Brenda Zlamany Collection of paintings by rising star painter Brenda Zlamany. Southeast Asian landscapes in bright color and soft focus, and wary, golden portraits of artists...rough and sensual in a style that recalls both Abstract Expressionism and Old Master hands (neat trick!)For all the unblinking realism of the formal portraits, their air is wistful and not at all harsh.The New Yorker

The Colors covers the past three decades of the American art scene, a period during which the prevailing artistic fashion has shifted as often as the focus of the Whitney Biennial, when art and money, talent and celebrity have often been confused. During this period, figures such as Julian Schnabel, Jeff Koons, and Keith Haring have crossed over from the rarefied world of high art into popular culture, and art dealers, like Hollywood power agents, have often claimed as much attention as those they represented. Anthony Haden-Guest has moved within this world, known the players, and delivers here an authoritative and deliciously inside account.Focusing on the lives and personalities of the art world's main players, and with a sure critical component, Haden-Guest gives us vivid portraits of the period's key artists as they strive to fulfill their ambitions. He does justice as well to the machinations of those who have come to control the larger drama -- the dealers, collectors, and museum curators. Filled with incredible anecdotes, dramatically told stories, and subtle critical assessments, True Colors tells the story of the art world that we have never heard before.

Donald Kuspit argues here that art is over because it has lost its aesthetic import. Art has been replaced by "postart," a term invented by Alan Kaprow, as a new visual category that elevates the banal over the enigmatic, the scatological over the sacred, cleverness over creativity. Tracing the demise of aesthetic experience to the works and theory of Marcel Duchamp and Barnett Newman, Kuspit argues that devaluation is inseparable from the entropic character of modern art, and that anti-aesthetic postmodern art is in its final state. In contrast to modern art, which expressed the universal human unconscious, postmodern art degenerates into an expression of narrow ideological interests. In reaction to the emptiness and stagnancy of postart, Kuspit signals the aesthetic and human future that lies with the old masters. The End of Art points the way to the future for the visual arts. Donald Kuspit is Professor of Art History at SUNY Stony Brook. A winner of the Frank Jewett Mather Award for Distinction in Art Criticism, Professor Kuspit is a Contributing Editor at Artforum, Sculpture and New Art Examiner. His most recent book is The Cult of the Avant-Garde (Cambridge, 1994).

"The autobiography of a garden is a set of twelve plates by Andrew Raftery. Based on drawings and paintings of the artist working in his garden during the twelve months of the calendar year, the images were engraved on copperplates. From the copper they were printed onto special decals that were then applied to the twelve earthenware plates, 12.5 inches in diameter, designed by the artist to receive the images. Each month is identified on the reverse by an engraved backstamp. The plates were produced at the Rhode Island School of Design between 2012 and 2016 in an edition of 80. They were first exhibited from September through November 2016 at the Ryan Lee Gallery in New York City."--page [1].

A riveting memoir of disco-era nightlife and the outrageous goings-on behind the doors of New York City’s most famous and exclusive nightclub In the disco days and nights of New York City in the 1970s and 1980s, the place to be was Studio 54. Andy Warhol, Liza Minnelli, and Bianca Jagger were among the nightly assortment of A-list celebrity regulars consorting with New York’s young, wild, and beautiful. Studio 54 was a place where almost nothing was taboo, from nonstop dancing and drinking beneath the coke-dusted neon moon to drugs and sex in the infamous unisex restrooms to the outrageous money-skimming activities taking place in the office of the studio’s flamboyant co-owner Steve Rubell. Author Anthony Haden-Guest was there on opening night in 1977 and over the next decade spent many late nights and early mornings basking in the strobe-lit wonder. But The Last Party is much more than a fascinating account of the scandals, celebrities, crimes, and extreme excesses encouraged within the notorious Manhattan nightspot. Haden-Guest brings an entire era of big-city glitz and unapologetic hedonism to breathtaking life, recalling a vibrant New York night world at once exhilarating and dangerous before the terrible, sobering dawn of the age of AIDS.

Essay by David Cohen. Foreword by Sharon Corwin.