Andy Warhol was an artist who undoubtedly put his finger on the pulse of modern culture. Through pioneering a variety of techniques, but principally by means of the visual isolation of imagery, its repetition and enforced similarity to printed images, and the use of garish colour to denote the visual garishness that is often encountered in mass culture, he threw much direct or indirect light upon modern anomie or world-weariness, nihilism, materialism, political manipulation, economic exploitation, conspicuous consumption, media hero-worship, and the creation of artificially-induced needs and aspirations. Moreover, in his best paintings and prints he was a very fine creator of images, with a superb colour sense and a brilliant feel for the visual rhythm of a picture which resulted from his intense awareness of the pictorial potentialities inherent in forms. Initially, his images might appear rather simple. Yet because of that very simplicity they not only enjoy a high degree of immediate visual impact, but also possess the rare power of projecting huge implications through the mental associations they set in motion. For example, the visual repetition that Warhol employed within a great many of his images was intended, associatively, to parallel the vast repetition of images that are employed in a mass-culture in order to sell goods and services. This includes vehicles of communication such as movies and TV programmes. By incorporating into his images the very techniques of mass production that are central to a modern industrial society, Warhol directly mirrored larger cultural uses and abuses, while emphasising, to the point of absurdity, the complete detachment from emotional commitment that he saw everywhere around him. Moreover, in addition to employing imagery derived from popular culture in order to offer a critique of contemporary society, Warhol also carried forward the assaults on art and bourgeois values that the Dadaists had earlier pioneered; by manipulating images and the public persona of the artist he was able to throw back in our faces the contradictions and superficialities of contemporary art and culture. Ultimately, it is the trenchancy of his cultural critique, as well as the vivaciousness with which he imbued it, that will surely lend his works their continuing relevance long after the particular objects he represented – such as Campbell’s Soup cans and Coca-Cola bottles – have perhaps become technologically outmoded, or the outstanding people he depicted, such as Marilyn Monroe, Elvis Presley and Mao Zedong, have come to be regarded merely as the superstars of yesterday.
Seattle harbors a dark and violent history that stretches back to a bloody battle between natives and settlers in 1856. In the early 1900s, Dr. Linda Hazzard stole money from countless patients after starving them to death in her infamous sanitarium. Three robbers opened fire in the notorious Wah Mee gambling club in 1983, killing thirteen people in the state's deadliest mass homicide. Some of America's most notorious serial killers wrought terror in Seattle, including the Green River Killer, Gary Ridgway. Ted Bundy's murder spree started in King County before reaching national attention in the 1970s. Local author Teresa Nordheim exposes these and many more gruesome events that scarred the city.
Muncie epitomizes the small-town America of squeaky-clean 1950s sitcoms, but its wholesome veneer conceals a violent past. Public scandals and personal tragedy dogged the long, notorious life of Dr. Jules LaDuron. Baseball ace Obie McCracken met a tragic and violent end after joining the police force. A mother's love could not stop James Hedges from committing murder. The paranoid delusions of Leonard Redden hounded him until one day he carried a shotgun into a quiet classroom. Detectives Melvin Miller and Ambrose Settles chased a murderer across county lines in pursuit of justice. And newsman George Dale's showdown with the Klan prepared him for the political fight of his life. Douglas Walker and Keith Roysdon, authors of Wicked Muncie, introduce a new cast of characters from the city's notorious past.
A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description.
The Hudson Valley’s dark past, from Prohibition-era shoot-outs to unsolved murders, in eleven heart-pounding true stories. The beautiful Hudson Valley of New York State is drenched in history, culture . . . and blood. This fascinating and thoroughly researched chronicle presents one killer story from every county in the region, including: Sullivan County: In the fall of 1893, Lizzie Halliday left a trail of bodies in her wake, slaughtering two strangers and her husband before stabbing a nurse to death at the asylum where she lived. Albany County: A Jazz Age politician, tired of fighting with his overbearing wife, murdered her and buried the body under the front porch. Columbia County: In 1882, a cantankerous old miner, dubbed the “Austerlitz Cannibal” by the press, chopped up his partner before he himself swung from the end of a rope.
The follow-up to the international #1 bestselling collection of prose and photography, I Wrote This For You And Only You is the third book in the I Wrote This For You series and gathers together the very best entries in the project from 2011 to 2015. Started in 2007, I Wrote This For You is an internationally acclaimed exploration of hauntingly beautiful words, photography and emotion that's unique to each person that reads it.
How do the bodies we inhabit affect our relationship with art? How does art affect our relationship to our bodies? T Fleischmann uses Felix Gonzáles-Torres’s artworks—piles of candy, stacks of paper, puzzles—as a path through questions of love and loss, violence and rejuvenation, gender and sexuality. From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.
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