Lucy Sante

#2

#1 New York Times bestselling author Jonathan Kellerman writes unforgettable tales of crime and detection that expose the shadowy side of glittering Los Angeles. And in Evidence, readers are once again in the dexterous grip of a master storyteller and stylist equally skilled at teasing your brain and taking your breath away.In the half-built skeleton of a monstrously vulgar mansion in one of L.A.'s toniest neighborhoods, a watchman stumbles on the bodies of a young couple--murdered in flagrante and left in a gruesome postmortem embrace. Though he's cracked some of the city's worst slayings, veteran homicide cop Milo Sturgis is still shocked at the grisly sight: a twisted crime that only Milo's killer instincts--and psychologist Alex Delaware's keen insights--can hope to solve.While the female victim's identity remains a question mark, her companion is ID'd as eco-friendly architect Desmond Backer, who disdains the sort of grandiose superstructure he's found dead in. And the late Mr. Backer, it's revealed was also notorious for his power to seduce women. The rare exception is his ex-boss, Helga Gemein, who's as indifferent to Desmond's death as she apparently was to his advances. Though Milo and Alex place her on their short list of suspects, the deeper they dig for clues the longer the list grows. An elusive prince who appears to harbor decidedly American appetites, an eccentric blueblood with an ax to grind, one of Desmond's restless ex-lovers and her cuckolded husband--all are in the homicidal mix spiced with eco-terrorism, arson, blackmail, conspiracy, and a vendetta that runs deep. But when the investigation veers suddenly in a startling direction, it's the investigators who may wind up on the wrong end of a cornered predator's final fury.From the Hardcover edition.

#3

2001

Walker Evans (1903-1975) was one of the most important of twentieth-century American photographers. His photographs of the Depression years of the 1930s, his assignments for Fortune magazine in the 1940s and 1950s, and his "documentary style" influenced generations of photographers and artists. His attention to everyday details and the commonplace urban scene did much to define the visual image of 20th-century American culture. Some of his photographs have become iconic. Conceived as a retrospective of Evans's work as a whole, the Centre Pompidou exhibition presents three hundred vintage prints in a novel and revelatory thematic organisation. It highlights the photographer's recurrent concern with roadside buildings, window displays, signs, typography and faces, offering an opportunity to grasp what no doubt lies at the heart of Walker Evans' work: the passionate quest to identify the fundamental features of American vernacular culture.^ In an interview of 1971, he explained the attraction as follows: "You don't want your work to spring from art; you want it to commence from life, and that's in the street now. I'm no longer comfortable in a museum. I don't want to go to them, don't want to be 'taught' anything, don't want to see 'accomplished' art. I'm interested in what's called vernacular. For example, finished, I mean educated, architecture doesn't interest me, but I love to find American vernacular". In the English-speaking countries, and in America more notably, the term "vernacular" designates those popular or informal forms of expression used by ordinary people for everyday purposes --^ essentially meaning all that falls outside art, outside the recognised networks of production and legitimation, and which in the US thus serves to define a specifically American culture. It is all the little details of the everyday environment that make for "Americanness": wooden roadside shacks, the way a shopkeeper lays out his wares in the window, the silhouette of the Ford Model T, the pseudo-cursive typography of Coca-Cola signs. It is a crucial notion for the understanding of American culture. It is to be found in the literature as early as the 19th century, but it is only in the late 1920s that it is first deployed in a systematic study of architecture. Its importance in American art would be theorised in the 1940s, by John Atlee Kouwenhoven, a professor of English with a particular interest in American studies who was close to Walker Evans himself.^ After an introductory section that looks at Evans's modernist beginnings, the exhibition introduces the subjects that would fascinate him throughout his career: the typography of signs, the composition of window displays, the frontages of little roadside businesses, and so on. It then goes on to show how Evans himself adopted the methods or visual forms of vernacular photography in becoming, for the time of an assignment, an architectural photographer, a catalogue photographer, an ambulant portrait photographer, while all the time explicitly maintaining the standpoint of an artist. This exhibition is the first major museum retrospective of Evans's work in France. Unprecedented in its ambition, it retraces the whole of his career, from his earliest photographs in the 1920s to the Polaroids of the 1970s, through more than 300 vintage prints drawn from the most important American institutions (among them the Metropolitan Museum and the Museum of Modern Art, New York, the J.^ Paul Getty Museum, Los Angeles, the Art Institute of Chicago, and the National Gallery of Art, Washington D.C.) and also more than a dozen private collections. It also features a hundred or so other exhibits drawn from the post cards, enamel signs, print images and other graphic ephemera that Evans collected his whole life long. -- Centre Pompidou website