In the bestselling tradition of The Devil Wears Prada, Karen Yampolsky's hilarious, disarmingly candid debut goes deep inside the glossy, glamorous, and completely ruthless world of magazine publishing, where bitchiness and betrayal are always in vogue. . . Jill White always dreamed of the day when she would start a magazine of her own that would feature smart, witty, real women with aspirations beyond tinier thighs and shinier hair. That day has finally arrived--and Jill magazine is a huge hit. When mega-successful Nestrom Media takes over Jill's parent company, The Nestrom suits are panting with admiration for both Jill and Jill. But the ashes from the postcoital cigarette have barely hit the floor before Jill's new bosses start barking about getting ad revenue up and toning down articles like "His penis is not a toy. . .or is it?" in favor of fluff pieces with the reality star du jour. What smelled like team spirit devolves into a bitter game of backstabbing. Ellen Cutter, the blond, bland, Bergdorfed CEO of Nestrom Media, and Liz Alexander, Jill's publisher (and Ellen's conniving sidekick) are suddenly aligned against Jill, making her life a living hell. Reluctant to quit or to watch as her baby morphs into yet another cheesy rag, Jill fights back, even as Ellen and Liz plot her next move for her. With everything on the line, Jill realizes mean girls don't get left behind in high school--they grow up and work in publishing. . . "Magazine junkies who remember the original Jane will devour this cheeky roman á clef." --Publishers Weekly "Worth reading. . .you get your fill of backstabbing fashionistas." --E! Online Karen Yampolsky, a graduate of New York University, has spent the past eighteen years working as an Executive/Personal Assistant to high-profile executives in the media and entertainment industries, including a nine-year stint at Jane Magazine as the right-hand to the Founder & Editor-in-Chief, Jane Pratt. She lives in Westchester County, New York, with her husband and two children.
The story of ethnographic collecting is one of cross-cultural encounters. This book focuses on collecting encounters in the Kamoro region of Papua from the earliest collections made in 1828 until 2011. Exploring the links between representation and collecting, the author focuses on the creative and pragmatic agency of Kamoro people in these collecting encounters. By considering objects as visualizations of social relations, and as enactments of personal, social or historical narrative, this book combines filling a gap in the literature on Kamoro culture with an interest in broader questions that surround the nature of ethnographic collecting, representation, patronage and objectification.
In the bestselling tradition of The Devil Wears Prada, Karen Yampolsky's hilarious, disarmingly candid debut goes deep inside the glossy, glamorous, and completely ruthless world of magazine publishing, where bitchiness and betrayal are always in vogue. . . Jill White always dreamed of the day when she would start a magazine of her own that would feature smart, witty, real women with aspirations beyond tinier thighs and shinier hair. That day has finally arrived--and Jill magazine is a huge hit. When mega-successful Nestrom Media takes over Jill's parent company, The Nestrom suits are panting with admiration for both Jill and Jill. But the ashes from the postcoital cigarette have barely hit the floor before Jill's new bosses start barking about getting ad revenue up and toning down articles like "His penis is not a toy. . .or is it?" in favor of fluff pieces with the reality star du jour. What smelled like team spirit devolves into a bitter game of backstabbing. Ellen Cutter, the blond, bland, Bergdorfed CEO of Nestrom Media, and Liz Alexander, Jill's publisher (and Ellen's conniving sidekick) are suddenly aligned against Jill, making her life a living hell. Reluctant to quit or to watch as her baby morphs into yet another cheesy rag, Jill fights back, even as Ellen and Liz plot her next move for her. With everything on the line, Jill realizes mean girls don't get left behind in high school--they grow up and work in publishing. . . "Magazine junkies who remember the original Jane will devour this cheeky roman á clef." --Publishers Weekly "Worth reading. . .you get your fill of backstabbing fashionistas." --E! Online Karen Yampolsky, a graduate of New York University, has spent the past eighteen years working as an Executive/Personal Assistant to high-profile executives in the media and entertainment industries, including a nine-year stint at Jane Magazine as the right-hand to the Founder & Editor-in-Chief, Jane Pratt. She lives in Westchester County, New York, with her husband and two children.
This study is the first in the English language to explore the ways medieval Japanese sought to overcome their sense of powerlessness over death. By attending to both religious practice and ritual objects used in funerals in the fourteenth and fifteenth centuries, it seeks to provide a new understanding of the relationship between the two. Karen Gerhart looks at how these special objects and rituals functioned by analyzing case studies culled from written records, diaries, and illustrated handscrolls, and by examining surviving funerary structures and painted and sculpted images. The work is divided into two parts, beginning with compelling depictions of funerary and memorial rites of several members of the aristocracy and military elite. The second part addresses the material culture of death and analyzes objects meant to sequester the dead from the living: screens, shrouds, coffins, carriages, wooden fences. This is followed by an examination of implements (banners, canopies, censers, musical instruments, offering vessels) used in memorial rituals. The final chapter discusses the various types of and uses for portraits of the deceased, focusing on the manner of their display, the patrons who commissioned them, and the types of rituals performed in front of them. Gerhart delineates the distinction between objects created for a single funeral—and meant for use in close proximity to the body, such as coffins—and those, such as banners, intended for use in multiple funerals and other Buddhist services. Richly detailed and generously illustrated, Gerhart introduces a new perspective on objects typically either overlooked by scholars or valued primarily for their artistic qualities. By placing them in the context of ritual, visual, and material culture, she reveals how rituals and ritual objects together helped to comfort the living and improve the deceased’s situation in the afterlife as well as to guide and cement societal norms of class and gender. Not only does her book make a significant contribution in the impressive amount of new information that it introduces, it also makes an important theoretical contribution as well in its interweaving of the interests and approaches of the art historian and the historian of religion. By directly engaging and challenging methodologies relevant to ritual studies, material culture, and art history, it changes once and for all our way of thinking about the visual and religious culture of premodern Japan.
