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"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.
The definitive work on papercuts, a long-overlooked aspect of Jewish folk art.
A vibrant chronicle of the life and work of a prolific painter and bohemian eccentric.
Matthew Baigell examines the work of Edward Hopper, Ben Shahn, Frank Stella, and other artists, relating their art works to the social contexts in which they were created. Identifying important and recurring themes in this body of art, such as the persistence of Emersonian values, the search for national and regional identity, and aspects of alienation, he also explores the personal and religious identities of artists as revealed in their works. Collectively, Baigell's work demonstrates the importance of America as the defining element in American art.
With chess game annotations by Nathan Divinsky.
"Augmenting the photographs in And I Shall Dwell Among Them: Historic Synagogues of the World is an essay focusing on the social and cultural history of the Jews by Yom Tov Assis, a distinguished scholar of Jewish culture and history at the Hebrew University in Jerusalem. Neil Folberg's first-person account of making the photographs accompanies each of the chapters, which are divided by geographic regions of his extensive travels."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
A study of the houses designed by the Hungarian-born architect.
Mirroring Evil: Nazi Imagery/Recent Art features the work by thirteen internationally recognized artists who use imagery from the Nazi era to explore the nature of evil. Their works are a radical departure from previous art about the Holocaust, which centered on tragic images of victims. Instead, these artists dare to invite the viewer into the world of the perpetrators. The viewer, therefore, faces an unsettling moral dilemma: How is one to react to these menacing and indicting images, drawn from a history that can never be forgotten? The artists represented in Mirroring Evil impel us to examine what these images of Nazism might mean in our lives today. Essays in the catalogue explore themes of moral ambiguity in makers and viewers of art, institutional responsibility in exhibiting controversial artworks, and the complicated issues of representing or even imagining the perpetrators. Entries about the individual artworks discuss in greater depth the artistic, ethical, and historical complexity of the images that the artists dare to engage.