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Including Virginia Woolf, E.M. Forster, and Lytton Strachey, they called themselves the Bloomsbury Group and by the 1920s, were incredibly influential in their fields. As the years went on, a new generation of creators arrived on the scene to reinvigorate the aging Bloomsburries. Now, these provocative artists and writers are finally given their long-awaited due with this exploration by a descendant of one of the original Bloomsbury Group members. Featuring a colorful cast of characters, including the bisexual sculptor Stephen Tomlin who had affairs with multiple members of the group; novelist and music critic Eddy Sackville-West, \"who wore elaborate make-up and dressed in satin and black velvet\"; and photographer and designer Cecil Beaton, whose iconic photographs of the group prevented them from fading from memory. 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Out of the activist group ACT UP (AIDS Coalition to Unleash Power), an art collective that called itself Gran Fury was formed, to create graphics and media that campaigned against corporate greed, government inaction, and public indifference to AIDS.In \u003ci\u003eIt Was Vulgar and It Was Beautiful\u003c\/i\u003e, writer Jack Lowery examines Gran Fury's art and activism, from the iconic images like the Kissing Doesn't Kill poster, to the act of dropping thousands of fake bills onto the trading floor of the New York Stock Exchange. Lowery offers a complex, moving portrait of a group that expressed through art the profound trauma of surviving the AIDS crisis and formed essential solidarities between gays and lesbians in the activist community.Gran Fury and ACT UP's strategies are today employed by a variety of activist groups, including survivors of school shootings, harm reduction organizers, and activists for universal healthcare. 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Updated and timed for the 60th anniversary (Thanksgiving Day, 1942) of this movie, this critically acclaimed book draws upon years of research, including access to Ingrid Bergman's personal acting diaries and the vast Warner Brothers archives, as well as interviews with many of those close to the film, including the late Paul Henreid, Lauren Bacall, and scriptwriters Howard Koch and Julius Epstein. 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Tony Tetro, one of the most renowned art forgers in history, will make you question every masterpiece you've ever seen in a museum, gallery, or private collection. Tetro's \"Rembrandts,\" \"Caravaggios,\" \"Miros,\" and hundreds of other works now hang on walls around the globe. In 2019, it was revealed that Prince Charles received into his collection a Picasso, Dali, Monet, and Chagall, insuring them for over 200 million pounds, only to later discover that they're actually \"Tetros.\" And the kicker? In Tony's words: \"Even if some tycoon finds out his Rembrandt is a fake, what's he going to do, turn it in? Now his Rembrandt just became motel art. Better to keep quiet and pass it on to the next guy. It's the way things work for guys like me.\" The Prince Charles scandal is the subject of a forthcoming feature documentary with Academy Award nominee Kief Davidson and coauthor Giampiero Ambrosi, in cooperation with Tetro. Throughout Tetro's career, his inimitable talent has been coupled with a reckless penchant for drugs, fast cars, and sleeping with other con artists. He was busted in 1989 and spent four years in court and one in prison. His voice--rough, wry, deeply authentic--is nothing like the high society he swanned around in, driving his Lamborghini or Ferrari, hobnobbing with aristocrats by day, and diving into debauchery when the lights went out. He's a former furniture store clerk who can walk around in Caravaggio's shoes, become Picasso or Monet, with an encyclopedic understanding of their paint, their canvases, their vision. For years, he hid it all in an unassuming California townhouse with a secret art room behind a full-length mirror. (Press #* on his phone and the mirror pops open.) 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But only a select few have unrestricted access to every nook and cranny. They're the guards who roam unobtrusively in dark blue suits, keeping a watchful eye on the two million square foot treasure house. Caught up in his glamorous fledgling career at \u003ci\u003eThe\u003c\/i\u003e \u003ci\u003eNew Yorker\u003c\/i\u003e, Patrick Bringley never thought he'd be one of them. Then his older brother was diagnosed with fatal cancer and he found himself needing to escape the mundane clamor of daily life. So he quit \u003ci\u003eThe New Yorker\u003c\/i\u003e and sought solace in the most beautiful place he knew. To his surprise and the reader's delight, this temporary refuge becomes Bringley's home away from home for a decade. We follow him as he guards delicate treasures from Egypt to Rome, strolls the labyrinths beneath the galleries, wears out nine pairs of company shoes, and marvels at the beautiful works in his care. Bringley enters the museum as a ghost, silent and almost invisible, but soon finds his voice and his tribe: the artworks and their creators and the lively subculture of museum guards--a gorgeous mosaic of artists, musicians, blue-collar stalwarts, immigrants, cutups, and dreamers. As his bonds with his colleagues and the art grow, he comes to understand how fortunate he is to be walled off in this little world, and how much it resembles the best aspects of the larger world to which he gradually, gratefully returns. 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For the first time in its history, the city's vast and priceless Imperial collection was carefully catalogued. Everything, from ornate jade carvings to exquisite jewels and historical archives, was counted and noted for the future Palace Museum. But even as the museum opened to international acclaim, tensions were rising in China. Rival factions rose up to destabilize the newly formed Republic of China and by 1932, Japanese pilots were bombing Shanghai. In the increasingly vulnerable city of Peking, the Palace Museum's curator made a difficult and monumental decision: to safeguard the treasures, they would need to be evacuated. The task seemed impossible--the museum housed over a million objects that ranged from heavy thrones to impossibly fragile porcelain masterworks. Which objects would be saved? Where would they be hidden? And how could they be safely packed and transported? 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