Search results for ""author rachel kushner""

The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist’s lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston’s breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images - a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist’s grandmother in the moody interior of their family’s Sumner, Mississippi home - The Outlands is emblematic of Eggleston’s dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition. Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston’s oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.

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From the Booker-shortlisted author of The Mars Room, a career-spanning collection of spectacular essays about politics and culture.In The Hard Crowd, Rachel Kushner gathers a selection of her writing from over the course of the last twenty years that addresses the most pressing political, artistic, and cultural issues of our times - and illuminates the themes and real-life terrain that underpin her fiction.In razor-sharp essays spanning literary journalism, memoir, cultural criticism, and writing about art and literature, Kushner takes us from Jeff Koons and Marguerite Duras to a Palestinian refugee camp, from her love of classic cars to her young life in the music scene of San Francisco. The closing, eponymous essay is her manifesto on nostalgia, doom, and writing.'I'm glad to taste something this sharp, this smart' Olivia Laing'Wild, wide-ranging and unsparingly intelligent throughout' Vogue'An exciting book... Kushner writes from the inside out and gives us the true story, the real deal' Kevin Barry, New Statesman, Books of the Year

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FROM THE MAN BOOKER PRIZE SHORTLISTED AUTHOR OF THE MARS ROOMSHORTLISTED FOR THE FOLIO PRIZE 2014LONGLISTED FOR THE BAILEYS WOMEN'S PRIZE FOR FICTIONReno mounts her motorcycle and sets a collision course for New York. In 1977 the city is alive with art, sensuality and danger. She falls in with a bohemian clique colonising downtown and the lines between reality and performance begin to bleed.A passionate affair with the scion of an Italian tyre empire carries Reno to Milan, where she is swept along by the radical left and drawn into a spiral of violence and betrayal.The Flamethrowers is an audacious novel that explores the perplexing allure of femininity, fakery and fear. In Reno we encounter a heroine like no other.Best Books of the Year: * Guardian * New York Times * The Times * Observer * Financial Times * New Yorker * Telegraph * Slate * Oprah * Vogue * Time * Scotsman * Evening Standard * Shortlisted for the National Book Awards 2013

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*LONGLISTED FOR THE 2024 BOOKER PRIZE* Named a Most Anticipated Book of 2024 by LitHub, The Millions, Vogue, Harper's Bazaar, The Guardian, Publishers Weekly, and more! ';At last I get to say how deeply, madly, irrecoverably I loved Creation Lake...it was all stylish and cool, and then somehow the book struck a blow to my heart.' Louise Erdrich, Kirkus From Rachel Kushner, a Booker Prize finalist, two-time National Book Award finalist, and ';one of the most gifted authors of her generation' (The New York Times Book Review), comes a new novel about a seductive and cunning American woman who infiltrates an anarchist collective in Francea propulsive page-turner of glittering insights and dark humor.Creation Lake is a novel about a secret agent, a thirty-four-year-old American woman of ruthless tactics, bold opinions, and clean bea

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SHORTLISTED FOR THE MAN BOOKER PRIZE 2018A NEW YORK TIMES BESTSELLER From the author of internationally acclaimed The Flamethrowers – a fearless and heartbreaking novel about love, friendship and incarceration.Romy Hall is starting two consecutive life sentences at Stanville Women’s Correctional Facility. Her crime? The killing of her stalker. Inside awaits a world where women must hustle and fight for the bare essentials. Outside: the San Francisco of her youth. The Mars Room strip club where she was once a dancer. Her seven-year-old son, Jackson. As Romy forms friendships over liquor brewed in socks and stories shared through sewage pipes her future seems to unfurl in one long, unwavering line – until news from beyond the prison bars forces Romy to try and outrun her destiny.'Kushner is one of our most outstanding modern writers' STYLIST'More knowing about prison life [than Orange Is The New Black]... so powerful' NEW YORK TIMES'Breathtaking' VOGUE

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**SHORTLISTED FOR THE BOOKER PRIZE 2024****INSTANT NEW YORK TIMES BESTSELLER**'Imagine Slow Horses' Jackson Lamb in the body of Jodie Comer's character in Killing Eve' SUNDAY TIMES'The most exciting writer of her generation' BRET EASTON ELLIS'Reinvents the spy novel in one cool, erudite gesture' HERNAN DIAZ'Compulsively readable... Kill Bill written by John le Carre' OBSERVERSeductive and cunning American spy-for-hire Sadie Smith has been sent by her mysterious but powerful employers to a remote corner of France.Her mission: to infiltrate a commune of radical eco-activists influenced by the beliefs of an enigmatic elder, Bruno Lacombe, who has rejected civilisation, lives in a Neanderthal cave, and believes the path to enlightenment is a return to primitivism.Sadie casts her cynical eye over this region of ancient farms and sleepy villages, and fi

