Anna Rivera from Manhattan, New York, grew up in Ponce, Puerto Rico, among her parents and six siblings. There, she acquired the Spanish language and learn English as a second language. Working with children, within a multicultural environment, inspired her to compose amusing and rhythmic instructional children songs. She has work as a Paraprofessional, for the Educational System in New Britain, Connecticut, USA. ; city where she resides with her husband, daughter, grandchildren y su perrito Lucky. The ants are going to come; is an illustrated song; based on the advice of clean-up because ... something is going to happen. This tiny piece of art is dedicated to her three grandchildren, Lillie, Anita and Goldo, and to all the children, big and little who need to be aware that... The ants are going to come. Anna Rivera de Manhattan, New York, creció en Ponce, Puerto Rico, junto a sus padres y seis hermanos. Allí adquirió el idioma español y aprendió el inglés como segundo idioma. Trabajando con niños, dentro de un ambiente multicultural, le ha inspirado a componer entretenidas, y rítmicas canciones educativas. Ha trabajado como Para-profesional para el Sistema de Educativo en New Britain, Connecticut, USA.; ciudad donde reside junto a su esposo , hija , hijo, nietos y su perrito Lucky. Las hormigas van a venir; es una canción ilustrada; basada en el consejo de limpiar o... algo va a ocurrir. Esta pequeña obra de arte es dedicada a sus tres nietos, Lili, Anita y Goldo, y a todos aquellos niños grandes y pequeños que necesitan estar conscientes de que... Las hormigas van a venir.
In 1931, Diego Rivera was the subject of The Museum of Modern Art's second monographic exhibition, which set attendance records in its five-week run. The Museum brought Rivera to NewYork six weeks before the opening and provided him a studio space in the building. There he produced five 'portable murals' - large blocks of frescoed plaster, slaked lime and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, taking on NewYork subjects through monumental images of the urban working class. Published in conjunction with an exhibition that brings together key works from Rivera's 1931 show and related material, this vividly illustrated catalogue casts the artist as a highly cosmopolitan figure who moved between Russia, Mexico and the United States and examines the intersection of art-making and radical politics in the 1930s.
The second edition of The Sociology of Katrina brings together the nation's top sociological researchers in an effort to deepen our understanding of the modern catastrophe that is Hurricane Katrina. Five years after the storm, its profound impact continues to be felt. This new edition explores emerging themes, as well as ongoing issues that continue to besiege survivors. The book has been updated and revised throughout—from data about recovery efforts and environmental conditions, to discussions of major social issues in education, health care, the economy, and crime. The authors thoroughly review the important topic of recovery, both in New Orleans and in the wider area of the Mississippi Gulf Coast. This new edition features a new chapter focused on the Katrina experience for people in the primary impact area, or "ground zero," five years after the storm. This chapter uncovers many challenges in overcoming the critical problems caused by the storm of the century. From this important update of the acclaimed first edition, it is apparent that "the storm is not over," as Katrina continues to generate political, economic, community, and personal controversy.
In 1931, Diego Rivera was the subject of The Museum of Modern Art's second monographic exhibition, which set attendance records in its five-week run. The Museum brought Rivera to NewYork six weeks before the opening and provided him a studio space in the building. There he produced five 'portable murals' - large blocks of frescoed plaster, slaked lime and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, taking on NewYork subjects through monumental images of the urban working class. Published in conjunction with an exhibition that brings together key works from Rivera's 1931 show and related material, this vividly illustrated catalogue casts the artist as a highly cosmopolitan figure who moved between Russia, Mexico and the United States and examines the intersection of art-making and radical politics in the 1930s.
Izzy dachte, sie könnte ihrer dunklen Vergangenheit entkommen, doch als sie in die manipulative Welt von Rivera gezogen wird, muss sie sich ihrer tiefsten Angst stellen ihrer eigenen Dunkelheit. Rivera, ein charismatischer und gefährlicher Mann, erkennt das Potenzial in Izzy, eine Macht, die sie selbst nie zu besitzen glaubte. Er führt sie durch ein Labyrinth aus psychologischen Spielen und Prüfungen, die sie zwingen, die Grenzen ihrer Moral zu überschreiten. Mit jeder Entscheidung, die sie trifft, mit jedem Zug, den sie auf dem symbolischen Schachbrett ihres Lebens macht, wird Izzy tiefer in ein Netz aus Kontrolle, Macht und Leidenschaft verstrickt. Doch während sie sich immer weiter von ihrem alten Selbst entfernt, wächst auch die Gefahr, dass sie sich in Riveras Dunkelheit verliert. Dies ist nur ein kleiner Teil einer ganzen Trilogie.
