"Mass culture, popular taste and kitsch, previously considered outside the limits of fine art, were the inspiration and provocative themes of Pop art, a movement that enjoyed great prominence in the late 1950s and 1960s. Rejecting the idea that art and life could be separated, artists in both Britain and the United States - among them Peter Blake, Richard Hamilton, Roy Lichtenstein, James Rosenquist and Andy Warhol - used mass-produced objects and photographic images to make a blatant connection between art and the post-war world of consumerism." "This study follows the development of Pop, from its roots in the irreverence of Dada and Surrealism, to its rise in popularity as an art form that celebrated the glamour and hedonism of the newly commercialised Western world, whilst acknowledging its superficiality and transience."--Jacket.
"Griselda Pollock, in seeking to understand her own paradoxical role as critic and historian, has established not only a social and historical framework for her practice, but also a self-critical one. Internationally, Pollock is recognized as a significant writer on art and arguably the most important voice in feminist art history in Britain. She has also become a significant force in the area of Cultural Studies and is widely read by those outside the discipline of Art History. In this selection of recent essays, she insightfully engages all major areas of contemporary theory, especially focusing on sexed subjectives, post-colonialism and Marxist-informed history." "Penny Florence, in her commentary, places Pollock's critique of Modernism, art history and criticism within the context of the social, political and ideological developments that have taken place since the 1970s."--BOOK JACKET.
Financially straitened and on the path to spinsterhood, Venetia Milton thought her stay at the remote, ramshackle Arcane House would be a once-in-a-lifetime opportunity to engineer her own ravishment. She was there to photograph the artifacts collected by a highly secretive organization, founded two centuries earlier by an alchemist. And the alchemist's descendant-her employer, Gabriel Jones-has the eyes of a sorcerer. But, despite Venetia's intent to seduce Mr. Jones and move on, she is shattered upon her return home to read in the press of his violent demise. Using the sizable fee Mr. Jones paid her, Venetia establishes a new life, opening a gallery in London. Of course, posing as a respectable widow makes it easier to do business, so-in a private tribute to her lost, only lover-she assumes the identity of "Mrs. Jones. "Her romantic whim, however, will cause unexpected trouble. For one thing, Mr. Jones is about to stride, living and breathing, back into Venetia's life. And the two share more than a passionate memory-indeed, they are bonded by a highly unusual sort of vision, one that goes far beyond Venetia's abilities as a photographer. They also share a terrible threat-for someone has stolen a centuries-old notebook from Arcane House that contains a formula believed to enhance psychic powers of the kind Gabriel and Venetia possess. And the thief wants to know more-even if he must kill the keeper of the Arcane Society's treasures, or the photographer who catalogued them, to obtain such knowledge. Arcane Society Series: (note-has series overlap) Second Sight (Arcane Society, #1) White Lies (Arcane Society, #2) Sizzle and Burn (Arcane Society, #3) The Third Circle (Arcane Society, #4) Running Hot (Arcane Society, #5) The Perfect Poison (Arcane Society, #6) Fired Up (Arcane Society, #7; Dreamlight Trilogy, #1) Burning Lamp (Arcane Society, #8; Dreamlight Trilogy, #2) Midnight Crystal (Ghost Hunters, #7; Arcane Society #9; Dreamlight Trilogy #3) The Scargill Cove Case Files (Arcane Society, #9.5; Looking Glass Trilogy, #0.5) In Too Deep (Arcane Society, #10; Looking Glass Trilogy, #1) Quicksilver (Arcane Society, #11; Looking Glass Trilogy #2) Canyons of Night (Rainshadow, #0; Ghost Hunters, #8; Looking Glass Trilogy, #3; Arcane Society, #12)
"The principal action in A Painter of Our Time takes place across a stretch of some four years in the life of the fictional Hungarian painter Janos Lavin. The story is told in part by Lavin’s friend John, who resembles John Berger in several ways--not least in his being an art critic during this period--and who has discovered Lavin’s journal in the latter’s studio after his return to Budapest in October, 1956. The text alternates between passages from the journal and the interpolations of John, who fills in the gaps, narrating more fully the events surrounding the reflections recorded in the journal"--Summary taken from enotes website.
Brilliant scholar 25 year old Genevieve Barrett's secret identity as the author of her father's articles is her greatest deception-until her father's handsome new student arrives on their doorstep. Genevieve recognizes him as the masked intruder who earlier tried to steal a priceless gem from their home. Keeping the seductive stranger's identity hidden is a risk, but she's got secrets of her own to keep. Sir Richard Harmsworth, 32, fakes a rakish facade to show society that he doesn't care about his bastard status. Yet haunted by his unknown father's identity, Richard believes the Harmsworth Jewel will prove he's the rightful heir. Intent on seducing the stone away from its owner, Richard finds himself face-to-face with a beauty more breathtaking than any jewel. But even as she steals Richard's heart, Genevieve will be in greater danger than her coveted treasure.
