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A Nude barber, a nude guy, equals a Nude Haircut! All over his body! Digital still images from the DVD Primal Man Nude haircut. Full frontal male nudity, color digital stills from video, 42 pages.
A Nude barber, a nude guy, equals a Nude Haircut! All over his body! Digital still images from the DVD Primal Man Nude haircut. Full frontal male nudity, color digital stills from video, 38 pages.
A hilarious book of essays from comedian, "This American Life" contributor, and rock god Hill. His collection of mind-blowing essays recollect real life experiences of a grown man with red-hot action, startling emotion, and borderline futuristic insights.
From the Fab Five--the beloved hosts of Netflix's viral hit Queer Eye--comes a book that is at once a behind-the-scenes exclusive, a practical guide to living and celebrating your best life, and a symbol of hope. Feeling your best is about far more than deciding what color to paint your accent wall or how to apply nightly moisturizer. It's also about creating a life that's well-rounded, filled with humor and understanding--and most importantly, that suits you. At a cultural moment when we are all craving people to admire, Queer Eye offers hope and acceptance. After you get to know the Fab Five, together they will guide you through five practical chapters that go beyond their designated areas of expertise (food & wine, fashion, grooming, home decor, and culture), touching on topics like wellness, entertaining, and defining your personal brand, and complete with bite-sized Hip Tips for your everyday quandaries. Above all else, Queer Eye aims to help you create a happy and healthy life, rooted in self-love and authenticity.
Cathedral of the Pines presents Gregory Crewdson's first new body of work in over five years. The series marks a return to Crewdson's classic style of storytelling via the single image, using light and color to create newly intimate, psychologically charged imagery. It also marks a time of transition for the artist, including a retreat from New York to a remote home and studio in western Massachusetts--a period of time during which Crewdson chose to remain socially withdrawn, instead committing to daily, long-distance, open-water swims and cross-country skiing on wooded paths. Cathedral of the Pines is named after one of these trails, deep in the forests of Becket, Massachusetts, the site where he found the inspiration to make these new pictures. It was there that he felt darkness lift, experienced a reconnection with his artistic process, and moved into a period of renewal and intense creative productivity. The photographs are accompanied by an essay by Alexander Nemerov, who addresses the work in relation to the American past, focusing in particular on the way the images draw space and time down to ceremonial points, in which "all that ever happened in these places seems crystallized in his tableaux, as if the quiet melancholy of Crewdson's scenes gathered the unruly sorrows and other little-guessed feelings of people long gone who once stood on those spots." Gregory Crewdson (born 1962) is a graduate of SUNY Purchase and the Yale School of Art, where he is now Director of Graduate Studies in Photography. His series Beneath the Roses is the subject of the 2012 documentary Gregory Crewdson: Brief Encounters. His work has been exhibited widely in the US and Europe, including a survey that toured throughout Europe from 2001 to 2008. He is represented by Gagosian Gallery, New York.
A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013
Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.
A gloriously illustrated examination of the origins and development of the nude as an artistic subject in Renaissance Europe Reflecting an era when Europe looked to both the classical past and a global future, this volume explores the emergence and acceptance of the nude as an artistic subject. It engages with the numerous and complex connotations of the human body in more than 250 artworks by the greatest masters of the Renaissance. Paintings, sculptures, prints, drawings, illuminated manuscripts, and book illustrations reveal private, sometimes shocking, preoccupations as well as surprising public beliefs—the Age of Humanism from an entirely new perspective. This book presents works by Albrecht Dürer, Lucas Cranach, and Martin Schongauer in the north and Donatello, Raphael, and Giorgione in the south; it also introduces names that deserve to be known better. A publication this rich in scholarship could only be produced by a variety of expert scholars; the sixteen contributors are preeminent in their fields and wide-ranging in their knowledge and curiosity. The structure of the volume—essays alternating with shorter texts on individual artworks—permits studies both broad and granular. From the religious to the magical and the poetic to the erotic, encompassing male and female, infancy, youth, and old age, The Renaissance Nude examines in a profound way what it is to be human.
Jessica Martin is not a nice girl. As Prom Queen and Captain of the cheer squad, she'd ruled her school mercilessly, looking down her nose at everyone she deemed unworthy. The most unworthy of them all? The "freak," Manson Reed: her favorite victim. But a lot changes after high school. A freak like him never should have ended up at the same Halloween party as her. He never should have been able to beat her at a game of Drink or Dare. He never should have been able to humiliate her in front of everyone. Losing the game means taking the dare: a dare to serve Manson for the entire night as his slave. It's a dare that Jessica's pride - and curiosity - won't allow her to refuse. What ensues is a dark game of pleasure and pain, fear and desire. Is it only a game? Only revenge? Only a dare? Or is it something more? The Dare is an 18+ erotic romance novella and a prequel to the Losers Duet. Reader discretion is strongly advised. This book contains graphic sexual scenes, intense scenes of BDSM, and strong language. A full content note can be found in the front matter of the book.
Digital still images captured from Nick Baer's classic 1998 film Primal Man Forest Men. Filmed in the California desert near Idylwild, these world class body builders build a campsite, dig a post hole, climb a fallen tree, and scale a rocky wall. Featuring Eric Campos, Jimmy Nesmith, Jay Pope and John Switzer. Full frontal male nudity, color, 40 pages.