Criss Cross Double Cross

Star Girl flies again! Trouble develops in 1949 in B.C. when the teachers go on strike. Will Sophie have to endure as an outcast? Or will she save the day with a daring rescue?

Star Girl flies again in this sequel to the bestselling, award-winning Sophie Sea to Sea. Starting her new classes at the new French school in British Columbia, Sophie is happy to escape the old Alderson Avenue School where stuck-up Elizabeth Proctor and her friends rule. But trouble develops when the teachers go on strike and Sophie is forced back into Alderson. Will she have to endure as an outcast? Or will she, like Star Girl, save the day with a daring rescue?

How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others. Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

Just when Alex Cross's life is calming down, he is drawn back into the game to confront a criminal mastermind like no other. The elaborate murders that have stunned Washington, DC, are the wildest that Alex Cross and his new girlfriend, Detective Brianna Stone, have ever seen. This maniac adores an audience, and stages his killings as spectacles in public settings. Alex is pursuing a genius of terror who has the whole city on edge as it waits for his next move. And the killer loves the attention, no doubt-he even sets up his own Web site and live video feed to trumpet his madness. And in Colorado, another criminal mastermind is planning a triumphant return. From his supermaximum-security prison cell, Kyle Craig has plotted for years to have one chance at an impossible escape. If he has to join forces with DC's Audience Killer to get back at the man who put him in that cell--Alex Cross--all the better. From the author Time magazine has called "the man who can't miss," Double Cross has the pulse-racing momentum and electrifying thrills that have made James Patterson a #1 bestselling storyteller all over the world.

"This volume is published for the occasion of the Getty's citywide grant initiative Pacific Standard Time: Art in Los Angeles 1945-1980 and accompanies the exhibition Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950- 1970, held at the J. Paul Getty Museum, Los Angeles."

Star Girl flies again in this sequel to the bestselling, award-winning Sophie Sea to Sea. Starting her new classes at the new French school in British Columbia, Sophie is happy to escape the old Alderson Avenue School where stuck-up Elizabeth Proctor and her friends rule. But trouble develops when the teachers go on strike and Sophie is forced back into Alderson. Will she have to endure as an outcast? Or will she, like Star Girl, save the day with a daring rescue?

How to double-cross Hollywood as an artist? This first monograph on British artist Douglas Gordon analyses all of the artist's video projection installations that are based on his appropriations of Hollywood film noir or Hitchcock films, examining Gordon's language works as well. Counter to the usual interpretations of Gordon's work as a dichotomy between good and evil, Double-Cross argues that his work is all about dissemblance, with the dichotomy only one deception among others. It also argues that, with the inaugural separation of the components of sound and image in his work, one of the artist's disguises is that of an author. All the fragments of the artist's work--projections, language works, photography--add up to the production of a criminal author. His final disguise is that of an experimental filmmaker whose subject is not the film noir themes of trust, guilt, fate, and the madness of the double that appear as the content of his work, but the temporality of the spectator's engagement.