Showing results by narrator "Dana" in All Categories

Felicity is on route to Beau to marry the Duke. However, when she arrives, Alistair, the prince, and heir to the throne catches her eye. His late night disappearances and roguish attitude send Felicity down a mysterious and strange path. When her best friend, the beautiful Anne, comes to town, everything takes a strange turn. Felicity must decide between love or power - before it's too late. The beggar who cursed the beast had a bigger story than anyone could have imagined.

Alice Liddell, sweetly dignified, the inspiration for the heroine of Alice in Wonderland, is posed and identified as Pomona, goddess of abundance, in a marvelous 1872 photograph by the irrepressible Julia Margaret Cameron; appropriately she is the cover girl for this lavish standalone publication, which also acted as the catalogue accompanying the recent exhibition of the same title at the National Gallery of Art, Washington, (October 31 2010-January 30 2011), and the Museé d'Orsay Paris, March 6 - May 29, 2011).

Linnaeus Tripe? Shades of a minor character in Dickens or Trollope, but in fact the resoundingly named Tripe (1822-1902), army officer and photographer, was the sixth son and ninth child of a professional middle-class family from Devonport, his father a surgeon in the Royal Navy. He joined, as so many of his background did - younger son, but of a certain social status - the East India Company's army (the 12th Madras Native Infantry) aged only 17, the third Tripe son to do so.

EM Forster's famous dictum "Only connect!" is often quoted out of context but it is a resoundingly emotive phrase which might also be taken as the motto for the first major excursion by the National Gallery, London, into the history, portent and meaning of photography as a medium. Before Seduced by Art: Photography Past and Present, the National Gallery has only exhibited the work of a contemporary photographer on one occasion.

Marina Vaizey reviews the work of Julia Margaret Cameron, Victorian photographer, exhibited at the Victoria and Albert, and Science Museum London.

The dazzling exhibition of Horst at the Victoria and Albert is particularly apt: classically trained in avant garde design and architecture, Horst was involved as a precociously successful photographer for Condé Nast publications, not only with the leading fashion houses, but the social and artistic élite. And he took sustained inspiration from the isms of art - past and present. In the thirties he photographed costumes by Dali and used props from Giacometti furniture. Dali designed a set for a photograph for Horst to take for American Vogue, with dresses by Hattie Carnegie.

This ample exhibition - 150 or so photographs, and a small complementary display of well chosen magazines, showing a succinct number in published form - by Man Ray (1890-1976) is described as the first to concentrate exclusively on his portraits. He was born in Philadelphia as Michael Emmanuel Radnitzky, the eldest child of Russian Jewish immigrants (the father's classic occupation for someone of his ethnicity and class that of a tailor); the family moved to Brooklyn in 1897, the first of Man Ray's advantageous geographical relocations.

In a 1968 photograph a US Marine pauses for thought, inadvertently echoing those renaissance paintings of meditating scholars, holding his helmet rather than a book - but this is a quiet moment in the battle for Hue. It is McCullin's photographs which helped to define the savage war in Vietnam for Britain, and beyond. Some is unbearably sad: a young North Vietnamese soldier, a casualty of Hue, stares sightlessly at the photographer, his hands outstretched to the detritus of his pockets, scattered on the earth beside the body.

One of Shakespeare's most often quoted lines, from Hamlet, simply asserts that "There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy." The current retrospective at Tate Britain of the art of Richard Long, the first in London since the Arts Council's Hayward Gallery show in 1991, has been titled Heaven and Earth by Long himself, a phrase he had earlier used for specific works of art.

The extraordinary exhibition of thousands of photographs ranging from cumbersome, beautifully detailed, sharply acute photographs of the aftermath of the 1860s American Civil War to mundane landscapes taken in 2013, are based on an enlivening, provocative, and even perhaps controversial organizing principle. What is novel is the unusual premise: eschewing more conventional and immediate reportage, or documentary series, the selection moving from gallery to gallery - and section by section in the catalogue - is defined by time.

