A stunning tour through the renowned, wide-ranging collection of contemporary art at Ghent's Municipal Museum for Contemporary Art (S.M.A.K.) The Stedelijk Museum voor Actuele Kunst (translated as the Municipal Museum of Contemporary Art and commonly abbreviated as S.M.A.K.), located in Ghent, Belgium, has quickly established a reputation for both a superlative permanent collection and provocative exhibitions since it opened to the public in 1999. The museum's collection focuses on international developments in art after 1945, including works by artists such as Francis Alys, Francis Bacon, Joseph Beuys, Marcel Broodthaers, Luc Tuymans, and Bruce Nauman. S.M.A.K. Highlights for a Future showcases the full range and exceptional quality of the museum's holdings, illustrating some 200 artworks, from well-known masterpieces to less-familiar, recent acquisitions. Distributed for Mercatorfonds

The Schulhofs were unique among American collectors, as they sought art with a truly international dimension; Milan, Rome, Paris, Dusseldorf, Basel, London, Kassel, Venice, Pittsburgh, and New York were just a few of the many destinations for the late Hannelore and Rudolph Schulhof in over fifty years of collecting art. Starting in the early 1950s, together they built a collection that continues to inspire and educate future generations-from the powerful elegance of Richard Serra's Schulhof's Curve to Eduardo Chilida's exquisite ironworks and works on paper by artists such as Robert Smithson, Mark Rothko, and Cy Twombly. The collectors' interest in minimalism is reflected in works by Ellsworth Kelly, Robert Mangold, Agnes Martin, and Robert Ryman. This handsome volume showcases the thoughtful and highly personal texture of the Schulhof Collection.

What if Ayrton Senna had survived his Imola 1994 accident? What if Gilles Villeneuve hadn't died at Zolder in 1982? What if Stirling Moss hadn't crashed at Goodwood in 1962? What if Alberto Ascari had survived his 1955 testing-accident at Monza? This book explores those rivalries by assuming that drivers' injuries from crashes were not fatal, and pits the drivers up against their peers once more.

In a world, in which camcorders and CCTV are witness to our every move and Big Brother and The Blair Witch Project are phenomenally popular and widely imitated, the divide between reality and liction has become increasingly blurred. Understanding Realism aims to explain and make accessible a concept central to the understanding of film and television studies. It is the second in a series of short orientation texts geared to the formal study of the moving image. Using a selection of the critical approaches, Understanding Realism examines the complex relationship between the moving image and appearance and reality. Deploying the films One Fine Day and Clerks as major case studies. Richard Armstrong's indepth treatment considers in turn the roles that narrative, genre, audience and ideolgy play in relation to realism in mainstream Hollywood and US independent film. He also discusses how it is possible to reconcile the Impression that what is being watched is reality with the knowledge that it is not. This introductory book written by an experienced film studies tutor, provides an accessible overview of a concept key to the understanding of contemporary media.

The first in-depth study of its subject, this book seeks to historically account for a type of modernist film that revolves around bereavement. Identifying the roots of the genre in classical melodrama and horror cinema, and tracing perennial themes and aesthetic devices through to the European and American ""intellectual melodramas"" of the postwar decades, the book provides a taxonomy of characteristics. In the course of detailed case studies, the book deploys the film theory of Gilles Deleuze and Daniel Frampton while making use of Freudian psychoanalysis and present-day grief counselling theory. In making its case for the new genre, the book reflects upon the ways in which the very notion of genre has, in the post-classical period, responded to changing exhibition patterns, the rise of domestic spectatorship, and the proliferation of Web-based film literature.