The Resume Handbook: How to Write Outstanding Resumes and Cover Letters for Every SituationArthur D. Rosenberg
Adams Media, 2007
The latest edition of the popular RESUME HANDBOOK, 5th edition, is a straightforward approach to writing resumes designed for that purpose. It contains 37 resumes, each addressing a specific challenge and approach, and organized according to the needss and objectives of different job seekers. This handbook focuses on: Organization to immediately capture attention; The Basics - what to include and what to leave out; Accomplishments-presents the job seeker as an achiever.
Target practice: painting under attack, 1949-78Michael Darling
Seattle Art Museum, 2009
Target Practice: Painting Under Attack 1949-78 is an international historical survey of the "attacks" that painting endured (and survived) in the years following World War II. For the artists discussed here, coming after Abstract Expressionism, painting had arrived at an impasse, and they devised ways to overcome its existing conventions. This phenomenon occurred all over the world, and Target Practice documents how and why artists felt compelled to shoot, rip, tear, burn, erase, nail, unzip and deconstruct painting in order to usher in new ways of thinking about their art. It shows that such ideas were of concern to well-known artists like Jasper Johns, Roy Lichtenstein and Andy Warhol, and also introduces lesser-known peers who were making equally challenging work.
She : works by Wallace Berman & Richard Prince
Wallace Berman, Richard Prince,
Michael Kohn Gallery, 2009
The use of heterosexual pornography or soft erotica in collage and assemblage is often all too uncritical, but for a few of the California artists who came of age in the early 1950s, its applications were much more nuanced. For example, Wallace Berman's 1957 "Cross" assemblage features a close-up photograph of heterosexual penetration that affirms sex as a "factum fidei"("true fact," as Berman's inscription went)--its explicitness serving simply as realism. This approach to "girlie magazine" imagery and its polar opposite--the impulse to decommodify sexuality--can both be found in the photographs, paintings and books of Richard Prince, an artist whose fondness for the era of Berman is well known. She traces these overlaps and sympathies with reproductions of previously unseen works by Berman and new images from Prince's Girlfriends and de Kooning series. Also including an interview with Prince, Sheis edited by Kristine McKenna, whose ongoing work on Wallace Berman and his contemporaries continues to yield exciting discoveries.
I
lf and Petrov's American road trip: the 1935 travelogue of two Soviet writersIlya Ilf, Evgeniĭ Petrov
Princeton Architectural Press, 2007
In 1935, well into the era of Soviet communism, Russian satirical writers Ilya Ilf and Evgeny Petrov came to the U.S as special correspondents for the Russian newspaper Pravda. They drove cross-country and back on a ten-week trip, recording images of American life through humerous texts and the lens of a Leica camera. When they returned home, they published their work in Ogonek, the Soviet equivalent of Time magazine, and later in the book Odnoetazhnaia Amerika (Single-Storied America). This wonderful lost work filled with wry observations, biting opinions, and telling photographs is now collected in Ilf and Petrov's American Road Trip, the first English translation. From Ilf and Petrov's American Road Trip: "The word 'America' has well-developed grandiose associations for a Soviet person, for whom it refers to a country of skyscrapers, where day and night one hears the unceasing thunder of surface and underground trains, the hellish roar of automobile horns, and the continuous despairing screams of stockbrokers rushing through the skyscrapers waving their ever-falling shares. We want to change that image." A Cabinet Book published by Princeton Architectural Press
Fine art publicity: the complete guide for galleries and artistsSusan Abbott
Allworth Communications, Inc., 2005
This savvy resource helps artists and art professionals generate the publicity that keeps their artwork and business in the public spotlight. Provided are practical tools for attracting the media's attention and building bridges between artists, their galleries, and collectors, and between museums and their audiences. This new edition provides the latest word on new art markets; how to research the Internet, build a Website, and launch e-mail publicity campaigns.
David Altmejd: the indexLouise Déry, David Altmejd, Galerie de l'UQAM.
Galerie de l'UQAM, 2007
David Altmejd creates powerful installations that, while informed by an understanding of architectural philosophy, teem with sensory excess. In The Index, created especially for the Biennial, Altmejd transforms the helicoid Canadian pavilion into an aviary. Composed of wooden bridges, sections of trees and steel and glass mirrors that are layered and interconnected, the work is inhabited by flocks of stuffed birds, birds fabricated from materials at hand and fragmented bodies of half-men, half-birds - the whole richly ornamented quartz crystals and mirror shards. The imposing sculpture lies in a glass display case with mirrored sides, which exacerbates its formal and material possibilities.
Blinky Palermo: Abstraction of an Era
Christine Mehring
Yale University Press, 2009
Twenty-one-year-old Peter Heisterkamp began signing his colorful and playful abstract artworks Palermo in 1964, when peers noted his resemblance to the American gangster Frank “Blinky” Palermo. This handsome book—a historical and critical study of Palermo’s painting from the time he entered Joseph Beuys’s now famous class at the Düsseldorf academy in 1964 to his death in 1977—explores his significance for postwar and abstract art.