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An acidic portrait of the grifters and pretenders of the art world, from the celebrated author of The Mars Room In Rachel Kushner’s latest work of fiction, The Mayor of Leipzig, an unnamed artist recounts her travels from New York City to Cologne—where she contemplates German guilt and art-world grifters, and Leipzig—where she encounters live “adult entertainment” in a business hotel. The narrator gossips about everyone, including the author. “Taking a time out from what happened to me in Cologne and in Leipzig,” Kushner writes, “I want to let you in on a secret: I personally know the author of this story you’re reading. Because she fancies herself an art world type, a hanger-on. Who would do that voluntarily? I mean, it’s not like someone held a gun to my head and said, Be an artist. I chose it, but I still can’t imagine having anything to do with the art world if you don’t have to. Also, people who don’t make stuff, who instead try to catalogue, periodize, and understand art, they never understand the first thing. Art is about taste, a sense of humor, and most writers lack both.” Rachel Kushner (born 1968) is the author of The Flamethrowers (2013) and The Mars Room (2018). Her debut novel, Telex from Cuba, was a finalist for the 2008 National Book Award and a New York Times bestseller and Notable Book. A collection of her early work, The Strange Case of Rachel K, was published by New Directions in 2015. Her fiction has appeared in the New Yorker, Harper’s and the Paris Review.

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“I was inspired by the way a car can steal the show. Think of iconic car chases in films—it’s often about spectacle, and has little to do with advancing a narrative. And that’s the way I think of these cars, as dead-end technologies, but also as high-performance machines which, for their audience, sought to reflect the spirit and attitudes of their time.” —Matthew Porter Matthew Porter presents a portfolio of twenty-five images of old-school cars, captured in midair as they careen over city streets and highway intersections. Each photograph is a freeze-frame—a hypothetical film still from a pulp-fiction chase scene. The series seems, on one hand, to distill the essence of muscle-car Americana, a pop-cultural semaphore for the high-testosterone male persona. And yet, on the other, the subject—the “all-American” muscle car as antihero—is caught in an eternal state of suspended animation, while the various elements of the landscape in the background organize themselves around the edges of the frame. The resulting pictures are a hybrid of hyperreality and studied, topographic description, part bittersweet nostalgia and part ironic reinvention of a classic American trope. Rachel Kushner contributes an original piece of writing that riffs on the aesthetic and aspirational nature of the American car.

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Marguerite Duras was one of the leading intellectuals and novelist of post-war France, but her wartime writings were not published in full until after her death. The Wartime Notebooks trace Duras's formative experiences - including her difficult childhood in Indochina and her harrowing wait for her husband's return from Nazi internment - revealing the personal history behind her bestselling novels. The Lover is the best known of these; set in pre-war Indochina, its haunting tale of a tumultuous affair between an adolescent French girl and her wealthy Chinese lover is based on her own life. In spare and luminous prose, Duras evokes life on the margins in the waning days of France's colonial empire, and the passionate relationship between two unforgettable outcasts. Practicalities is a collection of small and intensely personal pieces Duras dictated near the end of her life. These deceptively simple meditations on motherhood, domesticity, sex, love, alcohol, writing, and more are witty, earthy, outspoken and surprisingly fresh and relevant to the same issues today.

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Named by the New Yorker as one of the best books of 2022, this posthumously published work serves as the fourth and final volume in Anne Truitt’s remarkable series of journals “Impressive. . . . Truitt lyrically looks back on 80 years of life. . . . [T]hese daily entries . . . offer a version of Truitt free of artifice as she meditates on the sacred and mundane. . . . This sparks with intelligence.”—Publishers Weekly “Truitt wrote as she sculpted, returning to the past again and again to find fresh truths. . . . A model of discipline and open-ended inquiry and a welcome counterweight to the kind of anxieties that so often accompany a creative practice.”—Megan O’Grady, New Yorker “In its stripped-down intimacy, Yield shows Truitt at her most eloquent in demonstrating, as her sculptures do, that all revelation in art is self-revelation.”—Donna Rifkind, Wall Street Journal In the spring of 1974, the artist Anne Truitt (1921–2004) committed herself to keeping a journal for a year. She would continue the practice, sometimes intermittently, over the next six years, writing in spiral-bound notebooks and setting no guidelines other than to “let the artist speak.” These writings were published as Daybook: The Journal of an Artist (1982). Two other journal volumes followed: Turn (1986) and Prospect (1996). This book, the final volume, comprises journals the artist kept from the winter of 2001 to the spring of 2002, two years before her death. In Yield, Truitt’s unflinching honesty is on display as she contemplates her place in the world and comes to terms with the intellectual, practical, emotional, and spiritual issues that an artist faces when reconciling her art with her life, even as that life approaches its end. Truitt illuminates a life and career in which the demands, responsibilities, and rewards of family, friends, motherhood, and grandmotherhood are ultimately accepted, together with those of a working artist.

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Between art, engineering and architecture: recent works by Robert Grosvenor This monograph on Robert Grosvenor (born 1937)—known for his large-scale architectural sculptures—accompanies his third solo exhibition at Karma and concurrent exhibition at Galerie Max Hetzler, presenting recent works of sculpture alongside an essay by renowned curator and critic Bob Nickas.

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