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Preface: Death by Canvas Escaping from Decoder prison took weeks of planning and in the process in escaping the three convicts terminated the life of two state prison detectives and two prison guards. The ring leader, Kendall and his two convict friends also robbed a small convenient store of food and supplies on their flight to freedom. One of the items stolen was a canvas, which they used as protective covering, but as it turns out, the mythical powers of the canvas could also be used for much more. Kendall as the leader of the three, was a morbid individual and had robbed a bank in the town of Lamar which was owned by the State Governor's father. The Governor wanted the money found and returned to clear his father of mismanagement allegations. Seasonal storms during winter months played a big part in Kendall's good fortune in recovering the money and misfortune for others. His driving abilities behind the wheel gave him an edge over his adversaries. As time went by Kendall's two partners in crime, met their demise as separate events took place. This left Kendall by himself to make his way to Lamar and recover the money he had stolen and stashed away in a public location where no one, would ever think to look. During treacherous weather conditions and hostile episodes, various challenges made it very difficult for Kendall to accomplice his mission. With his continued surveillance for the local and state police, along with the prison detectives it was a continuous distraction. Kendall's violent life of crime came to an abrupt halt as he was attempting his last escape. The mystic powers of the unknown can have fatal conclusions to ones life as Kendall found out!
In the 1980s a group of entrepreneurs in Ghana created small-scale, mobile film-distribution empires, hitting the road with videocassettes, television monitors, portable gas-powered generators and rolled-up, hand-painted, artist-signed canvas posters. This new medium created the first opportunity for some of the best young painters in Ghana to express themselves on a public scale. In the frequent absence of an original image upon which to base the work they had been commissioned to produce, the artists inevitably created cinematic paintings that were largely interpretive and imagination-driven. In the book's four major essays, author Ernie Wolfe III recounts the rise and fall of the mobile cinema tradition, while noted African art scholar Roy Sieber follows two-dimensional art in Africa from rock paintings in the Sahara to contemporary manuals, wall paintings, and barber board paintings as well as the canvas movie posters themselves; Paul Hayes Tucker compares the phenomenon to 19th century European utility-based painting; and poet and art critic John Yau contributes the perspective of an American art historian. In addition, Hollywood film notables such as horror auteur Clive Barker, actor LeVar Burton, actress Anjelica Huston, and director Gus Van Sant contribute chapter introductions.
Madrid. Unfinished. Man dying. A great painter lies on his deathbed, synapses firing, writhing and reveling in pleasure and pain as a lifetime of chaotic and grotesque sense memories wash over and envelop him. In this bold and brilliant short work of experimental fiction by the author of Grief Is the Thing with Feathers and Lanny, Max Porter inhabits Francis Bacon in his final moments, translating into seven extraordinary written pictures the explosive final workings of the artist's mind. Writing as painting rather than about painting, Porter lets the images he conjures speak for themselves as they take their revenge on the subject who wielded them in life. The result is more than a biography: The Death of Francis Bacon is a physical, emotional, historical, sexual, and political bombardment--the measure of a man creative and compromised, erotic and masochistic, inexplicable and inspired.
The Nutshell Studies of Unexplained Death offers readers an extraordinary glimpse into the mind of a master criminal investigator. Frances Glessner Lee, a wealthy grandmother, founded the Department of Legal Medicine at Harvard in 1936 and was later appointed captain in the New Hampshire police. In the 1940s and 1950s she built dollhouse crime scenes based on real cases in order to train detectives to assess visual evidence. Still used in forensic training today, the eighteen Nutshell dioramas, on a scale of 1:12, display an astounding level of detail: pencils write, window shades move, whistles blow, and clues to the crimes are revealed to those who study the scenes carefully. Corinne May Botz's lush color photographs lure viewers into every crevice of Frances Lee's models and breathe life into these deadly miniatures, which present the dark side of domestic life, unveiling tales of prostitution, alcoholism, and adultery. The accompanying line drawings, specially prepared for this volume, highlight the noteworthy forensic evidence in each case. Botz's introductory essay, which draws on archival research and interviews with Lee's family and police colleagues, presents a captivating portrait of Lee.
This true crime saga reveals the case of a missing Nashville woman, a husband on the run, and a rare cold case murder conviction. Janet March had it all: a corporate lawyer husband, two beautiful children, a promising career as an artist, and a dream house she designed herself. But behind closed doors, her husband led a destructive double life. On August 16, 1996, Janet had an appointment to finally file for divorce. But she never arrived. On the night of August 15, she vanished. Janet’s disappearance incited a massive search and media frenzy that revealed her husband Perry’s seedy dealings. When he absconded with his children to a new life in Mexico, Janet’s parents began a decade-long, international custody battle that culminated in Perry’s dramatic extradition to Tennessee. Meanwhile, the Nashville Police Department never found Janet’s body. In spite of overwhelming odds, cold case detectives and prosecutors were determined to get justice—and with the help of a shocking surprise witness, they did.
He had left a part of himself with them, he knew. Each one had become a part of the story in his mind, each one could identify with the spirit of one of the characters, and only they could know which one. Samantha Perkins and her husband, Nick, live in the quiet little town of Benetton, Maine, with their children and grandchildren. They spent their days relaxing with their family and teaching their grandchildren Christian values through thrilling adventure stories of imaginary places. But when Samantha receives a puzzling phone call from her old roommate, Nancy, her quiet life of family, faith, and fairy tales is turned on its nose. Nancy's life is in shambles. Her husband has died, her daughter destroyed her most prized possession, and now she's missing. Just when things couldn't get stranger, Nick begins to have visions of a new story to tell the grandchildren, but unlike his other stories, he just can't quite figure out how this one ends. In Samantha, Nick, and Nancy's quest to put Nancy's life back together, they each find something more-the integral piece of the canvas of their lives. Join new author PJ Almeida in looking through Canvas Windows-an adventurous story of two worlds blended together by one man.
Some children were feeling sad. They filled the canvas with colors. From these colorful canvases emerged a variety of stories. The Crèare Foundation connects children with art. ‘Canvas Tales’ is a book that inspires children with stories, poems, illustrated narratives, talking pictures, & games. A group of melancholic children poured their emotions onto the canvas, saturating it with vibrant hues. From these kaleidoscopic masterpieces sprang forth an array of enchanting tales.
The 1876 events known as Custer’s Last Stand, Battle of Little Big Horn, or Battle of Greasy Grass have been represented over 1000 times in various artistic media, from paintings to sculpture to fast food giveaways. Norman Denzin shows how these representations demonstrate the changing perceptions—often racist—of Native America by the majority culture, juxtaposed against very different readings shown in works composed by Native American artists. Consisting of autobiographical reminiscences, historical description, artistic representations, staged readings, and snippets of documents, this multilayered performance ethnography examines questions of memory, race, and violence against Native America, as symbolized by the changing interpretations of General Custer and his final battle.