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Passport
Recovering from a broken marriage, schoolteacher Mike Stanton has decided to abandon his life in California and immigrate to New Zealand. With high hopes, a large backpack, money, and documents in hand, Mike boards a Pan Am flight from San Francisco bound for adventure. Trouble arises immediately when his flight develops engine trouble and is diverted to Hawaii. During the days of waiting for another flight to take him onward, Mike falls in love with the beaches, surf, and island girls but is still content to leave when the time comes. Upon his arrival in New Zealand, however, he is informed he cannot immigrate after all. With only three months until his visa expires, Mike decides to explore the stunning countrysideand soon finds himself caught up with a gang of passport counterfeiters. He is stalked and mistaken for an FBI agent, and in the serenity of this South Pacific paradise, he is kidnapped, the first in a series of treacherous events that the wayward teacher may not survive. In this thriller, one man on an extended vacation in New Zealand finds himself out of his depth, mixed up with international criminals, and facing dangers that could end with his death.
Hélio Oiticica
Hélio Oiticica (1937–80) was one of the most brilliant Brazilian artists of the 1960s and 1970s. He was a forerunner of participatory art, and his melding of geometric abstraction and bodily engagement has influenced contemporary artists from Cildo Meireles and Ricardo Basbaum to Gabriel Orozco, Dominique Gonzalez-Foerster, and Olafur Eliasson. This book examines Oiticica’s impressive works against the backdrop of Brazil’s dramatic postwar push for modernization. From Oiticica’s late 1950s experiments with painting and color to his mid-1960s wearable Parangolés, Small traces a series of artistic procedures that foreground the activation of the spectator. Analyzing works, propositions, and a wealth of archival material, she shows how Oiticica’s practice recast—in a sense “folded”—Brazil’s utopian vision of progress as well as the legacy of European constructive art. Ultimately, the book argues that the effectiveness of Oiticica’s participatory works stems not from a renunciation of art, but rather from their ability to produce epistemological models that reimagine the traditional boundaries between art and life.
Reforming Hell
THE REVOLUTION THAT MIGHT OVERTURN THE ENTIRE UNIVERSE was now in her hands. In her waking life, Leianna is a 29-year-old single mother living in Philadelphia, but she is psychic, has had astonishing visions, and leads a dual, astral existence in which she is now reunited with Bael, her dark, mysterious lover from another life, 35,000 years ago. More than love is at stake, for Bael is nothing less than one of Lucifer's followers, a fallen angel. Behind the story of their love is the epic of the Fall from Grace, which takes a new turn as an alliance between Heaven and Hell seems a real possibility for the first time in untold millennia. Now Leianna, becoming Queen of Hell, will face an impossible task: if Hell itself is to be reformed, she must first redeem the soul of history's greatest monster -- Adoph Hitler -- and make him weep. Can she save the damned? Should she?
Constructing an Avant-Garde
How Brazilian postwar avant-garde artists updated modernism in a way that was radically at odds with European and North American art historical narratives. Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In Constructing an Avant-Garde, Sérgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil’s avant-garde. His discussion covers not only widely...
The Getty Research Journal, No 1
The "Getty Research Journal" showcases the remarkable original research underway at the Getty. Articles explore the rich collections of the J. Paul Getty Museum and Research Institute, as well as the Research Institute s research projects and annual theme of its scholar program. Shorter texts highlight new acquisitions and discoveries in the collections, and focus on the diverse tools for scholarship being developed at the Research Institute. The inaugural issue of the "Getty Research Journal "features essays by Olivier Debroise, Chelsea Foxwell, Karen Lang, Annette Leddy, Riccardo Marchi, Marc J. Neveu, Spyros Papapetros, Lorenzo Pericolo, Charles G. Salas, and Irene Small; the short texts examine materials at the Getty related to Nicolas de Nicolay, Pietro Millini, Gian Lorenzo Bernini, painting in nature around 1800, Yona Friedman, Alfred Schmela, Allan Kaprow, and African-American avant-garde artists in Los Angeles."
Metrics of Modernity
In this vivid portrait of the art world of 1950s Turkey, Sarah-Neel Smith offers a new framework for analyzing global modernisms of the twentieth century: economic development. After World War II, a cohort of influential Turkish modernists built a new art scene in Istanbul and Ankara. The entrepreneurial female gallerist Adalet Cimcoz, the art critic (and future prime minister) Bülent Ecevit, and artists like Aliye Berger, Füreya Koral, and Bedri Rahmi Eyüboğlu were not only focused on aesthetics. On the canvas, in criticism, and in the gallery, these cultural pioneers also grappled with economic questions—attempting to transform their country from a “developing nation” into a major player in the global markets of the postwar period. Smith’s book publishes landmark works of Turkish modernism for the first time, along with an innovative array of sources—from gossip columns to economic theory—to reveal the art world as a key site for the articulation of Turkish nationhood at midcentury.
