The definitive biography of a fascinating and paradoxical figure, one of the most influential artists of his—or any—age To this day, mention the name “Andy Warhol” to almost anyone and you’ll hear about his famous images of soup cans and Marilyn Monroe. But though Pop Art became synonymous with Warhol’s name and dominated the public’s image of him, his life and work are infinitely more complex and multi-faceted than that. In Warhol, esteemed art critic Blake Gopnik takes on Andy Warhol in all his depth and dimensions. “The meanings of his art depend on the way he lived and who he was,” as Gopnik writes. “That’s why the details of his biography matter more than for almost any cultural figure,” from his working-class Pittsburgh upbringing as the child of immigrants to his early career in commercial art to his total immersion in the “performance” of being an artist, accompanied by global fame and stardom—and his attempted assassination. The extent and range of Warhol’s success, and his deliberate attempts to thwart his biographers, means that it hasn’t been easy to put together an accurate or complete image of him. But in this biography, unprecedented in its scope and detail as well as in its access to Warhol’s archives, Gopnik brings to life a figure who continues to fascinate because of his contradictions—he was known as sweet and caring to his loved ones but also a coldhearted manipulator; a deep-thinking avant-gardist but also a true lover of schlock and kitsch; a faithful churchgoer but also an eager sinner, skeptic, and cynic. Wide-ranging and immersive, Warhol gives us the most robust and intricate picture to date of a man and an artist who consistently defied easy categorization and whose life and work continue to profoundly affect our culture and society today.
Showcasing the artist's vast and personal archive, this carefully researched book unveils an eclectic selection of objects including artworks, fashion, photographs, and ephemera--everything from "Autograph" to "Zombies.
“I don’t want you to rehabilitate me,” Philip Roth said to his only authorized biographer, Blake Bailey. “Just make me interesting.” Granted complete independence and access, Bailey spent almost ten years poring over Roth’s personal archive, interviewing his friends, lovers, and colleagues, and listening to Roth’s own breathtakingly candid confessions. Cynthia Ozick, in her front-page rave for the New York Times Book Review, described Bailey’s monumental biography as “a narrative masterwork … As in a novel, what is seen at first to be casual chance is revealed at last to be a steady and powerfully demanding drive. … under Bailey’s strong light what remains on the page is one writer’s life as it was lived, and―almost―as it was felt." Though Roth is generally considered an autobiographical novelist—his alter-egos include not only the Roth-like writer Nathan Zuckerman, but also a recurring character named Philip Roth—relatively little is known about the actual life on which so vast an oeuvre was supposedly based. Bailey reveals a man who, by design, led a highly compartmentalized life: a tireless champion of dissident writers behind the Iron Curtain on the one hand, Roth was also the Mickey Sabbath-like roué who pursued scandalous love affairs and aspired “[t]o affront and affront and affront till there was no one on earth unaffronted"—the man who was pilloried by his second wife, the actress Claire Bloom, in her 1996 memoir, Leaving a Doll’s House. Towering above it all was Roth’s achievement: thirty-one books that give us “the truest picture we have of the way we live now,” as the poet Mark Strand put it in his remarks for Roth’s Gold Medal at the 2001 American Academy of Arts and Letters ceremonial. Tracing Roth’s path from realism to farce to metafiction to the tragic masterpieces of the American Trilogy, Bailey explores Roth’s engagement with nearly every aspect of postwar American culture.
In this new edition Blake gives a personal account of his professional experience of working with children and adolescents over the last 45 years. Providing a wonderful integration of the conceptual and the practical, this book clarifies complex theory while giving practical advice for clinicians through a nuts and bolts description of how to interview parents, emotionally assess a child and adolescent, set up a consulting room and conduct a therapy session. The addition of chapter summaries, questions and suggested further readings provides a valuable structure to those in child and adolescent training programmes. The author’s experience, gained from public and private work, is vividly described with the use of clinical examples to illustrate his thinking and way of working. This third edition highlights his evolution from a more traditional epistemological (knowing) approach, with its emphasis on interpretation and insight, to a more ontological (being) framework. He explores a more intuitive and unconscious way of working and argues this is more developmentally appropriate to children and adolescents. His accessible writing style transports the reader into his clinical world: a world full of fascinating stories of children talking through their play; of adolescents exploring who they are through their discussions about music, films, sport and computer games; of helping parents to understand and thoughtfully manage their child’s emotional struggles. This new edition, an amalgam of theoretical orientations (Kleinian, Bionian, Winnicottian, relational, non-linear and neurological), draws from recent developments, both in theory and technique. It will be of immense value to psychotherapists, psychoanalysts and all those involved in the treatment of children’s mental health.
All justified beliefs ultimately rest on attitudes that are immediately justified. This book illuminates the nature of immediate justification and the states that provide it. Simply put, immediate justification arises from how things appear to us—from all and only our "seemings." The author defends each aspect of this "seemings foundationalism," including the assumption of foundationalism itself. Most notably, the author draws from common sense philosopher Thomas Reid to present new and improved arguments for phenomenal conservatism and gives the first systematic argument that seemings alone are capable of immediately justifying. The discussion delves deeply into the nature of seemings and how it is that their assertive phenomenal character makes them (and them alone) capable of immediately justifying. Along the way, the author makes novel contributions to perennial debates such as: internalism versus externalism, deontologism and epistemic blame, epistemic circularity, and the common sense response to skepticism. Seemings and the Foundations of Justification will appeal to scholars and advanced students interested in epistemology, Thomas Reid, or the common sense tradition.
This book examines digital mass surveillance in authoritarian regimes, highlighting the role of security services. It argues that globalization hasn't diminished dictatorships, and urges Western countries to adopt new strategies to counter digitally-enhanced authoritarianism, which poses a growing challenge to liberal democracies.
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
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