An illustrated examination of a work--a Warhol that isn''t by Warhol--that embodies a shift in attitudes about artistic authorship and originality. Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930-2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol''s own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, "I don''t know. Ask Elaine.") In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn''s author, and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.

An illustrated examination of a work—a Warhol that isn't by Warhol—that embodies a shift in attitudes about artistic authorship and originality. Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930–2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol's own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, “I don't know. Ask Elaine.”) In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn's author, and explains that mistaken identity is part of Sturtevant's intention for the operation of the work. She discusses the ways that Sturtevant's methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber's shooting a bullet through a stack of Warhol's Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant's decision to remake the work. Lee writes that Sturtevant's critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges's “Pierre Menard, Author of the Quixote,” who recreates a section of Cervantes's masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant's work as illuminating her broader artistic aims and principles.

The Devil's Historians offers a passionate corrective to common - and very dangerous - myths about the medieval world.

It is often assumed that those outside of academia know very little about the Middle Ages. But the truth is not so simple. Non-specialists in fact learn a great deal from the myriad medievalisms - post-medieval imaginings of the medieval world - that pervade our everyday culture. These, like Lord of the Rings or Game of Thrones, offer compelling, if not necessarily accurate, visions of the medieval world. And more, they have an impact on the popular imagination, particularly since there are new medievalisms constantly being developed, synthesised and remade. But what does the public really know? How do the conflicting medievalisms they consume contribute to their knowledge? And why is this important? In this book, the first evidence-based exploration of the wider public's understanding of the Middle Ages, Paul B. Sturtevant adapts sociological methods to answer these important questions. Based on extensive focus groups, the book details the ways - both formal and informal - that people learn about the medieval past and the many other ways that this informs, and even distorts, our present. In the process, Sturtevant also sheds light, in more general terms, onto the ways non-specialists learn about the past, and why understanding this is so important. The Middle Ages in Popular Imagination will be of interest to anyone working on medieval studies, medievalism, memory studies, medieval film studies, informal learning or public history.

In Restoration London, sixteen-year-old Meg Moore is something of an anomaly. Unlike other girls her age, Meg pores over books. She spends long hours conversing with the famous authors and poets who visit her father's bookstore, and even writes her own stories, laboring over every word until her hand is black with ink. Without warning, however, Meg comes to learn exactly how powerful words can be. The day her best friend's brother Edward sets sail for Italy, Meg scoffs at his attempts at romance by answering him with a thoughtless jest. Soon news travels to London that Edward's ship has been captured and he has been sold as a slave in North Africa – and Meg cannot shake the thought that her cruel words are the cause. Now Meg must use her fiery language to bring Edward home, imploring her fellow Londoners to give all that they can to buy Edward's freedom. But once Meg learns to direct the power behind her words, will she be able to undo the damage she has caused, and write freely the stories that she longs to put to paper? This inspired sequel to At the Sign of the Star continues Meg's story with elegance and élan. A True and Faithful Narrative is a 2007 Bank Street - Best Children's Book of the Year.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 Don’t forget to take note of the cultural roots of your ideas about your value and worthiness. #2 When we are born into this world, we are not aware of gender norms or racism. As we grow, our socialization begins, and we are exposed to the ways the culture and the people around us categorize whose bodies matter and whose don’t. #3 We are all embedded in social systems that value and legitimize certain presentations over others, and these systems impact the ways we feel at home in our bodies. #4 We need to teach ourselves to trust our bodies and stop trying to control things we cannot control. We need to teach ourselves that the body is not an enemy, but a friend that needs to be listened to and respected.