"The first book of real magnitude to come out of the last war." —John Dos Passos John Horne Burns brought The Gallery back from World War II, and on publication in 1947 it became a critically-acclaimed bestseller. However, Burns's early death at the age of 36 led to the subsequent neglect of this searching book, which captures the shock the war dealt to the preconceptions and ideals of the victorious Americans. Set in occupied Naples in 1944, The Gallery takes its name from the Galleria Umberto, a bombed-out arcade where everybody in town comes together in pursuit of food, drink, sex, money, and oblivion. A daring and enduring novel—one of the first to look directly at gay life in the military—The Gallery poignantly conveys the mixed feelings of the men and women who fought the war that made America a superpower.

Outdoor Gallery - New York City documents the vibrancy of the diverse contemporary street art environment of New York City. The book predominantly collects the work of New York based artists, running the gamut from old school graffiti writers such as COPE2, to contemporary street artists such as HELLBENT, EKG, ASVP, CERN and GAIA. Their work is showcased alongside that of some international fellow travelers including NICK WALKER, THE YOK, SHERYO and KRAM. The book features hundreds of pieces of art by 46 different artists. The well-photographed works are accompanied by the artists musings on New York, street art and their own work and processes. This work is non-permanent and necessarily current and relevant. In Outdoor Gallery New York resident and author Yoav Litvin successfully documents the zeitgeist.

Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.

This enlightening and thought-provoking look at New York City’s postwar art scene focuses on the galleries and the artists that helped transform American art. While the achievements of New York City’s most renowned postwar artists—de Kooning, Pollock, Rothko, Franz Kline— have been studied in depth, a large cadre of lesser-known but influential artists came of age between 1952 and 1965. Also understudied are the early, experimental works by more well- known figures such as Mark di Suvero, Jim Dine, Dan Flavin, and Claes Oldenburg. Focusing on innovative artist-run galleries, this book invites readers to reevaluate the period—uncovering its diversity, creativity, and nuances, and tracing the spaces’ influence during the decades that followed. Inventing Downtown charts the development of artist-run galleries in Lower Manhattan from the early 1950s to the mid-1960s, showing how the area’s multicultural spirit played a major role in shaping the artworks exhibited there. The book explores 14 key spaces in which styles such as Pop, Minimalism, and performance and installation art thrived. Excerpts from 33 revealing interviews with artists, critics, and dealers, conducted by Billy Klu&̈ver and Julie Martin, offer unique personal insight into the era’s creative milieu. Taken together, the book’s essays and interviews provide a distinctly new assessment of how downtown New York’s fertile environment nurtured an innovative art scene.

The “reigning romance queens” (PopSugar) and New York Times bestselling authors of The Soulmate Equation and The Unhoneymooners present a charming and laugh-out-loud funny novel filled with adventure, treasure, and, of course, love. Growing up the daughter of notorious treasure hunter and absentee father Duke Wilder left Lily without much patience for the profession…or much money in the bank. But Lily is resourceful, and now uses Duke’s coveted hand-drawn maps to guide tourists on fake treasure hunts through the red rock canyons of Utah. It pays the bills but doesn’t leave enough to fulfill her dream of buying back the beloved ranch her father sold years ago, and definitely not enough to deal with the sight of the man she once loved walking back into her life with a motley crew of friends ready to hit the trails. Frankly, Lily would like to take him out into the wilderness and leave him there. Leo Grady knew mirages were a thing in the desert, but they’d barely left civilization when the silhouette of his greatest regret comes into focus in the flickering light of the campfire. Ready to leave the past behind him, Leo wants nothing more than to reconnect with his first and only love. Unfortunately, Lily Wilder is all business, drawing a clear line in the sand: it’s never going to happen. But when the trip goes horribly and hilariously wrong, the group wonders if maybe the legend of the hidden treasure wasn’t a gimmick after all. There’s a chance to right the wrongs—of Duke’s past and their own—but only if Leo and Lily can confront their history and work together. Alone under the stars in the isolated and dangerous mazes of the Canyonlands, Leo and Lily must decide whether they’ll risk their lives and hearts on the treasure hunt of a lifetime. This page-turning adventure full of second chances, complicated relationships, and the breathtaking beauty of the American Southwest will take you on one wild ride.

In this “glorious dance through the traditional glamour and suffocating expectations of a bygone era” (Genevieve Graham, USA TODAY bestselling author), a group of young women are swept up in a life-changing journey as they become three of the last debutantes to be presented to Queen Elizabeth II. When it’s announced that 1958 will be the last year debutantes are to be presented at court, thousands of eager mothers and hopeful daughters flood the palace with letters seeking the year’s most coveted invitation: a chance for their daughters to curtsy to the young Queen Elizabeth and officially come out into society. In an effort to appease her traditional mother, aspiring university student Lily Nichols agrees to become a debutante and do the Season, a glittering and grueling string of countless balls and cocktail parties. In doing so, she befriends two very different women: the cool and aloof Leana Hartford whose apparent perfection hides a darker side and the ambitious Katherine Norman who dreams of a career once she helps her parents find their place among the elite. But the glorious effervescence of the Season evaporates once Lily learns a devastating secret that threatens to destroy her entire family. “Woven with heartfelt emotion, this novel is a captivating, unforgettable story of one woman’s journey to find love, truth, and, most importantly, herself” (Kelly Bowen, author of The Paris Apartment) in midcentury Great Britain.