Major discoveries can still be made in the field of visual art, but few perhaps are quite so surprising as the current first retrospective devoted to the French photographer Camille Silvy at the National Portrait Gallery, London (to October 24).

Several hundred photographs of varying scales, and most of them newly printed gelatin silver prints, in superb tones of greys, blacks, and whites, take us into a world that has been subliminally familiar to us for nearly 50 years. Stardust is the title given to this self-selected retrospective, three years in the making, the photographer his own curator, and the word neatly encapsulates the fascinating conundrum of photography itself. As Bailey himself puts it, "It's not the camera that takes the picture, it's the person," and these photographs are as much about Bailey as his subject.

Reviews events in the London Festival of the Cultural Olympiad. Writer Alexandra James visits a variety of exhibitions, music, and performances, staged through July 2012, witnessing a range of creative voices drawn from the international arena.

Stell dir vor, der mächtigste Mann der Welt wäre ein gefährlicher Egomane... Als die Bürger der USA einen unberechenbaren Demagogen zum Präsidenten wählen, hält die Welt den Atem an. Kaum jemand weiß: Bereits kurz nach Amtsantritt ordnet der Präsident fast einen Nuklearstreich an, nachdem ein Wortgefecht mit dem Machthaber von Nordkorea aus dem Ruder läuft. Eins ist den Mitwissern klar: Jemand muss etwas unternehmen, oder die Welt steht kurz vor einem dritten Weltkrieg.

Dead in Bed by Bailey Simms follows Ashley Young after a sexually transmitted plague breaks out in her small town. When the plague begins leaving its victims with bizarrely amplified libidos, Ashley has to be willing to do anything - no matter how difficult or morally questionable - in order to survive. Meanwhile, a meta-narrative follows Bailey Simms, teen author of Dead in Bed, while she's stuck writing at home with a rare medical condition.

Once upon a time in Düsseldorf, in the 1970s, there was an astonishing art academy, the Kunstakademie, with amazing teachers, and amazing students. Düsseldorf was a very proud art city, and even published at the time, a book of photographs called Düsseldorf City of Artists. The presence of that great, messianic leader, Joseph Beuys loomed large. Gerhard Richter, (and Gotthard Graubner among others), taught painting, and an outstanding couple, Bernd and Hilla Becher, taught photography.

Education, employment, and home ownership have long been considered stepping stones to the middle class. But in Abandoned Families, social policy expert Kristin Seefeldt shows how many working families have access only to a separate but unequal set of poor-quality jobs, low-performing schools, and declining housing markets, which offer few chances for upward mobility. Through in-depth interviews over a six-year period with women in Detroit, Seefeldt charts the increasing social isolation of many low-income workers.

Tucked at the end of a narrow, crooked street in the Mediterranean city of Valencia, you may be surprised to come upon an ancient public bathhouse, a surprising relic from another time. The Admiral's Baths have stood sentry here for 700 years, through wars, reconstruction, epidemics, and the Inquisition - and still stand today. If only these walls could talk, you might think. What stories lie beneath those star-carved ceilings, across these tiled floors....

Chrissi Camden finds herself on a mysterious and spontaneous journey to the ancient King Roi, who may be able to lift her life-long and deadly curse. Unfortunately, the king calls her on this journey with not just her best friend, the intelligent Phil, but her archenemy and the rebel of their school. Together, the four make their way on a journey they never anticipated in a land much, much different than home, where a supernatural war takes place before their very eyes.

Raelyn, Symba, and Blue are back with twice as much drama as before. Will these three friends be able to juggle a rocky friendship after lies begin surfacing? And more importantly, will they be able to hold onto the relationships with the very men who were deceiving them? Canyon and Caesar were living the life before their entire world came crashing down around them. With the Feds sniffing around, they now have to be on their Ps and Qs if they don't want their entire organization to crumble.