$19.95 gatefold paper * 1-58685-255-8 * April8 1/2 x 10 in, 160 pp, 140 Color Photographs, 30 Black & White Photographs,Rights: W, DesignNow in paperback, Mexican Country Style is the classic that helped launch the popular Mexican design revival. Authors Karen Witynski and Joe P. Carr navigated coastal villages and old colonial mining towns by bus and burro, bumping down narrow cobblestone streets in search of simple and utilitarian elements like country tables, workbenches, storage trunks, corral gates, and heavy old doors. Intrigued by the diversity they encountered, the authors documented the wide variety in style, design, and shape of each object they encountered. Weathered coffee mortars, milking stools shaped like animals, and sculptured sugar molds reflect a rich local history as well as the ingenuity of the hands that crafted them. Mexican Country Style is the result of those fascinating journeys and boundless discoveries, a celebration of a rugged, romantic beauty and magical antiquity that continues to make its way into the contemporary interiors, gardens, and commercial settings across the country.Award-winning authors Karen Witynski and Joe P. Carr have been at the forefront of the Mexican design movement for over twenty-five years as interior designers and antiques dealers. Their Mexican design book series includes six titles: Mexican Country Style, The New Hacienda, Casa Adobe, Adobe Details, Casa Yucatán, and Mexican Details.Based in Austin, Texas, Carr and Witynski are the owners of Texture Antiques, an interior design firm and gallery specializing in hacienda style, Mexican colonial furniture, and architectural elements. Their design work has been featured in Architectural Digest, House Beautiful, and dozens of other magazines and newspapers. Individually, Witynski photographs homes and gardens for national publications and Carr is a hacienda consultant and furniture designer.
Invite the rich colors, natural textures, and romantic beauty of Mexico into your home. With a vast architectural legacy spanning four centuries, Mexican haciendas express a rugged romantic beauty and compelling sense of history. Today, the hacienda's graceful arcaded silhouette, grand-scale proportions, carved-stone ornament, rich colors and natural textures have become an ever-increasing influence for architects and designers worldwide. Hacienda Style invites you into Mexico's artful, hacienda havens resplendent with private collections of colonial and contemporary art, antiques and found relics. Witynski and Carr's antiques and accents have appeared in national magazines, television programs and feature films, including Architectural Digest, Western Interiors, HGTV's Takeover My Makeover, The Oprah Winfrey Show, and The Alamo. Other books by the same authors: Mexican Country Style, The New Hacienda, Casa Adobe, Adobe Details, Casa Yucatan, and Mexican Details.
An outstanding exploration of a photographer, educator, and curator whose work both documented and created change in post-Revolutionary Mexico This stunning and lyrical volume highlights the personal work of Lola Álvarez Bravo (1903–1993), one of Mexico’s foremost photographers. Álvarez Bravo worked as a photojournalist, commercial photographer, portraitist, and educator and played a critical role in her country’s cultural renaissance. In the years following the Mexican Revolution, she captured a profoundly transformative moment for the country’s land, architecture, and people. She remains best known for these works and for her portraits of prominent modernists working in Mexico, including Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros. Lola Álvarez Bravo delves into a lesser-known body of work, in which attention to pattern, light, and abstraction guides the artist’s depictions of urban and rural landscapes and their inhabitants. It also addresses her role in building and securing the legacy of the post-Revolutionary period, her dialogue with modernist photographers, and her place within the broader cultural sphere, offering new insight into the mutual influence she shared with prominent painters, filmmakers, and literary figures of her time.
Defining Buddhism(s)' explores the multiple ways in which Buddhism has been defined and constructed by both Buddhists and scholars. In recent decades, scholars have become increasingly aware of their own role in the construction of how Buddhism is represented - a process in which multiple representations of Buddhism compete with and complement one another. The reader brings together key essays by leading scholars to examine the central methods and concerns of Buddhism. The essays aim to illuminate the challenges involved in defining historical, social, and political contexts and reveal how definitions of Buddhism have always been contested.
Advancing a Chicana feminist interpretation, Davalos carefully explores both the history of nineteenth- and twentieth-century museum practices and the more recent phenomenon of physically locating Mestizo/Chicano art within "insider spaces" (such as ethnically or racially specific cultural institutions and alternative galleries). Just as public museums instruct visitors about who does and who does not belong to a nation's legacy, Davalos makes clear that exhibitions in so-called minority museums are likewise shaped by notions of difference and nationalism and by the politics of identity and race."--BOOK JACKET.
Travel behind the scenes with authors Karen Witynski and Joe P. Carr as they open the doors to Mexico's remote country estates and reveal innovative interiors, artifacts, and antiques that echo the hacienda's original architectural splendor.
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