The raucous and literal fishes-out-of-water graphic novel from prolific comic artist and writer Kat Leyh, creator of the acclaimed Snapdragon and coauthor of the Eisner and GLAAD Award–winning series Lumberjanes. Fresh out of shipwreck wine, three tipsy mermaids decide to magically masquerade as humans and sneak onto land to indulge in much more drinking and a whole lot of fun in the heart of a local seaside tourist trap. But the good times abruptly end the next morning as, through the haze of killer hangovers, the trio realizes they never actually learned how to break the spell, and are now stuck on land for the foreseeable future. Which means everything from: enlisting the aid of their I-know-we-just-met-can-we-crash-with-you bartender friend, struggling to make sense of the world around them, and even trying to get a job with no skill set…all while attempting to somehow return to the sea and making the most of their current situation with tenacity and camaraderie (especially if someone else is buying).

Presents delicious and easy to prepare recipes and dishes from the northern region of Mexico.

A personal and critical work that celebrates the pleasure of books and reading. Largely unknown to readers today, Sir Philip Sidney’s sixteenth-century pastoral romance Arcadia was long considered one of the finest works of prose fiction in the English language. Shakespeare borrowed an episode from it for King Lear; Virginia Woolf saw it as “some luminous globe” wherein “all the seeds of English fiction lie latent.” In Gallery of Clouds, the Renaissance scholar Rachel Eisendrath has written an extraordinary homage to Arcadia in the form of a book-length essay divided into passing clouds: “The clouds in my Arcadia, the one I found and the one I made, hold light and color. They take on the forms of other things: a cat, the sea, my grandmother, the gesture of a teacher I loved, a friend, a girlfriend, a ship at sail, my mother. These clouds stay still only as long as I look at them, and then they change.” Gallery of Clouds opens in New York City with a dream, or a vision, of meeting Virginia Woolf in the afterlife. Eisendrath holds out her manuscript—an infinite moment passes—and Woolf takes it and begins to read. From here, in this act of magical reading, the book scrolls out in a series of reflective pieces linked through metaphors and ideas. Golden threadlines tie each part to the next: a rupture of time in a Pisanello painting; Montaigne’s practice of revision in his essays; a segue through Vivian Gordon Harsh, the first African American head librarian in the Chicago public library system; a brief history of prose style; a meditation on the active versus the contemplative life; the story of Sarapion, a fifth-century monk; the persistence of the pastoral; image-making and thought; reading Willa Cather to her grandmother in her Chicago apartment; the deviations of Walter Benjamin’s “scholarly romance,” The Arcades Project. Eisendrath’s wondrously woven hybrid work extols the materiality of reading, its pleasures and delights, with wild leaps and abounding grace.

“Behind almost every painting is a fortune and behind that a sin or a crime.” With these words as a starting point, Michael Gross, leading chronicler of the American rich, begins the first independent, unauthorized look at the saga of the nation’s greatest museum, the Metropolitan Museum of Art. In this endlessly entertaining follow-up to his bestselling social history 740 Park, Gross pulls back the shades of secrecy that have long shrouded the upper class’s cultural and philanthropic ambitions and maneuvers. And he paints a revealing portrait of a previously hidden face of American wealth and power. The Metropolitan, Gross writes, “is a huge alchemical experiment, turning the worst of man’s attributes—extravagance, lust, gluttony, acquisitiveness, envy, avarice, greed, egotism, and pride—into the very best, transmuting deadly sins into priceless treasure.” The book covers the entire 138-year history of the Met, focusing on the museum’s most colorful characters. Opening with the lame-duck director Philippe de Montebello, the museum’s longest-serving leader who finally stepped down in 2008, Rogues’ Gallery then goes back to the very beginning, highlighting, among many others: the first director, Luigi Palma di Cesnola, an Italian-born epic phony, whose legacy is a trove of plundered ancient relics, some of which remain on display today; John Pierpont Morgan, the greatest capitalist and art collector of his day, who turned the museum from the plaything of a handful of rich amateurs into a professional operation dedicated, sort of, to the public good; John D. Rockefeller Jr., who never served the Met in any official capacity but who, during the Great Depression, proved the only man willing and rich enough to be its benefactor, which made him its behind-the-scenes puppeteer; the controversial Thomas Hoving, whose tenure as director during the sixties and seventies revolutionized museums around the world but left the Met in chaos; and Jane Engelhard and Annette de la Renta, a mother-daughter trustee tag team whose stories will astonish you (think Casablanca rewritten by Edith Wharton). With a supporting cast that includes artists, forgers, and looters, financial geniuses and scoundrels, museum officers (like its chairman Arthur Amory Houghton, head of Corning Glass, who once ripped apart a priceless and ancient Islamic book in order to sell it off piecemeal), trustees (like Jayne Wrightsman, the Hollywood party girl turned society grand dame), curators (like the aging Dietrich von Bothmer, a refugee from Nazi Germany with a Bronze Star for heroism whose greatest acquisitions turned out to be looted), and donors (like Irwin Untermyer, whose collecting obsession drove his wife and children to suicide), and with cameo appearances by everyone from Vogue editors Anna Wintour and Diana Vreeland to Sex Pistols front man Johnny Rotten, Rogues’ Gallery is a rich, satisfying, alternately hilarious and horrifying look at America’s upper class, and what is perhaps its greatest creation.