Nib is launched on a journey of escape and adventure that opens his eyes to a world of wonder and of cruelty, a world where magic can bring justice or imprisonment- or can bring a dream to life. Note that this book is for young children and does not contain picture descriptions.
Vacant lots. Abandoned houses. Trash--lots of trash. Heidelberg Street was in trouble! Tyree Guyton loved his childhood home--that's where his grandpa Sam taught him to "paint the world. " So he wanted to wake people up. . . to make them see Detroit's crumbling communities. Paintbrush in hand, Tyree cast his artistic spell, transforming everday junk into magic trash. Soon local kids and families joined Tyree in rebuilding their neighborhood, discovering the healing power of art along the way. This picture book biography of Tyree Guyton, an urban environmental artist, shows how he transformed his decaying, crime-ridden neighborhood into the Heidelberg Project, an interactive sculpture park. The story spans from Tyree's childhood in 1950s Detroit to his early efforts to heal his community through art in the 1980s.
At the turn of the last century, the American middle class was expanding rapidly as homesteaders moved west and as trains took travellers across the country, where they established themselves in the depot towns that erupted along train lines. With that growth came the demand for new homes, and from that demand grew a new industry: mail-order homes. Sold by such makers as Sears, Roebuck & Co., Aladdin, and Montgomery Wards, these kit homes were shipped by train, arriving in two boxcars, which then were off-loaded by the purchasers, usually with a team of horse and wagon. In the boxcars was absolutely everything needed to assemble a house, whether it be a vacation cottage, modest bungalow, or two-and-a-half storey home. Literally tens of thousands of these affordable homes were sold in the early 1900s, with most built between 1910-40. In Mail-Order Homes, historical architectural researcher Rebecca Hunter brings to life the history of these charming homes, many of which still stand in communities across the country. From the manufacturers of mail-order homes to the customers who bought and built them, and from the styles and designs to the boom and bust of the industry, Hunter explains the history of these forgotten homes. Filled with illustrations from mail-order home catalogs and contemporary photos, this book tells the story of a bygone era of residential architecture.
Here is the first comprehensive survey of modern craft in the United States. Makers follows the development of studio craft--objects in fiber, clay, glass, wood, and metal--from its roots in nineteenth-century reform movements to the rich diversity of expression at the end of the twentieth century. More than four hundred illustrations complement this chronological exploration of the American craft tradition. Keeping as their main focus the objects and the makers, Janet Koplos and Bruce Metcalf offer a detailed analysis of seminal works and discussions of education, institutional support, and the philosophical underpinnings of craft. In a vivid and accessible narrative, they highlight the value of physical skill, examine craft as a force for moral reform, and consider the role of craft as an aesthetic alternative. Exploring craft's relationship to fine arts and design, Koplos and Metcalf foster a critical understanding of the field and help explain craft's place in contemporary culture. Makers will be an indispensable volume for craftspeople, curators, collectors, critics, historians, students, and anyone who is interested in American craft.
In this new work, prizewinning author, professor, and Slate architecture critic Witold Rybczynski returns to the territory he knows best: writing about the way people live, just as he did in the acclaimed bestsellers Home and A Clearing in the Distance. In Makeshift Metropolis, Rybczynski has drawn upon a lifetime of observing cities to craft a concise and insightful book that is at once an intellectual history and a masterful critique. Makeshift Metropolis describes how current ideas about urban planning evolved from the movements that defined the twentieth century, such as City Beautiful, the Garden City, and the seminal ideas of Frank Lloyd Wright and Jane Jacobs. If the twentieth century was the age of planning, we now find ourselves in the age of the market, Rybczynski argues, where entrepreneurial developers are shaping the twenty-first-century city with mixed-use developments, downtown living, heterogeneity, density, and liveliness. He introduces readers to projects like Brooklyn Bridge Park, the Yards in Washington, D.C., and, further afield, to the new city of Modi'in, Israel--sites that, in this age of resource scarcity, economic turmoil, and changing human demands, challenge our notion of the city. Erudite and immensely engaging, Makeshift Metropolis is an affirmation of Rybczynski's role as one of our most original thinkers on the way we live today.
A Man and His Ship: America's Greatest Naval Architect and His Quest to Build the S.S. United Statesby Steven Ujifusa
THE STORY OF A GREAT AMERICAN BUILDER At the peak of his power, in the 1940s and 1950s, William Francis Gibbs was considered America's best naval architect. His quest to build the finest, fastest, most beautiful ocean liner of his time, the S.S. United States, was a topic of national fascination. When completed in 1952, the ship was hailed as a technological masterpiece at a time when "made in America" meant the best. Gibbs was an American original, on par with John Roebling of the Brooklyn Bridge and Frank Lloyd Wright of Fallingwater. Forced to drop out of Harvard following his family's sudden financial ruin, he overcame debilitating shyness and lack of formal training to become the visionary creator of some of the finest ships in history. He spent forty years dreaming of the ship that became the S.S. United States. William Francis Gibbs was driven, relentless, and committed to excellence. He loved his ship, the idea of it, and the realization of it, and he devoted himself to making it the epitome of luxury travel during the triumphant post-World War II era. Biographer Steven Ujifusa brilliantly describes the way Gibbs worked and how his vision transformed an industry. A Man and His Ship is a tale of ingenuity and enterprise, a truly remarkable journey on land and sea.
