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An unconventional illustrated book for children and all those with a healthy relationship to their inner child Imaginatively combining retro images with new rhymes, Rhyme Timebrings visual nostalgia and the traditions of children's verse up to date. The illustrations are 1960s line drawings that Monte Packham (born 1981)--author of ABC Photographyand Photo Adventures--carefully colored in as a child in 1988; now, more than 30 years later, he has rearranged these vibrant images into playful stories and captured them in rhyme. The unexpected results are both original tales, like that of Humphrey who chased a pesky elf from his garden with a cricket bat, and tongue-in-cheek reinterpretations of beloved fairy tales and nursery rhymes--if Snow White isn't actually the fairest in the land, then who is? And why did Jack and Jill really climb that steep and nasty hill?
This is a new edition of the 2010 chronicle of printer and publisher Steidl, renowned for its photobooks and literature list including Nobel Laureates Günter Grass and Halldór Laxness. Concentric Circles takes us behind the bustling scenes at Steidl in Göttingen, Germany, revealing the surprising realities of bookmaking and personality of Gerhard Steidl, founder of the company in 1968 and described by The New Yorker as "the printer the world's best photographers trust most." The chronicle's first section "Daily Circles" is a log of everyday life at Steidl in 2008 and 2009, full of unexpected details and anecdotes: an urgent fax from Karl Lagerfeld about an elaborate Chanel catalogue, problems on press with Roni Horn's book, Robert Polidori recalling his many visits to photograph the Palace of Versailles... The second section "Artistic Circles" contains in-depth interviews with photographers including Robert Frank, Dayanita Singh, David Bailey and Juergen Teller exploring their experiences making books at Steidl. This paperback edition fea- tures a new introduction by Monte Packham reflecting on life and work at Steidl today, as well as updated artists' biographies.
From Cahiers d’Art, a monograph on one of the most ambitious collections of 20th-century art, and its complex, charismatic creator, Theodor Ahrenberg. Living with Matisse, Picasso, and Christo explores one of the most ambitious, and yet largely unknown, private collections of twentieth-century Western art, and its charismatic creator Theodor “Teto” Ahrenberg (1912–1989). Containing over 6,000 artworks acquired between the 1940s and late 1980s, Ahrenberg’s collection features key works by artists as distinguished and diverse as Pablo Picasso, Henri Matisse, Marc Chagall, Le Corbusier, Olle Bartling, Sam Francis, Öyvind Fahlström, Tadeusz Kantor, Lucio Fontana, Christo, Jean Tinguely, and Niki de Saint Phalle. Ahrenberg’s ever-evolving collection was shaped by his commitment to the changing notion of contemporary art, his dedication to young and marginalized artists, and a self- declared conviction that he was not merely a collector but one who facilitated exhibitions, collaborations, and commissions, and who employed art as an instrument against conservatism and complacency. Ahrenberg passionately believed in personally meeting those artists whose works he acquired, and he accordingly established rich, long-term friendships that transcended the conventional artist-collector dynamic.
Interprets an eighteenth-century musical repertoire in sociable terms, both technically (specific musical patterns) and affectively (predominant emotional registers of the music).
Maybe you've been speaking English all your life, or maybe you learned it later on. But whether you use it just well enough to get your daily business done, or you're an expert with a red pen who never omits a comma or misplaces a modifier, you must have noticed that there are some things about this language that are just weird. Perhaps you're reading a book and stop to puzzle over absurd spelling rules (Why are there so many ways to say '-gh'?), or you hear someone talking and get stuck on an expression (Why do we say "How dare you" but not "How try you"?), or your kid quizzes you on homework (Why is it "eleven and twelve" instead of "oneteen and twoteen"?). Suddenly you ask yourself, "Wait, why do we do it this way?" You think about it, try to explain it, and keep running into walls. It doesn't conform to logic. It doesn't work the way you'd expect it to. There doesn't seem to be any rule at all. There might not be a logical explanation, but there will be an explanation, and this book is here to help. In Highly Irregular, Arika Okrent answers these questions and many more. Along the way she tells the story of the many influences--from invading French armies to stubborn Flemish printers--that made our language the way it is today. Both an entertaining send-up of linguistic oddities and a deeply researched history of English, Highly Irregular is essential reading for anyone who has paused to wonder about our marvelous mess of a language.
When the humans are away, the cats will play . . . online Do you ever wonder what your cat does when you're not home? Is your keyboard covered with mysterious paw prints? Well, your feline friend might be hiding a secret Internet addiction: whiskerslist. The kitty community is more connected than ever with this online hub that brings together cats looking to sell lousy pet toys, rant about their humans, search for a soul mate (or quick hookup), and much more. With more than 160 hilarious classified ads written for cats, by cats, whiskerslist reveals the inner lives of our furry companions like never before.
The speech delivered by Paz in acceptance of the 1990 Nobel Prize for Literature, in which he discusses gratitude, separateness, and modernity. Published in a handsome bilingual edition. Translated by Anthony Stanton.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.