Best Selling Books by Ann Goldstein

The debut novel from the author of My Brilliant Friend in a brand-new edition Following her mother''s untimely death, Delia sets off on a breath-taking odyssey through the chaotic, suffocating streets of her native Naples in search of the truth about her family. Reality is buried in the fertile soil of memory, and Delia digs deep to reconcile the past with the mysterious events leading up to her mother''s death. Spurred by a series of anonymous phone calls, Delia reconstructs her mother''s final days and with every new discovery must face the possibility that her mother was not at all the person Delia believed her to be. To learn the truth and to untangle the knot of lies, passions and memories that bind mother and daughter, Delia must return to the Naples of her childhood.

Published on the occasion of the first survey of Wool''s work at the Los Angeles Museum of Contemporary Art from July to October 1998, this book features all of this artist''s work to date. Drawn from sources in everyday or vernacular culture, Wool''s imagery has ranged from the rolled "wallpaper" images of flowers, vines, or dots, to using rubber-stamps, stencils, or silkscreens. Working with language as image since the late 1980s, Wool has restructured words ("prankster", "adversary", "comedian", "paranoic", "riot", "fool") or common phrases ("cats in the bag", "the show is over", "run dog run") into all-over compositions of stencilled block letters that traverse or grid the picture plane while maintaining the integritiy of their meaning. Recently, Wool has turned from the techniques of image construction to exploring methods of image destruction in the silkscreened, overpainted, and spraypainted works of the mid-1990s.

Reconsidering the Object of Artexamines a generally underexposed (and therefore often misunderstood) period in contemporary art and highlights artists whose practices have inspired much of the most significant art being produced today. It illustrates and discusses many crucial, ground-breaking works that have not been seen within their proper historical context, if they have been individually seen at all. By 1969 such artists as Michael Asher, John Baldessari, Marcel Broodthaers, Dan Graham, Douglas Huebler, Joseph Kosuth, Lawrence Weiner and others had begun to create works using a variety of media that sought to reevaluate certain fundamental premises about the formal, material, and contextual definitions of art. This first comprehensive overview of Conceptual art in English documents the work of fifty-five artists, work that marked a significant rupture with traditional forms and concepts of painting, sculpture, photography, and film. Also included are essays that elucidate the significant aesthetic issues that gave rise, in both America and Europe, to the highly individual, but related, modes of Conceptual art. Lucy Lippard (art historian) writes on the broader sociopolitical milieu in which this work was made; Stephen Melville (Professor of Art History, Ohio State University) probes the theoretical and philosophical underpinnings of Conceptual art; and Jeff Wall (artist) discusses the relationship between Conceptual art and photography. Anne Rorimer and Ann Goldstein (curators of the exhibition the book accompanies) respectively take up the role of language in this work, and discuss each of the artists. Copublished with the Museum of Contemporary Art, Los Angeles

Works spanning the legendary and prolific artist''s twenty-year career, including many of his self-portraits, paintings, sculptures, works on paper, installations, and exhibition posters.

Jennifer Bornstein ISBN 0-914357-93-X / 978-0-914357-93-3 Paperback, 9 x 11 in. / 64 pgs / 10 color and 40 duotones. / U.S. $24.95 CDN $30.00 July / Art

Issued in connection with an exhibition held Sept. 16, 2007-Jan. 7, 2008, Museum of Contemporary Art, Los Angeles.

Ann Goldstein e Domenico Scarpa, una traduttrice e uno studioso che hanno collaborato all''impresa, dialogano su Levi e la traduzione: nel significato artigianale della parola, e nel suo senso più ampio.

Text by Paul Schimmel, Ann Goldstein, Rebecca Morse.

This is the most comprehensive publication ever produced on the work of American artist Barbara Kruger. Kruger, one of the most influential artists of the last three decades, uses pictures and words through a wide variety of media and sites to raise issues of power, sexuality, and representation. Her works include photographic prints on paper and vinyl, etched metal plates, sculpture, video, installations, billboards, posters, magazine and book covers, T-shirts, shopping bags, postcards, and newspaper op-ed pieces. This book serves as the catalog for the first major one-person exhibition of Kruger''s work to be mounted in the United States. The book, designed by Lorraine Wild in collaboration with the artist, contains texts by Rosalyn Deutsche, Katherine Dieckmann, Ann Goldstein, Steven Heller, Gary Indiana, Carol Squiers, and Lynne Tillman on subjects associated with Kruger''s work, including photography, graphic design, public space, power, and representation, as well as an extensive exhibition history, bibliography, and checklist of the exhibition. The cover features a new piece by Kruger, entitled Thinking of You,created especially for the catalog. The exhibition was organized by Ann Goldstein, curator at The Museum of Contemporary Art, Los Angeles. Copublished with The Museum of Contemporary Art, Los Angeles. EXHIBITION SCHEDULE: Museum of Contemporary Art, Los Angeles October 17, 1999-February 13, 2000 Whitney Museum of American Art New York City July 13-October 22, 2000

Privately-owned forests in the U.S. provide ecological and socioeconomic benefits to Americans. At the same time, they challenge common law principles that govern the administration of public goods. There is long-standing tension between private property rights, which entitles forest landowners to make land management decisions about their properties, and the role of state governments in protecting public trust resources on behalf of the general public. Each state chooses to protect public trust resources on private lands in a different way, meaning the U.S. is a patchwork of diverse private forest policy approaches. Describing this range of approaches can help inform policy discussions. Researchers typically administer quantitative surveys to identify policy diversity, but few have utilized qualitative methods to characterize policy approaches to forest management on private lands. This two-part study addresses this gap in literature by sampling the diversity of state-level forest policies present in the U.S. In Chapter 1, I use qualitative interviews with forestry policy experts to provide an in-depth look at different state forest policies across 12 case studies. In Chapter 2, I further explore the California case study to understand its highly regulatory forest policies from a landowner perspective. I interviewed a group of California family forest landowners to understand how they perceive the state''s balance between private property rights and public trust doctrine and how they navigate their regulatory policy environment to successfully achieve their forest management objectives. Examining this cross-section of U.S. forest policy diversity builds additional nuance into traditional frameworks (e.g., voluntary-to-regulatory framings), which allows for key comparisons between states and adds in-depth forest policy expert and landowner perspectives to the body of state-level forest policy literature.

The narrative stories of transformation of childhood cancer survivors were examined in comparison to the established research in the same area. The established research that is available is based on statistical criteria, which examines the quality of life of adult survivors. Based on such criteria, the quality of life of childhood cancer survivors has indicated mixed results indicating that more research is needed to better serve the growing population of survivors. In contrast, this study sought to compare the outcome of a quality of life survey versus the individual stories of survivors. The findings suggest that the survey does not accurately reflect the quality of life of the adult survivors. Also by including narrative stories this study offers a forum for survivors by giving them a voice.