New Releases by Chris Sharp

The Rapture finally comes as one of the most violent storms that Ben''s ever seen. Left behind, he looks for answers, and along the way meets creatures and situations that he thought was only possible in fantasy books. He finds his purpose in the Creator, and embarks on an adventure that he never would have believed possible.

This is the book accompanying the second iteration of the Lulennial, a biennial exhibition mired in paradox, taking place not every two year, and occupying in total 21 square meters of space, at Lulu, in Mexico City. The twenty-two artists were invited to show work that touched one subject matter: fruit. Fruit seems to almost always bring out the comedian in artists, but just as often the alleged humor is a vehicle for serious feelings. With Yuji Agematsu, Kelly Akashi, Deyra Akay, Nina Beier, Luis Miguel Bendaña, Meriem Bennani, Matthew Brannon, Donna Conlon & Jonathan Harker, Jef Geys, Rodrigo Hernandez, Allison Katz, Adriana Lara, Nancy Lupo, Nevine Mahmoud, Aliza Nisenbaum, Naufus Ramírez-Figueroa, Shimabuku, Peter Shire, Gabriel Sierra, Erika Verzutti, Amelie von Wulffen, Maja Vukoje.00Exhibition: Lulu, Mexico City, Mexico (6.2. - 1.4.2018).

When the murderous Simon Rogers is killed in the act of committing a triple homicide, by his victims, the knock-on effects for survivor Morgan Collins are profound.As Morgan struggles to come to terms with what has happened to him and his closest friends, the truths of the stain that was left behind, slowly reveal themselves.Morgan must fight with, and understand, what he is if his sibling Nalla, and anyone else in the city of San Francisco, is to be kept safe and sound at night.With the realisation that no-one in San Francisco is safe, Morgan takes drastic, isolating decisions in order to learn how to deal with the after effects of Simon Rogers'' attack

Published on the occasion of the exhibition Tom Wesselmann: La Promesse du Bonheur, held at the Villa Paloma, Nouveau Musée National de Monaco, this catalogue is a critical overview of a key American pop artist and an important opportunity to analyze specific aspects of his work: Victorian and post-Victorian sexuality, female agency, postwar economic abundance, beauty, the erotics of anticipation, the politics of the gaze and strategies of indeterminacy. Every aspect of the book''s design, including its more than 170 color illustrations, is conceived to reflect on the artist''s haptic, indexical painterly approach and his oversize scale system.

A former New York theater critic - Chris Sharp - and a former Pentagon U.S. Army attorney - Colonel Barrie Vernon - have teamed up in The Bible''s Who''s Who to write possible extra footage in some of the Bible''s most powerful scenes and between the most compelling Biblical personalities. In this Who''s Who that is illuminated by art in the public domain from such great Biblical scene artists as Durer and Rembrandt, the great Biblical narrations are augmented by the theatrical background of Sharp and the legal experience of Colonel Vernon. The Bible''s Who''s Who is written toward becoming a kindling for a new appreciation of the Holy Bible.

"Sonia Leimer’s exhibition ''Autoterritorium'' is dedicated to the many layers, artistic and philosophical, that are an integral part of her work. The staging of the exhibition accentuates her artworks: as ''performers'', as portrayers, stimuli and vessels of specific histories and interpretations of space, time, and body perceptions. In her exhibition, Leimer weaves several performance-based sculptural and multimedia works into a narrative in which specific historical and political threads are brought together, owing and merging in a collective political and personal involvement sphere"--Jürgen Tabor.

In Chris Sharp''s new epic fantasy Cold Counsel, Slud of the Blood Claw Clan, Bringer of Troubles, was born at the heart of the worst storm the mountain had ever seen. Slud’s father, chief of the clan, was changed by his son’s presence. For the first time since the age of the giants, he rallied the remaining trolls under one banner and marched to war taking back the mountain from the goblin clans. However, the long-lived elves remembered the brutal wars of the last age, and did not welcome the return of these lesser-giants to martial power. Twenty thousand elves marched on the mountain intent on genocide. They eradicated the entire troll species—save two. Aunt Agnes, an old witch from the Iron Wood, carried Slud away before the elves could find them. Their existence remained hidden for decades, and in that time, Agnes molded Slud to become her instrument of revenge. For cold is the counsel of women.

