The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

An eye-opening biography of one of the most influential psychiatrists of the modern age, drawing from his lectures, conversations, and own writings. "An important, firsthand document for readers who wish to understand this seminal writer and thinker." —Booklist In the spring of 1957, when he was eighty-one years old, Carl Gustav Jung undertook the telling of his life story. Memories, Dreams, Reflections is that book, composed of conversations with his colleague and friend Aniela Jaffé, as well as chapters written in his own hand, and other materials. Jung continued to work on the final stages of the manuscript until shortly before his death on June 6, 1961, making this a uniquely comprehensive reflection on a remarkable life. Fully corrected, this edition also includes Jung's VII Sermones ad Mortuos.

"Essential reading for anyone who wants to understand history – and then go out and change it." –President Barack Obama Nelson Mandela was one of the great moral and political leaders of his time: an international hero whose lifelong dedication to the fight against racial oppression in South Africa won him the Nobel Peace Prize and the presidency of his country. After his triumphant release in 1990 from more than a quarter-century of imprisonment, Mandela was at the center of the most compelling and inspiring political drama in the world. As president of the African National Congress and head of South Africa's antiapartheid movement, he was instrumental in moving the nation toward multiracial government and majority rule. He is still revered everywhere as a vital force in the fight for human rights and racial equality. Long Walk to Freedom is his moving and exhilarating autobiography, destined to take its place among the finest memoirs of history's greatest figures. Here for the first time, Nelson Rolihlahla Mandela told the extraordinary story of his life -- an epic of struggle, setback, renewed hope, and ultimate triumph. The book that inspired the major motion picture Mandela: Long Walk to Freedom.

In the 1950s and early 1960s, Allen Ginsberg and his fellow Beats led an insurrection that profoundly altered the American literary and cultural landscapes. Collected here are journal entries culed from eighteen notebooks that Ginsberg kept during this extraordinary period -- thoughts, poems, dreams, reflections, and diary notes that intimately illuminate Ginsberg's actual travels and his mental journeys. They reveal a remarkable and fascinating life: conversations with William Carlos Williams; drug experiences; a chance meeting with Dylan Thomas; stays in Mexico, San Francisco, and New York; first impressions of "Naked Lunch"; bits and peices of "America, Kaddish" and other poems; political "ravings"; and, of course, times with William S. Burroughs, Jack Kerouac, Gergory Corso, Herbert Huncke, Peter Orlovsky, and many, many others.

Robert Smithson (1938-1973), one of the most important artists of his generation, produced sculpture, drawings, photographs, films, and paintings in addition to the writings collected here.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

Fifty years after the British annexed the Punjab and made Lahore its provincial capital, the city—once a prosperous Mughal center that had long since fallen into ruin—was transformed. British and Indian officials had designed a modern, architecturally distinct city center adjacent to the old walled city, administered under new methods of urban governance. In Making Lahore Modern, William J. Glover investigates the traditions that shaped colonial Lahore. In particular, he focuses on the conviction that both British and Indian actors who implemented urbanization came to share: that the material fabric of the city could lead to social and moral improvement. This belief in the power of the physical environment to shape individual and collective sentiments, he argues, links the colonial history of Lahore to nineteenth-century urbanization around the world. Glover highlights three aspects of Lahore’s history that show this process unfolding. First, he examines the concepts through which the British understood the Indian city and envisioned its transformation. Second, through a detailed study of new buildings and the adaptation of existing structures, he explores the role of planning, design, and reuse. Finally, he analyzes the changes in urban imagination as evidenced in Indian writings on the city in this period. Throughout, Glover emphasizes that colonial urbanism was not simply imposed; it was a collaborative project between Indian citizens and the British. Offering an in-depth study of a single provincial city, Glover reveals that urban change in colonial India was not a monolithic process and establishes Lahore as a key site for understanding the genealogy of modern global urbanism. William J. Glover is associate professor of architecture at the University of Michigan.