Christine Mehring notes that over the course of Palermo’s brief career he created five concurrent but distinct bodies of work: objects, cloth-pictures, wall-paintings, metal-pictures, and collaborative projects, primarily with his friend and colleague Gerhard Richter. Mehring shows how each of these groups demonstrates Palermo’s efforts to lead German art out of its international isolation and to transform modernist painting into historically resonant abstraction by incorporating artifice, humor, period colors, and play.
Aernout MikLaurence Kardish, Aernout Mik, Michael Taussig
Museum of Modern Art, 2009
Dutch artist Aernout Miks moving-image installations meld filmmaking, sculpture and architecture into experiences that are at once compelling, unsettling, peculiar and plausible. The artist designs and constructs architectural spaces that hold his moving images, making the viewers physical relationship to his work a critical component of the overall experience. By interrogating the most basic ideas of narrative and reality and rejecting classical cinematic ideals, Mik creates works that are rich in allusion but subversive of codes. Published to accompany the artists first US retrospective, this volume is a vivid exploration of Miks work and process. Laurence Kardish, MoMAs Senior Curator in the Department of Film, discusses the unique, creative aspects of Miks installations that extend the traditional boundaries of media, while Michael Taussig, professor of anthropology at Columbia University, investigates how the artists work changes the way we see reality while reinforcing the norms of visual culture. Abundantly illustrated with stills and the artists own drawings of works in the exhibition, Aernout Mik features detailed descriptions of the installations, an exhibition history and a bibliography, making it the most comprehensive volume about Mik and his work available in English.
A New Literary History of AmericaGreil Marcus, Werner Sollors
Harvard University Press, 2009
America is a nation making itself up as it goes along—a story of discovery and invention unfolding in speeches and images, letters and poetry, unprecedented feats of scholarship and imagination. In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history.
In more than two hundred original essays, A New Literary History of America brings together the nation’s many voices. From the first conception of a New World in the sixteenth century to the latest re-envisioning of that world in cartoons, television, science fiction, and hip hop, the book gives us a new, kaleidoscopic view of what “Made in America” means. Literature, music, film, art, history, science, philosophy, political rhetoric—cultural creations of every kind appear in relation to each other, and to the time and place that give them shape.
The meeting of minds is extraordinary as T. J. Clark writes on Jackson Pollock, Paul Muldoon on Carl Sandburg, Camille Paglia on Tennessee Williams, Sarah Vowell on Grant Wood’s American Gothic, Walter Mosley on hard-boiled detective fiction, Jonathan Lethem on Thomas Edison, Gerald Early on Tarzan, Bharati Mukherjee on The Scarlet Letter, Gish Jen on Catcher in the Rye, and Ishmael Reed on Huckleberry Finn. From Anne Bradstreet and John Winthrop to Philip Roth and Toni Morrison, from Alexander Graham Bell and Stephen Foster to Alcoholics Anonymous, Life, Chuck Berry, Alfred Hitchcock, and Ronald Reagan, this is America singing, celebrating itself, and becoming something altogether different, plural, singular, new.
Gustave CourbetSylvain Amic, et all
Hatje Cantz, 2008
Nowadays it is difficult to conceive of the impact that Gustave Courbet's paintings made on French art of the mid-nineteenth century. At once casting himself as revolutionary, bohemian and peasant, Courbet (1819-1877) overturned a deeply-entrenched tradition of academic painting in France, and, eschewing the Romanticism of Delacroix and the NeoClassicism of Ingres, coined instead an idiom he named "Realism." Realism was not pretty, classically proportioned, or literary; rather, it confronted the conditions of rural working life, then an unimaginable subject for art. The first masterpiece of this new style was "Burial at Ornans" (1849-1850), a colossal anti-epic that depicted an ordinary funeral in Courbet's home town. The contrast between the work's scale and its subject matter was pronounced, and its murky earth tones struck critics as willfully ugly--a defining reaction that would recur throughout Modernism, particularly in the reception of early works by Manet and Picasso. Courbet's palette emphasized mass and body politically--that is, in a manner that affirmed the world itself rather than the transcendence of it. His equally famous "The Origin of the World" of 1866, which presented the female genitalia close-up, made this stance explicit. The conceptual beginnings of the "painting of modern life" are as much in Courbet's "Realism" as in Charles Baudelaire's famous essay of the same name.
In this new assessment, published on the occasion of the major 2008 traveling exhibition, renowned experts shed light on the development of Courbet's realistic, critical style and trace his influence on his contemporaries and subsequent generations, as well as his relationship to early photography. At 480 pages, this monumental volume provides a long-overdue reckoning of this great artist's work.
Caring for your collectionsthe National Committee to Save America's Cultural Collections
Abrams, 1992
Although a vast amount of our country's art and antiques is still in private hands, most books on conservation and maintenance have been written for professional curators and museum staff members. This handy and eminently readable volume is the first comprehensive, practical care guide aimed at the average person.
Marvel masterworks presents The uncanny X-Men. Volume 1
Chris Claremont
Marvel Comics, 2003
Lee Friedlander, self portraitLee Friedlander
Museum of Modern Art, 2005
American Flagg!, Volume 1
TThe Perry bible fellowship almanack
Hellboy
Steve Wolfe on Paper
The 30 days of night trilogy