With emphasis on the tribes in North America, this book uses the art and artifacts of various Indian cultures to illustrate events affecting their history from earliest times through 1973.
Novelist and critic Jonathan Wilson clears away the sentimental mists surrounding an artist whose career spanned two world wars, the Russian Revolution, the Holocaust, and the birth of the State of Israel. Marc Chagall's work addresses these transforming events, but his ambivalence about his role as a Jewish artist adds an intriguing wrinkle to common assumptions about his life. Drawn to sacred subject matter, Chagall remains defiantly secular in outlook; determined to "narrate" the miraculous and tragic events of the Jewish past, he frequently chooses Jesus as a symbol of martyrdom and sacrifice. Wilson brilliantly demonstrates how Marc Chagall's life constitutes a grand canvas on which much of twentieth-century Jewish history is vividly portrayed. Chagall left Belorussia for Paris in 1910, at the dawn of modernism, looking back dreamily on the world he abandoned. After his marriage to Bella Rosenfeld in 1915, he moved to Petrograd, but eventually returned to Paris after a stint as a Soviet commissar for art. Fleeing Paris steps ahead of the Nazis, Chagall arrived in New York in 1941. Drawn to Israel, but not enough to live there, Chagall grappled endlessly with both a nostalgic attachment to a vanished past and the magnetic pull of an uninhibited secular present. Wilson's portrait of Chagall is altogether more historical, more political, and edgier than conventional wisdom would have us believe-showing us how Chagall is the emblematic Jewish artist of the twentieth century. Visit nextbook. org/chagall for a virtual museum of Chagall images. From the Hardcover edition.
Discusses the life and work of the artist Chagall, from his birth in Russia to his death at the age of ninety-seven.
Editors Heller (MFA/Designer as Author Department, School of Visual Arts) and Arisman (MFA Illustration as Visual Essay program, School of Visual Arts) use interviews, essays and work samples to provide a comprehensive picture of today's illustration market, providing students and artists with a thorough review of media environments for graphic novels, animation, Web games, toys, fashion and textiles. Contributors address the current shifts in these marketplaces due to technology, software applications and versatility and outline blueprints that will help readers to launch careers in their chosen fields. A chapter also describes the steps for creating both a computer-generated and traditional portfolio from the perspectives of illustrators and art directors. Annotation ©2009 Book News, Inc. , Portland, OR (booknews. com)
Take a stroll through the City by the Bay with renowned artist Wendy MacNaughton in this collection of illustrated documentaries. With her beloved city as a backdrop, a sketchbook in hand, and a natural sense of curiosity, MacNaughton spent months getting to know people in their own neighborhoods, drawing them and recording their words. Her street-smart graphic journalism is as diverse and beautiful as San Francisco itself, ranging from the vendors at the farmers' market to people combing the shelves at the public library, from MUNI drivers to the bison of Golden Gate Park, and much more. Meanwhile in San Francisco offers both lifelong residents and those just blowing through with the fog an opportunity to see the city with new eyes.
First published in 1967, this text is now more relevant than ever, as McLuhan's foresights about the impact of new media is actualized at unprecedented speeds via the Internet. It portrays technologies as an extension of man, illustrating how our senses are massaged and our preceptions altered as these devices become integral parts of our lives.
Winner of the First-Ever QED (Quality, Excellence, Design) award by Digital Book World This is the unrivaled, comprehensive, and award-winning reference tool on graphic design recognized for publishing excellence by the Association of American Publishers. Now, this Fifth Edition of Meggs' History of Graphic Design offers even more detail and breadth of content than its heralded predecessors, revealing a saga of creative innovators, breakthrough technologies, and important developments responsible for paving the historic paths that define the graphic design experience. In addition to classic topics such as the invention of writing and alphabets, the origins of printing and typography, and postmodern design, this new Fifth Edition presents new information on current trends and technologies sweeping the graphic design landscape-such as the web, multimedia, interactive design, and private presses, thus adding new layers of depth to an already rich resource. With more than 1,400 high-quality images throughout-many new or newly updated-Meggs' History of Graphic Design, Fifth Edition provides a wealth of visual markers for inspiration and emulation. For professionals, students, and everyone who works with or loves the world of graphic design, this landmark text will quickly become an invaluable guide that they will turn to again and again.
