Window Shopping

A USA TODAY BESTSELLER! A sizzling, standalone, feel-good holiday romance from Tessa Bailey, New York Times bestselling author of It Happened One Summer. Two weeks before Christmas and all through Manhattan, shop windows are decorated in red and green satin. I'm standing alone in front of the famous Vivant department store, when a charming man named Aiden asks my opinion of the décor. It's a tragedy in tinsel, I say, unable to lie. He asks for a better idea with a twinkle in his eye. Did I know he owned the place? No. He put me on the spot. Now I'm working for that man, trying to ignore that he's hot. But as a down on her luck girl with a difficult past, I know an opportunity when I see one - and I have to make it last. I'll put my heart and soul into dressing his holiday windows. I'll work without stopping. And when we lose the battle with temptation, I'll try and remember I'm just window shopping.

A deadpan celebration of the unique commercial aesthetic that flourished under the crumbling totalitarian Communist regimes of twentieth-century Europe Window-Shopping through the Iron Curtain presents a selection of more than 100 images of shop windows shot by David Hlynsky during four trips taken between 1986 and 1990 to Poland, Czechoslovakia, Hungary, Yugoslavia, Bulgaria, East Germany, and Moscow. Using a Hasselblad camera, Hlynsky captured the slow, routine moments of daily life on the streets and in the shop windows of crumbling Communist countries. The resulting images could be still-lifes representing the intersection of a Communist ideology and a consumerist, Capitalist tool—the shop window—with the consumer stuck in the middle. Devoid of overt branding or calculated seduction, the shop windows were typically adorned with traditional yet incongruous symbols of cheer: homey lace curtains, paper flowers, painted butterflies, and pictures of happy children. Some windows were humble in their simple offerings of loaves and tinned fishes; others were zanily artistic, as in the modular display of military shirts in a Moscow storefront; and some illustrated intense professional pride, such as a sign in a Prague beauty salon depicting a pedicurist smiling fiendishly over an imperfect sole. The photographs are accompanied by essays by art historian Martha Langford and cultural studies specialist Jody Berland, as well as Hlynsky’s own account of his time as a flâneur in the shopping plazas of the collapsing Soviet empire—“a vast ad-hoc museum of a failing utopia” that in 1989 began to close forever.

Departing from those who define postmodernism in film merely as a visual style or set of narrative conventions, Anne Friedberg develops the first sustained account of the cinema's role in postmodern culture. She explores the ways in which nineteenth-century visual experiences—photography, urban strolling, panorama and diorama entertainments—anticipate contemporary pleasures provided by cinema, video, shopping malls, and emerging "virtual reality" technologies. Comparing the visual practices of shopping, tourism, and film-viewing, Friedberg identifies the experience of "virtual" mobility through time and space as a key determinant of postmodern cultural identity. Evaluating the theories of Jameson, Lyotard, Baudrillard, and others, she adds critical insights about the role of gender and gender mobility in the configurations of consumer culture. A strikingly original work, Window Shopping challenges many of the existing assumptions about what exactly postmodern is. This book marks the emergence of a compelling new voice in the study of contemporary culture.

Window Shopping for God is a memoir by your average people-pleasing, meaning-of-life-seeking, downward-facing-dog-posing stand-up comedian. Deborah Kimmett has worshipped a lot of deities. After emerging from a rigidly Catholic childhood, she danced with witches, whirled with Sufis and explored the Power of Now like there was no tomorrow. Whether describing her teenage fear of demonic possession (and wardrobe hack for thwarting the Prince of Darkness), the perils of a comedy career (alcoholism, alienation, sexism, etc.), or her reconciliation with her estranged brother as he faced terminal illness (just to up the stakes), Kimmett's writing is unflinchingly honest, laugh-out-loud funny and deeply relatable. As she says, “if you disassociate from your body, it’s called trauma. If you disassociate and get paid for it, it’s called a comedy career.”

In exotic gardens and cool swimming pools, at picnics, countryhouse and cocktail parties, at home on the sofa in moments of domestic intimacy or having tea with girlfriends - Kelly Beeman's elegant long-limbed figures lead their lives in dream apparel. But her beauties are not just models for the latest creations of big-name fashion designers. They are the protagonists of Beeman's profuse fantasy world brimming with childhood memories of Oklahoma and subtle nods and tributes to interior design, architecture, music and literature. Beeman's sources of inspiration are lookbooks and catwalk shots, from which she borrows an elaborately embroidered blouson, striped bell-bottoms, a lace Empire dress, a youthful biker jacket, playful silver earrings. She doesn't just produce fashion illustrations, she creates a meaningful world far beyond the confines of the fashion scene.

The first in a spicy and unforgettable rom-com duology from #1 New York Times bestseller and tik tok favorite Tessa Bailey, in which a Hollywood “It Girl” is cut off from her wealthy family and exiled to a small Pacific Northwest beach town... where she butts heads with a surly, sexy local who thinks she doesn’t belong. Piper Bellinger is fashionable, influential, and her reputation as a wild child means the paparazzi are constantly on her heels. When too much champagne and an out-of-control rooftop party lands Piper in the slammer, her stepfather decides enough is enough. So he cuts her off, and sends Piper and her sister to learn some responsibility running their late father’s dive bar... in Washington. Piper hasn’t even been in Westport for five minutes when she meets big, bearded sea captain Brendan, who thinks she won’t last a week outside of Beverly Hills. So what if Piper can’t do math, and the idea of sleeping in a shabby apartment with bunk beds gives her hives. How bad could it really be? She’s determined to show her stepfather—and the hot, grumpy local—that she’s more than a pretty face. Except it’s a small town and everywhere she turns, she bumps into Brendan. The fun-loving socialite and the gruff fisherman are polar opposites, but there’s an undeniable attraction simmering between them. Piper doesn’t want any distractions, especially feelings for a man who sails off into the sunset for weeks at a time. Yet as she reconnects with her past and begins to feel at home in Westport, Piper starts to wonder if the cold, glamorous life she knew is what she truly wants. LA is calling her name, but Brendan—and this town full of memories—may have already caught her heart. As seen on E!Online, PopSugar, CNN, EliteDaily, Vulture, Buzzfeed, Bustle, the Nerd Daily, PARADE, LA Magazine, Country Living, USA Today, and more!

From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.

A pane of glass, not more than 1.5 centimetres thick, divides the shop from the pavement. On one side, the climate-controlled interior welcomes those who can buy ; on the other, the intemperate street is where those who cannot buy may look without paying, in the time-honoured ritual ofwindow-shopping. Glass is technically a solid liquid, a magical paradox linking the `real' world with a world of luxury. At their finest, the displays behind it can be magical, too. The editors of Frame magazine have invited ten couturiers and shops to participate in Forefront, an overview of today's shop window culture.