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  Born Guilty

  Peter Sichrovsky, Ari Roth

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  Based on  Peter Sichrovsky’s book of the same name, Born Guilty is a moving and elegiac play about one man's journey into the hearts of children raised by Nazi parents. As Peter, a Jewish journalist, digs into the past, he faces psychological barriers that threaten to bury the truth forever.An L.A. Theatre Works full-cast performance featuring Lawrence Grimm, Cammy Kelly, Sam Munoz, Jeremy Piven, Christian Stolte, Becky Wahlstrom, Kate Walsh, Deirdre Waters and Fred Wellisch.

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  Library of Luminaries: Frida...

  Zena Alkayat, Nina Cosford

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  Discover one of the twentieth century’s most celebrated artists and feminist icons in this gorgeously illustrated biography. Frida Kahlo is celebrated across the globe for her evocative self-portraits and lush depictions of her native Mexico. This beautifully illustrated biography is full of colorful details that illuminate the woman behind the artwork, including excerpts from Kahlo’s personal letters and diaries. In quoted passages, she discusses her childhood dreams of becoming a doctor, the accident that changed the course of her life, and her love affairs with famous artists.  Featuring handwritten text alongside lovely illustrations, Library of Luminaries: Frida Kahlo provides a captivating window into the vibrant life, work, and creative vision of the beloved Mexican artist.

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  10000 Miles to Go - An American...

  Jason Rosette, William Grabowski

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  A must listen for any bootstrapping creative or entrepreneur! 
  10,000 Miles to Go: An American Filmmaking Odyssey focuses on the making of an award winning contemporary feature film, which was successfully bootstrapped against monumental odds with near-zero funding, yet which made its way to numerous international sales and broadcasts and a place in the Museum of Modern Art (MoMA), NYC, films collection. From concept through worldwide international sales, 10,000 Miles to Go takes you through through the entire process - warts and all - stripping away the glamour of the movie business to reveal what it takes to bootstrap and execute an ambitious startup creative project with maximum impact on a minimal budget. 
  10,000 Miles to Go is a fascinating and insightful listen for all kinds of bootstrappers and entrepreneurs, whether working in media, business, creative fields, or tech startup areas! Told in a conversational and often humorous style, 10,000 Miles to Go is a real life chronicle and expression of what many of today's creative and entrepreneurial types - in all fields - will encounter as they pursue their own particular dreams, ambitions, and explorations. 
  With this audiobook you will learn: How to understand the mindset and challenges of bootstrapping a projectHow to use creativity and an asymmetrical ("guerilla") approach in place of moneyHow to overcome psychological barriers, fear, and doubt during the processHow to navigate the "realpolitik" behind a project's execution: the alliances, and the real dynamics of competition in the fieldHow to demystify the production process of a long form filmmaking ventureHow to apply bootstrapping principles to your own business or projectHow technological changes in any industry can have a massive impact on outcomes

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  Burne-Jones

  Patrick Bade

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  Burne-Jones’ oeuvre can be understood as an attempt to create in paint a world of perfect beauty, as far removed from the Birmingham of his youth as possible. At that time Birmingham was a byword for the dire effects of unregulated capitalism – a booming, industrial conglomeration of unimaginable ugliness and squalor.
  The two great French symbolist painters, Gustave Moreau and Pierre Puvis de Chavannes, immediately recognised Burne-Jones as an artistic fellow traveller. But, it is very unlikely that Burne-Jones would have accepted or even, perhaps, have understood the label of ‘symbolist’. Yet he seems to have been one of the most representative figures of the symbolist movement and of that pervasive mood termed “fin-de-siecle”.
  Burne-Jones is usually labelled as a Pre-Raphaelite. In fact he was never a member of the Brotherhood formed in 1848. Burne-Jones’ brand of Pre-Raphaelitism derives not from Hunt and Millais but from Dante Gabriel Rossetti.
  Burne-Jones’ work in the late 1850s is, moreover, closely based on Rossetti’s style. His feminine ideal is also taken from that of Rossetti, with abundant hair, prominent chins, columnar necks and androgynous bodies hidden by copious medieval gowns. The prominent chins remain a striking feature of both artists’ depictions of women. From the 1860s their ideal types diverge. As Rossetti’s women balloon into ever more fleshy opulence, Burne-Jones’ women become more virginal and ethereal to the point where, in some of the last pictures, the women look anorexic.
  In the early 1870s Burne-Jones painted several mythical or legendary pictures in which he seems to have been trying to exorcise the traumas of his celebrated affair with Mary Zambaco.
  No living British painter between Constable and Bacon enjoyed the kind of international acclaim that Burne-Jones was accorded in the early 1890s. This great reputation began to slip in the latter half of the decade, however, and it plummeted after 1900 with the triumph of Modernism.
  With hindsight we can see this flatness and the turning away from narrative as characteristic of early Modernism and the first hesitant steps towards Abstraction. It is not as odd at it seems that Kandinsky cited Rossetti and Burne-Jones as forerunners of Abstraction in his book, “Concerning the Spiritual in Art”.

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  My Grandfather's Gallery - A...

  Anne Sinclair

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  On September 20, 1940, one of the most famous European art dealers disembarked in New York, one of hundreds of Jewish refugees fleeing Vichy, France. Leaving behind his beloved Paris gallery, Paul Rosenberg had managed to save his family, but his paintings-modern masterpieces by Cézanne, Monet, Sisley, and others-were not so fortunate. As he fled, dozens of works were seized by Nazi forces, and the art dealer's own legacy was eradicated.More than half a century later, Anne Sinclair uncovered a box filled with letters. Drawing on her grandfather's intimate correspondence with Picasso, Matisse, Braque, and others, Sinclair takes us on a personal journey through the life of a legendary member of the Parisian art scene in My Grandfather's Gallery. Rosenberg's story is emblematic of millions of Jews, rich and poor, whose lives were indelibly altered by World War II. Sinclair's journey to reclaim her family history paints a picture of modern art on both sides of the Atlantic between the 1920s and 1950s that reframes twentieth-century art history.

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  Valentin Serov

  Dmitri V. Sarabianov

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  Among the “young peredvizhniki” who joined the World of Art group, the most brilliant portraitist was Valentin Serov. Like many of his contemporaries, he delighted in painting out of doors, and some of his most appealing portraits – such as Girl with Peaches, Girl in Sunlight and In Summer - owe their naturalness to their setting or to the interplay of sunlight and shadows. Indeed, Serov regarded them as “studies” rather than portraits, giving them descriptive titles that omitted the sitter's name. The subject of Girl with Peaches – painted when Serov was only twenty-two – was in fact Mamontov's daughter Vera. The model for In Summer was Serov's wife. When only six years old, Serov began to display signs of artistic talent. At nine years old, Repin acted as his teacher and mentor, giving him lessons in his studio in Paris, then let Serov work with him in Moscow, almost like an apprentice. Eventually Repin sent him to study with Pavel Chistiakov – the teacher of many of the World of Art painters, including Nesterov and Vrubel. Chistiakov was to become a close friend. Because Serov's career spanned such a long period, his style and subject matter vary considerably, ranging from voluptuous society portraits (the later ones notable for their grand style and sumptuous dresses) to sensitive studies of children. Utterly different from any of these is the famous nude study of the dancer Ida Rubinstein, in tempera and charcoal on canvas, which he painted towards the end of his life. Although Serov's early style has much in common with the French Impressionists, he did not become acquainted with their work until after he had painted pictures such as Girl with Peaches.

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