For the past 30 years, American artist Chuck Close (b. 1940) has concentrated on essentially one subject: the human face. This volume, the most comprehensive assessment of Close's work yet published, includes portraits of Robert Rauschenberg, Roy Lichtenstein, Alex Katz, Lucas Samaras, and others. It accompanies a mid-career retrospective opening at The Museum of Modern Art, New York in February 1998. 178 illustrations, 113 in color.
Carla Del Ponte won international recognition as Switzerland's attorney general when she pursued cases against the Sicilian mafia. In 1999, she answered the United Nations' call to become the chief prosecutor of the International Criminal Tribunal for the former Yugoslavia and for Rwanda. In her new role, Del Ponte confronted genocide and crimes against humanity head-on, struggling to bring to justice the highest-ranking individuals responsible for massive acts of violence in Rwanda, Bosnia and Herzegovina, Croatia, and Kosovo. These tribunals have been unprecedented. They operate along the edge of the divide between national sovereignty and international responsibility, in the gray zone between the judicial and the political, a largely unexplored realm for prosecutors and judges. It is a realm whose native inhabitants–political leaders and diplomats, soldiers and spies–assume that they can commit the big crime without being held culpable. It is a realm crisscrossed by what Del Ponte calls the muro di gomma –"the wall of rubber"– a metaphor referring to the tactics government officials use to hide their unwillingness to confront the culture of impunity that has allowed persons responsible for acts of unspeakable, wholesale violence to escape accountability. Madame Prosecutor is Del Ponte's courageous and startling memoir of her eight years spent striving to serve justice.
Whereas conventional maps can be expressed as outward-expanding formulae with well-defined central features and relatively poorly defined edges, Constant Scale Natural Boundary (CSNB) maps have well-defined boundaries that result from natural processes and thus allow spatial and dynamic relationships to be observed in a new way useful to understanding these processes. CSNB mapping presents a new approach to visualization that produces maps markedly different from those produced by conventional cartographic methods. In this approach, any body can be represented by a 3D coordinate system. For a regular body, with its surface relatively smooth on the scale of its size, locations of features can be represented by definite geographic grid (latitude and longitude) and elevation, or deviation from the triaxial ellipsoid defined surface. A continuous surface on this body can be segmented, its distinctive regional terranes enclosed, and their inter-relationships defined, by using selected morphologically identifiable relief features (e.g., continental divides, plate boundaries, river or current systems). In this way, regions of distinction on a large, essentially spherical body can be mapped as two-dimensional ‘facets’ with their boundaries representing regional to global-scale asymmetries (e.g., continental crust, continental and oceanic crust on the Earth, farside original thicker crust and nearside thinner impact punctuated crust on the Moon). In an analogous manner, an irregular object such as an asteroid, with a surface that is rough on the scale of its size, would be logically segmented along edges of its impact-generated faces. Bounded faces are imagined with hinges at occasional points along boundaries, resulting in a foldable ‘shape model.’ Thus, bounded faces grow organically out of the most compelling natural features. Obvious boundaries control the map’s extremities, and peripheral regions are not dismembered or grossly distorted as in conventional map projections. 2D maps and 3D models grow out of an object’s most obvious face or terrane ‘edges,’ instead of arbitrarily by imposing a regular grid system or using regularly shaped facets to represent an irregular surface.
Painter, fisherman, pseudo-hermaphrodite—Forrest Bess lived his life in obscurity at an isolated bait camp off the east coast of Texas. From 1949 through 1967, Bess showed at the Betty Parsons Gallery in New York City, alongside superstar artists such as Jackson Pollock and Mark Rothko. Rediscovered after his death in 1977, Bess's small visionary paintings are now prized by museums and collectors for their primal beauty, and can fetch over $200,000 apiece. Bess's treasured canvases were only part of a grander theory—based on alchemy, Jungian philosophy, and aboriginal rituals—that proposed that hermaphrodism was the key to immortality. As an artist, Bess could never equivocate, and in 1960 he underwent an operation to become a pseudo-hermaphrodite. For the first time ever in print, Forrest Bess: Key to the Riddle combines the beauty of Bess's art with the drama and tragedy of his personal life. Using Bess's own hauntingly sincere words (in letters to Betty Parsons, Meyer Schapiro, and others) the book traces the life and logic of this forgotten artist and explains how a love of beauty and a desire for wholeness lead Bess to self-surgery and, ultimately, a mental hospital. Forrest Bess: Key to the Riddle is a fascinating look at one of America's most notorious cult visionaries—a man who truly believed that art could save his life.
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