While candy-colored pinup may be popular with some, this is a collection of dark, sexy images that truly reflect the sophisticated side of the pinup genre. Seemingly ripped from the men s magazines of yesteryear, these photos are so authentic looking down to the smallest detail as if they were actually taken decades ago. Bullet bras, seamed stockings, high heels, and girdles bursting at the seams! Leave the cutesy stuff behind. Internationally published photographer Mark Anthony Lacy specializes in bringing out the allure and sensuality of his female subjects. He combines his backgrounds in art, architecture, film, and photography to create incredibly authentic vintage tableaus in his New York studio."

Examines both theatrical and staged art photographs, demonstrating their role in fixing and unfixing Shakespearean authority.

Pop culture phenomena from the '80s and '90s, homages to Alberto Vargas and other classic pinup illustrations, and contemporary fashions and fetishes combine to form an exciting collection of modern pinups. Tributes to Baywatch, Rambo, Star Wars, Jessica Rabbit, and more late-20th century cultural references are included. This collection of over-the-top Americana also features standouts from Alvarado's Redneck Pinup series; provocatively posed pirates; beautiful calaveras makeup; leather jacket-wearing blondes; classy big-haired chicks with antique cars; a dynamite-wielding cowgirl; polo-playing preppies; sword-swallowing freaks; laser- and gun-toting steampunks; sultry nurses; elegant ballroom dancers; and more. Alvarado's belief is that it's all about the model; her image and pose are the most important elements in a composition, and he draws the viewer's attention to the models by employing a plain white background in many images.

A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.

Wednesday, December 10, 1941"Hitler speaks to Reichstag tomorrow. We just heard the first casualty lists over the radio. ... Lots of boys from Michigan and Illinois. Oh my God! ... Life goes on though. We read our books in the library and eat lunch, bridge, etc. Phy. Sci. and Calculus. Darn Descartes. Reading Walt Whitman now." This diary of a smart, astute, and funny teenager provides a fascinating record of what an everyday American girl felt and thought during the Depression and the lead-up to World War II. Young Chicagoan Joan Wehlen describes her daily life growing up in the city and

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.

Finn and Willa have been picked as leaders in the camp game. Finn doesn't know what's throwing her more, the fact she's leading a team of unenthusiastic overachievers or coming up against Willa. And Willa doesn't know which is harder, leaving her responsibilities behind or opening up to someone.

Learn how fashion developed in Britain from the early 1970s, when designer fashion scarcely existed, to the present day, when London ranks alongside Paris, New York and Milan as a global fashion capital.