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A superb collection, Mr. Personality brings together the best of Mark Singer’s profiles and “Talk of the Town” pieces from The New Yorker (1977–1989). In these thirty-three witty and offbeat pieces, Singer presents a slice of New York and its citizens in a way that only he can. From prolific filmmaker Errol Morris and a family of superintendents to one of the last great zipper-fixers, a court buff in Brooklyn, and Mr. Personality himself, these remarkable portraits offer something for every reader.
Our homes contain us, but they are also within us. They can represent places to be ourselves, to recollect childhood memories, or to withdraw into adult spaces of intimacy; they can be sites for developing rituals, family relationships, and acting out cultural expectations. Like the personal, social, and cultural elements out of which they are constructed, homes can be not only comforting, but threatening too. The home is a rich theme running through post-war western art, and it continues to engage contemporary artists today - yet it has been the subject of relatively little critical writing. Art and the Home: Comfort, Alienation and the Everyday is the first single-authored, up-to-date book on the subject. Imogen Racz provides a theme-led discussion about how the physical experience of the dwelling space and the psychological complexities of the domestic are manifested in art, focusing mainly on sculpture, installation and object-based practice; discussing the work and ideas of artists as diverse as Louise Bourgeois, Gordon Matta-Clark, George Segal and Cornelia Parker within their artistic and cultural contexts.
"The papers in this book range widely over psychoanalysis, literature and philosophy. Being a poet of some distinction, one of Schimmel's great strengths as a psychoanalyst is his poetic sensibility.
Faculties, publications and doctoral theses in departments or divisions of chemistry, chemical engineering, biochemistry and pharmaceutical and/or medicinal chemistry at universities in the United States and Canada.
In the fateful month of March 2000, shortly after opening a hugely successful show in New York that unveiled the more nefarious financial connections of Presidential candidate George W. Bush, the hugely ambitious Conceptual artist Mark Lombardi was found hanged in his studio, an apparent suicide. With museums lining up to buy his work, and the fame he had sought relentlessly at last within his reach, speculation about whether his death was suicide or murder has titillated the art world ever since. Lombardi was an enigma who was at once a compulsive truth–teller and a cunning player of the art game, a political operative and a stubborn independent, a serious artist and a Merry Prankster, a ...
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