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Gods and devils. Flesh and spirit. Sacred and profane. One of the leading lights of Pop Surrealism, Tara McPherson has traveled the world with her work, gaining new inspirations. Bunny in the Moonfeatures compelling new works and sculpture informed by mythology and folklore. The resulting imagery combines the primal power at the core of ancient culture with McPherson's contemporary explorations of love, loss, strength, vulnerability, and female empowerment. * Foreword by filmmaker Morgan Spurlock (Supersize Me). * Tara's work has been featured in Vanity Fair, The New York Times, and Juxtapoz!
"Gods and devils. Flesh and spirit. Sacred and profane. One of the leading lights of Pop Surrealism, Tara McPherson has traveled the world with her work, gaining new inspirations. Bunny in the Moon features compelling new works and sculpture informed by mythology and folklore. The resulting imagery combines the primal power at the core of ancient culture with McPherson's contemporary explorations of love, loss, strength, vulnerability, and female empowerment."--Publisher's website.
DIVA cultural studies reading of white southern femininity as seen in a range of popular sites including novels, television, and tourist attractions./div
Loss, love, and loneliness. Altered forms and transfigured ideas. Power and vulnerability. Parallel universes of the heart and mind. Space and time. In a few brief years, the stunning visual oeuvre of Tara McPherson has grown and evolved at thrilling speed. Expanding beyond the limits of rock poster art into the worlds of commercial illustration and fine art, her paintings, drawings, toys, sculptures, and installations have pushed her influence and authority across the breadth of creative expression and helped redefine the boundaries of pop surrealism. Lost Constellations: The Art of Tara McPherson Volume 2 is the compelling road map to the artist's most recent and ambitious journeys in paint, pencil, and sculpture.
Examines the repeated association of new electronic media with spiritual phenomena from the telegraph in the late 19th century to television.
Drawing on a number of case studies from around the world, this publication considers how the local knowledge and practices of indigenous fishing communities are being used in collaboration with scientists, government managers and non-governmental organisations to establish effective frameworks for sustainable fisheries science and management. It seeks to contribute towards achieving the goal of establishing international responsibility for the ethical collection, preservation, dissemination and application of fishers' knowledge.
In 1974, legendary Marvel Comics publisher Stan Lee approached underground pioneer Denis Kitchen and offered a way for them to collaborate. Their resulting series was called Comix Book and featured work by many of the top underground cartoonists including Joel Beck, Kim Deitch, Justin Green, Harvey Pekar, Trina Robbins, Art Spiegelman (first national appearance of Maus), Skip Williamson, and S. Clay Wilson. The Best of Comix Book showcases 150-pages of classic underground comix (printed on newsprint, as they originally appeared), many never before reprinted.
Thinking through Digital Media: Transnational Environments and Locative Places speculates on animation, documentary, experimental, interactive, and narrative media that probe human-machine performances, virtual migrations, global warming, structural inequality, and critical cartographies across Brazil, Canada, China, India, USA, and elsewhere.
I Recall: Collections and Recollections is a memoir by Robert Henderson Croll. Croll was an Australian author, lyricist, bushwalker, and civic servant. Excerpt: "Central Australia, where I have now been five times, was long a place of desire. When my Sister Elizabeth and her husband, Albert Watts, went to live at Quorn, a township sitting at the foot of the Flinders Range in South Australia, I paid her two visits. They quickened my wish to see more of the remarkable country on the edge of which Quorn is placed. That was some forty years ago. The first, a Spring journey, left two vivid memories. One is of the seemingly endless fields of young wheat which made much of South Australia so beautiful just then; the other is of a shooting trip to which we were invited. Our hosts were two young men of the district, tall and powerful, sons of a German settler. The conveyance was a light open cart with one fixed seat which held the two brothers. Behind them, a board rested its ends on the sides of the cart and was secured to the front seat by a stout rope."
The celebrated thematic magazines of the notorious Process Church of the Final Judgment cult were created to be hawked on the street in order to raise money and attract like-minded adherents to their unorthodox Gnostic theology. Printed in order of their first appearance, the Sex, Fear and Death issues are reproduced in Propaganda and the Holy Writ of the Process Church of the Final Judgment in their entirety, with full-colour images throughout.