Brutal Beauty

Brutal Beauty: Aesthetics and Aspiration in Urban India follows a postcolonial city as it transforms into a bustling global metropolis after the liberalization of the Indian economy. Taking the once idyllic “garden city” of Bangalore in southern India as its point of departure, the book explores how artists across India and beyond foreground neoliberalism as a “structure of feeling” permeating aesthetics, selfhood, and everyday life. Jisha Menon conveys the affective life of the city through multiple aesthetic projects that express a range of urban feelings, including aspiration, panic, and obsolescence. As developers and policymakers remodel the city through tumultuous construction projects, urban beautification, privatization, and other templated features of “world‐class cities,” urban citizens are also changing—transformed by nostalgia, narcissism, shame, and the spaces where they dwell and work. Sketching out scenes of urban aspiration and its dark underbelly, Menon delineates the creative and destructive potential of India’s lurch into contemporary capitalism, uncovering the interconnectedness of local and global power structures as well as art’s capacity to absorb and critique liberalization’s discontents. She argues that neoliberalism isn’t just an economic, social, and political phenomenon; neoliberalism is also a profoundly aesthetic project.

A 2022 William C. Morris YA Debut Award Finalist, What Beauty There Is is Cory Anderson's stunning novel about brutality and beauty, and about broken people trying to survive—"Intense, brutal, and searingly honest," perfect for fans of Patrick Ness, Laura Ruby, and Meg Rosoff. To understand the truth, you have to start at the beginning. Ava Bardem lives in isolation, a life of silence. For seventeen years, Ava’s father, a merciless man, has controlled her fate. He’s taught her to love no one. But then she meets Jack. Living in poverty, Jack Dahl is holding his breath. He and his younger brother have nothing—except each other. With their parents gone, Jack faces a stark choice: lose his brother to foster care or find the drug money that sent his father to prison. He chooses the money. Suddenly, Jack’s and Ava’s fates become intimately—and dangerously—linked as Ava’s father hunts for the same money as Jack. When he picks up on Jack’s trail, Ava must make her own wrenching choice: remain silent or speak and fight for Jack’s survival. Choices. They come at a price.

How artists created an aesthetic of “positive barbarism” in a world devastated by World War II, the Holocaust, and the atomic bomb In Brutal Aesthetics, leading art historian Hal Foster explores how postwar artists and writers searched for a new foundation of culture after the massive devastation of World War II, the Holocaust, and the atomic bomb. Inspired by the notion that modernist art can teach us how to survive a civilization become barbaric, Foster examines the various ways that key figures from the early 1940s to the early 1960s sought to develop a “brutal aesthetics” adequate to the destruction around them. With a focus on the philosopher Georges Bataille, the painters Jean Dubuffet and Asger Jorn, and the sculptors Eduardo Paolozzi and Claes Oldenburg, Foster investigates a manifold move to strip art down, or to reveal it as already bare, in order to begin again. What does Bataille seek in the prehistoric cave paintings of Lascaux? How does Dubuffet imagine an art brut, an art unscathed by culture? Why does Jorn populate his paintings with “human animals”? What does Paolozzi see in his monstrous figures assembled from industrial debris? And why does Oldenburg remake everyday products from urban scrap? A study of artistic practices made desperate by a world in crisis, Brutal Aesthetics is an intriguing account of a difficult era in twentieth-century culture, one that has important implications for our own. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size.

"A loving testament to the work and reward of the best friendships, the kind where your arms can’t distinguish burden from embrace.” — People New York Times Bestselling author Ann Patchett’s first work of nonfiction chronicling her decades-long friendship with the critically acclaimed and recently deceased author, Lucy Grealy. Ann Patchett and the late Lucy Grealy met in college in 1981, and, after enrolling in the Iowa Writer’s Workshop, began a friendship that would be as defining to both of their lives as their work. In Gealy's critically acclaimed and hugely successful memoir, Autobiography of a Face, she wrote about losing part of her jaw to childhood cancer, years of chemotherapy and radiation, and endless reconstructive surgeries. In Truth & Beauty, the story isn't Lucy's life or Ann's life, but the parts of their lives they shared together. This is a portrait of unwavering commitment that spans twenty years, from the long cold winters of the Midwest, to surgical wards, to book parties in New York. Through love, fame, drugs, and despair, this is what it means to be part of two lives that are intertwined...and what happens when one is left behind. This is a tender, brutal book about loving the person we cannot save. It is about loyalty and being uplifted by the sheer effervescence of someone who knew how to live life to the fullest.