“How to Like a Human Being”, by professional teacher and writer Chris Sharp, is a guide book for people who love everyone but don''t really like anyone very much. Sharp draws from his experience as a teacher to discover how people develop obstacles against liking and trusting other people, and using history and a workshop technique he challenges readers to drop these barriers that exclude them from giving and receiving with a more promising human community. But the book carries a warning: Liking people is not as abstract as loving humanity, and it will require more work and courage.

CIRCLES is a collection of ten short stories written over the years, each one containing different characters and locations, humour and tragedy, fantasy and realism, but all share one element - a wicked twist in the tail!

Second century Wales, and the Romans have consolidated their hold on the Celtic Tribes of Western Britain. For the Demetae, they have brought civilisation and peace with their technology, but for other tribes, this same technology is used for brutal occupation. When Cadog, a resistance leader of the oppressed Silures, is caught up in the Demetian Village of Pentre Cothi, he finds a world of peaceful fraternisation between the Natives and the Roman garrison. He also finds love in Rhaonell, the beautiful young widow of the local Chief. Torn between his disgust of what he sees as blatant collaboration with the enemy, and his love for Rhaonell, he decides to leave and return to his own people. But the Fates have other plans when Quintus, an ambitious young Roman Officer, moves quickly to intercept him. His actions precipitate anger and reprisals from a normally peaceful tribe. Coinciding with timultuous events in the North, and trained by the Silurian, the local uprising in this remote part of Britain quickly escalates to the extent that Caesar Hadrian leaves Rome to come to see for himself what is happening to the Western part of his Empire...

War Games in an Urban Village follows the adventures of a Ten-year-old Boy and his peers during the last year of WW11. Under the British austerity of ''Blood, Sweat and Tears'', his simple, regulated Welsh lifestyle is quickly overturned by the appearance of Victoria Courtney, an orphan evacuated from the bombed out slums of Stepney, London. Streetwise and cunning, Vicky soon establishes herself into his unsophisticated young life, neigbourhood and School. Set against the unfolding background of War in Europe, the stories of his escapades with Vicky contain all the ingredients of childhood at that time; fun and humour, sorrow and poignancy, hope and despair. It also includes love and hate...

An anthology of texts and images surveying CACSA@70, the 2012 program of the Contemporary Art Centre of South Australia in its 70th year.

This set of articles about Market Drayton in 1851 is the collective work of the members of the Local History Group of Market Drayton U3A: Meriel Blower, Peter Brown, Kunigunda Gough, David Jenkins, Bill Page, Ian Picton-Robinson, Grace Russell, Chris Sharp and Ros Wells. Each member of the Group chose a subject or subjects which particularly interested them and conducted their research in their own way. The articles were then lightly edited by Peter Brown, mainly to minimise duplication and to try to ensure consistency. This book does not pretend to be a compre¬hensive portrait of the Market Drayton area in 1851. Many relevant topics have been omitted or covered only sketchily - sometimes because the source material was not readily available, sometimes because nobody in the Group possessed the necessary background knowledge or interest. Nevertheless, we hope the reader will find much of interest about the town and its surrounding area in a time of transition.

Ian Pedigo''s work is located between found-object assemblage and three-dimensional collage. Removing materials from their original context and incorporating their associative qualities in new forms, he creates objects already in a state of temporal change. Fibre board, magazine clippings, concrete, fabric, and plastic cups are arranged and integrated so as to coax out poetic visual subtleties. These new structures and formal tableaux are imbued with formal and conceptual concerns proper to both painting and sculpture.

Nagtzaam''s meticulous graphite-gray pencil drawings are often abstract, geometric but also seek to be representations of a concrete reality or space. His drawings take up the entire page and appear almost impenetrable. After a series of artist publications this book is the first monograph with a broad selection of his work from 1995 to today.