Zelma Studebaker was a writer, teacher and mother of eight children. She was a Christian woman who worked for peace and justice as a participant in humanitarian service projects. In August of 1963 she participated in our nation's historic March on Washington for Jobs and Freedom. Her son, Ted Studebaker, was an agriculturalist with Vietnam Christian Service and is a celebrated, nonviolent peace martyr. After Zelma and Stanley raised their children on an Ohio farm, she then went on to earn her university degree at the age of 61. She taught elementary students in the public school system for 19 years. Shortly thereafter she and Stanley celebrated 65 years of marriage. Zelma Studebaker was a compassionate and driven woman who saw the power of written correspondence through letter writing, poems and short stories. She impacted numerous lives far and wide through her writing and simply being open and available for shared dialogue. Zelma's life influenced and prompted her children to express thankfulness and support in letter writing as well as biographies and other projects that connect people and celebrate family life and humanity.
From late medieval reenactments of the Deposition from the Cross to Sol Lewitt’s “Buried Cube,” Depositions is about taking down images and about images that anticipate being taken down. Foretelling their own depositions, as well as their re-elevations in contexts far from those in which they were made, the images studied in this book reveal themselves to be untimely — no truer to their first appearance than to their later reappearances. In Depositions, Amy Knight Powell makes the case that late medieval paintings and ritual reenactments of the Deposition from the Cross not only picture the deposition of Christ (the imago Dei) but also allegorize the deposition of the image as such and, in so doing, prefigure the lowering of “dead images” during the Protestant Reformation. Late medieval pre-figurations of Reformation iconoclasm anticipate, in turn, the repeated “deaths” of art since the advent of photography: that is the premise of the vignettes devoted to twentieth-century works of art that conclude each chapter of this book. In these vignettes, images that once stood in late medieval churches now find themselves among works of art from the more recent past with which they share certain formal characteristics. These surreal encounters compel us to reckon with affinities between images from different times and places. Turning on its head the pejorative (art-historical) use of the term pseudomorphosis — formal resemblance where there is no similarity of artistic intent — Powell explores what happens to our understanding of historically and conceptually distant works of art when they look alike.
From white-collar executives to mail carriers, public workers meet the needs of the entire nation. Frederick W. Gooding Jr. and Eric S. Yellin edit a collection of new research on this understudied workforce. Part One begins in the late nineteenth- and early twentieth century to explore how questions of race, class, and gender shaped public workers, their workplaces, and their place in American democracy. In Part Two, essayists examine race and gender discrimination while revealing the subtle contemporary forms of marginalization that keep Black men and Black and white women underpaid and overlooked for promotion. The historic labor actions detailed in Part Three illuminate how city employees organized not only for better pay and working conditions but to seek recognition from city officials, the public, and the national labor movement. Part Four focuses on nurses and teachers to address the thorny question of whether certain groups deserve premium pay for their irreplaceable work and sacrifices or if serving the greater good is a reward unto itself. Contributors: Eileen Boris, Cathleen D. Cahill, Frederick W. Gooding Jr., William P. Jones, Francis Ryan, Jon Shelton, Joseph E. Slater, Katherine Turk, Eric S. Yellin, and Amy Zanoni
This first comprehensive publication on New York-based interdisciplinary artist Autumn Knight documents her performances addressing the regulation of African American female bodies. Accompanying these images are scores and notes, text by performance studies scholars and an artist interview with choreographer Cynthia Oliver.
THERE ARE SOME THINGS EVEN GOD CAN'T DO!"God can't rescind a promise, nor can He ever stop loving you." However, Chanel Grace Atkinson didn't get that memo. What she DID get was her heart ripped out by Him when both her parents died as Christians. "Precious in the sight of the Lord is the death of His saints"? Funny. That verse was a slap in the face at both funerals. Anyway, who needs redemption when you're the young CEO of a multinational cosmetics conglomerate, and you have the world at your fingertips? And having the "three m's" never hurt, either- millions, mansions, and men. Unfortunately, Chanel hadn't bargained on a fourth "m"- murder. Throw in some Japanese yakuza, an Italian mafia, a demented sorority sister, a vengeful spouse, a growing list of scorned ex-lovers, four trigger-happy CIA operatives, a shady senator, and hundreds of disgruntled employees--just to name a few--and Grace just might be better off dead after all. But in steps Simeon Bloodgood, an ex-Navy Seal, a former cop, and the Christian founder and president of Bloodgood Securities. Will the cunning seductress, who stops at nothing to have her way, be the warrior's downfall? Will the gray-eyed country boy with the easy smile be just what the Good Doctor ordered to tame the wealthy shrew? Or has fate dealt both Simeon and Chanel a very cruel hand?
A springtime touch-and-feel board book featuring a parade of fingerprint animals in the signature Alphaprints style. Sheep go baa, hedgehogs snuffle - children will love to learn and imitate the sound that each fingerprint animal make. Rhythmic rhyming couplets to read and share. With raised embossing and different textures to touch and feel to stimulate developing senses.
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