Greg DeVillers was a top biotech executive, and Kristen Rossum was embarking on a career in toxicology at the San Diego Medical Examiner's office. They seemed to be happily married, living the American dream. But only months shy of their second anniversary, Kristen found her handsome husband dead from a drug overdose-his corpse sprinkled with rose petals. By his side was their wedding photo. The scene was reminiscent of American Beauty, one of Kristen's favorite movies. Authorities deemed it a suicide. Until they discovered that the rare poison found in Greg's body was the same poison missing from Kristen's office. Until they discovered the truth about Kristen's lurid affair, about her own long-time drug addiction, and about the personal and professional secrets she would kill to keep hidden-secrets that would ultimately expose the beautiful blonde as the deadly beauty she really was...a Deadly American Beauty

Though a 1996 peace accord brought a formal end to a conflict that had lasted for thirty-six years, Guatemala's violent past continues to scar its troubled present and seems destined to haunt its uncertain future. George Lovell brings to this revised and expanded edition of A Beauty That Hurts decades of fieldwork throughout Guatemala, as well as archival research. He locates the roots of conflict in geographies of inequality that arose during colonial times and were exacerbated by the drive to develop Guatemala's resources in the nineteenth and early twentieth centuries. The lines of confrontation were entrenched after a decade of socioeconomic reform between 1944 and 1954 saw modernizing initiatives undone by a military coup backed by U.S. interests and the CIA. A United Nations Truth Commission has established that civil war in Guatemala claimed the lives of more that 200,000 people, the vast majority of them indigenous Mayas. Lovell weaves documentation about what happened to Mayas in particular during the war years with accounts of their difficult personal situations. Meanwhile, an intransigent elite and a powerful military continue to benefit from the inequalities that triggered armed insurrection in the first place. Weak and corrupt civilian governments fail to impose the rule of law, thus ensuring that Guatemala remains an embattled country where postwar violence and drug-related crime undermine any semblance of orderly, peaceful life.

Nominated for the Shirley Jackson and Saboteur awards. The tenth anniversary edition of the critically acclaimed short novel, with an introduction by M. R. Carey. Somewhere away from the cities and towns, in the Valley of the Rocks, a society of men and boys gather around the fire each night to listen to their history recounted by Nate, the storyteller. Requested most often by the group is the tale of the death of all women. They are the last generation. One evening, Nate brings back new secrets from the woods; peculiar mushrooms are growing from the ground where the women’s bodies lie buried. These are the first signs of a strange and insidious presence unlike anything ever known before… Discover the Beauty. Also includes the novella The Arrival of Missives.

Surrealism has long been seen as its founder, André Breton,wanted it to be seen: as amovement of love and liberation. In Compulsive Beauty, Foster reads surrealism from its other,darker side: as an art given over to the uncanny, to the compulsion to repeat and the drive towarddeath.To this end Foster first restages the difficult encounter of surrealism with Freudianpsychoanalysis, then redefines the crucial categories of surrealism - the marvelous, convulsivebeauty, objective chance - in terms of the Freudian uncanny,or the return of familar things madestrange by repression. Next, with the art of Giorgio de Chirico, Max Ernst, and Alberto Giacomettiin mind, Foster develops a theory of the surrealist image as a working over of a primal fantasy.This leads him finally to propose as a summa of surrealism a body of work often shunted to itsmargins: the dolls of Hans Bellmer, so many traumatic tableaux that point to difficult connectionsnot only between sadism and masochism butal so between surrealism and fascism.At this pointCompulsive Beauty turns to the social dimension of the surrealist uncanny. First Foster reads thesurrealist repertoire of automatons and mannequins as a reflection on the uncanny processes ofmechanization and commodification. Then he considers the surrealist use of outmoded images as anattempt to work through the historical repression effected by these same processes. In a briefconclusion he discusses the fate of surrealism today ina world become surrealistic.Compulsive Beautynot only offers a deconstructive reading of surrealism, long neglected by Anglo-American arthistory, it also participates in a postmodern reconsideration of modernism, the dominant accounts ofwhich have obscured its involvements in desire and trauma, capitalist shock and technologicaldevelopment.Hal Foster is Associate Professor of Art History and Comparative Literature at CornellUniversity. He is an editor of the journal OCTOBER.

In this book, John Lane calls us to awaken to the possibilities of a culture that recognizes the importance of beauty, and to acknowledge that we are only fully human in contact with the beautiful. Once, people were instinctively tuned to the beautiful. In those distant days before the advent of the motor car and the washing machine, the electric toothbrush and the wheel, craftsmen and musicians, masons and poets, painters and dancers simply did not know how to make an ugly thing; they could not close their hearts to the light of heaven. For countless numbers of them, beauty was as necessary as the air they breathed. It gave dignity and meaning to drab and impoverished lives, and inspired great (but often brutal) civilizations in which people lived creative and useful lives. Beauty is the nourishment of the soul. It is something that gives us dignity as a species, and this lovely volume celebrates it.