I knew almost immediately why the towers collapsed the way they did. And I sat there and cried. I wept for the thousands I knew must have died. And I wept because we built the damn things. Like millions of people around the world, Karl Koch III watched in disbelief as the World Trade Center collapsed right before his eyes on the morning of September 11, 2001. But the sadness that tormented him in the days and weeks that followed was fueled not only by the compassion and anger that most of us felt but also by his intimate connection with every beam and column in the Twin Towers. In 1966, the Karl Koch Erecting Company, founded by the author's grandfather and father in the 1920s, had been awarded the contract to erect the 200,000 tons of steel and more than 6 million square feet of floor that would turn a grand idea more than a decade in the making into the world's two tallest buildings. It would be the crowning achievement for a proud family enterprise that had built many of America's most important buildings, from Washington landmarks such as the U. S. Supreme Court and the Library of Congress buildings to such fabled New York hotels as the Pierre and the New Yorker to the half-mile-long, 42-acre plant in Oak Ridge, Tennessee, that was the birthplace of the hydrogen bomb. But none of those projects could prepare this company of fathers and sons and brothers and uncles for the challenges confronting them on erecting the Twin Towers. In Men of Steel, Koch and award-winning author Richard Firstman tell the complete and fascinating story of the creation of the World Trade Center: the politics behind its conception, the innovative thinking that went into its design, the drama of its construction, and the truth behind its destruction. But the story of the Twin Towers is the climax to a saga that starts a century earlier, when the author's grandfather, the son of a German immigrant, drove his first rivets by hand into our nation's earliest steel structures. It brings to life the rough-and-tumble iron working culture, a world where men with names like Toots Garrity and Hole in the Head Himpler climbed hundreds of feet into the air, erecting steel with great pride despite the very real threat of death and injury they faced every day. Men of Steel is a brilliant evocation of a family dynasty inextricably intertwined with the steel that makes up many of our nation's most prominent landmarks. In the tradition of David McCullough's The Great Bridge, this rich, multilayered narrative exposes the heart and soul that goes into making these remarkable structures. And, most poignantly, in recounting the making and unmaking of the World Trade Center, Men of Steel is at once a lament and a tribute, both to the illustrious buildings and to the country whose strength they symbolized.
Some of the greatest composers of history have confined some of their most precious thoughts to the piano. For a century and a half, series of pianists of outstanding nimbleness and expressive power have attracted millions of admirers to their performances. Mozart, Beethoven and Chopin, Liszt, Rubinstein and Rachmaninov, to achieve the fulfillment of their art, needed to have pianos. From where did they get them? From factories, of course. But piano factories cannot stay in business simply by making a few instruments for a few great musicians. They must sell their products annually by the hundreds, by the thousands, to all manner of persons: doctors, lawyers, merchants, government officials. What did those persons want with pianos? This book may supply some answers to this question." That is the modest raison d'être for his book given by the author in a letter to the publisher. But any reader will see at once that the proliferations in the answer to his question result in something much more important and delightful. What Mr. Loesser has written is really a piano's-eye view of the social--and sometimes the philosophical--history of Western Europe and the United States from the seventeenth century to the present, with glances both forward and back. With a keen eye for both the ridiculous and the significant detail (which turn out often to be the same thing), he traces the history of the design and manufacture of the piano, and the music written for it, from its predecessors, the clavichord and the virginal, to the latest concert grand and the modern "spinet." Long established as an internationally known concert pianist, Mr. Loesser here shows himself to be an elegant stylist and an impressively learned scholar, who has the wit to see that in a social history the role of the interior decorator may be quite as important as that of the virtuoso--and that of the ambitious parent, more important than either.
This booklet introduces a scout to the world of working with metals. It also teaches the history of metal work. It includes instruction on the use and collection of metal working tools.
Lopez, a metalsmith and educator, has compiled an encyclopedia that focuses on the processes, people, places, cultures, and materials of metalworking. While this reference does not provide instructions for metalworking techniques, it does give the reader enough information to appreciate the skills required to both acquire the raw materials and to transform them into useful or symbolic objects of art. Entries are followed by suggestions for further reading which may include books, Web sites, and journals. Entries also include bibliographies. A helpful timeline also is included. Annotation ©2009 Book News, Inc., Portland, OR (booknews.com)
METAMAUS is built around a series of taped conversations with Hillary Chute. (She is currently Neubauer Family Assistant Professor in the English Department at the University of Chicago and was previously a Junior Fellow in Literature in the Society of Fellows at Harvard University.)
A biography profiling the career of Michael Graves, the modernist-trained architect whose major commissions include the Walt Disney World Swan and Dolphin hotels in Orlando, Florida.
When he was born, Michelangelo Buonarroti was put into the care of a stonecutter's family. He often said it was from them that he got his love of sculpture. It certainly didn't come from his own father, a respectable magistrate who beat his son when he asked to become an artist's apprentice. But Michelangelo persevered. His early sculptures caught the attention of Florence's great ruler, Lorenzo de' Medici, who invited the boy to be educated with his own sons. Soon after, Michelangelo was astonishing people with the lifelike creations he wrested from marble--from the heartbreaking Pietd he sculpted when he was only twenty-five to the majestic David that brought him acclaim as the greatest sculptor in Italy. Michelangelo had a turbulent, quarrelsome life. He was obsessed with perfection and felt that everyone--from family members to his demanding patrons--took advantage and let him down. His long and difficult association with Pope Julius II yielded his greatest masterpiece, the radiant paintings in the Sistine Chapel, and his most disastrous undertaking, the monumental tomb that caused the artist frustration and heartache for forty years.
The mills at Wicksbridge are imaginary, but their planning, construction, and operation are quite typical of mills developed in New England throughout the nineteenth century.