Examines the introduction of Mexican muralism to the United States in the 1930s, and the challenges faced by the artists, their medium, and the political overtones of their work in a new society.
A collection of urban poetry from a Latina and Native Americans perspective. A Chicano view of life. Poetry from a Chicago Barrio in English and Spanglish.
Sisters in Blue tells the story of two young women—one Spanish, one Puebloan—meeting across space and time. Sor María de Jesús de Ágreda, New Mexico’s famous Lady in Blue, is said to have traveled to New Mexico in the seventeenth century. Here Anna M. Nogar and Enrique R. Lamadrid bring her to life, imagining an encounter between a Pueblo woman and Sor María during the nun’s mystical spiritual journeys. Tales of Sor María, who described traveling across the earth and the heavens, have traditionally presented her as an evangelist who helped bring Catholicism to the Pueblos. Instead this book, which includes an essay providing historical context, shows a connection between Sor María and her friend Paf Sheuri. The two women find more similarities than differences in their shared experiences, and what they learn from each other has an impact for centuries to come.
Examines the introduction of Mexican muralism to the United States in the 1930s, and the challenges faced by the artists, their medium, and the political overtones of their work in a new society.
Behind the fascinating public artist's practice of collaboration Judith F. Baca is best known for the Great Wall of Los Angeles (1976-83), a vibrant 2,740-foot mural in Los Angeles that presents an alternative history of California--one that focuses on the contributions of marginalized and underrepresented communities. The mural is emblematic of Baca's pioneering approach to creating public art, a process in which members of the community are essential contributors to the conception and realization of the work. Anna Indych-López explores Baca's oeuvre, from early murals painted with local gang members in the Boyle Heights neighborhood of Los Angeles to more recently commissioned works. She looks in depth at the Great Wall and considers the artist's ongoing work with the Social and Public Art Resource Center (SPARC) in Venice, California, a nonprofit group founded by Baca in 1976. Throughout, Indych-López assesses what she calls Baca's "public art of contestation" and discusses how ideas of collaboration and authorship and issues of race, class, and gender have influenced and sustained Baca's art practice.
While preparing for a long migration, Alexandra Crane's family is concerned that she prefers wandering to staying in formation, but all are surprised when she proves an excellent leader.
Lonely Planet: The world's leading travel guide publisher Lonely Planet's Mexico is your passport to the most relevant, up-to-date advice on what to see and skip, and what hidden discoveries await you. Gather all your senses and dive head-first into the ancient Maya world at exquisite Palenque; sample the freshest local specialities from street food stalls and innovative restaurants; and soak in the colours of Oaxaca City's fiestas, architecture, and arts scene. All with your trusted travel companion. Get to the heart of Mexico and begin your journey now! Inside Lonely Planet's Mexico: Colour maps and images throughout Highlights and itineraries help you tailor your trip to your personal needs and interests Insider tips to save time and money and get around like a local, avoiding crowds and trouble spots Essential info at your fingertips - hours of operation, phone numbers, websites, transit tips, prices Honest reviews for all budgets - eating, sleeping, sightseeing, going out, shopping, hidden gems that most guidebooks miss Cultural insights provide a richer, more rewarding travel experience - covering history, people, music, landscapes, wildlife, cuisine, politics Covers Mexico City, Around Mexico City, Veracruz, Yucatán Peninsula, Chiapas, Oaxaca, Central Pacific Coast, Western Central Highlands, Northern Central Highlands, Baja California, Copper Canyon, Northern Mexico The Perfect Choice: Lonely Planet's Mexico is our most comprehensive guide to the country, and is designed to immerse you in the culture and help you discover the best sights and get off the beaten track. Traveling just around Cancun? Check out Lonely Planet's Cancun, Cozumel & the Yucatan for a comprehensive look at all the region has to offer. About Lonely Planet: Lonely Planet is a leading travel media company and the world's number one travel guidebook brand, providing both inspiring and trustworthy information for every kind of traveller since 1973. Over the past four decades, we've printed over 145 million guidebooks and grown a dedicated, passionate global community of travellers. You'll also find our content online, and in mobile apps, video, 14 languages, nine international magazines, armchair and lifestyle books, ebooks, and more. 'Lonely Planet guides are, quite simply, like no other.' - New York Times 'Lonely Planet. It's on everyone's bookshelves, it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' - Fairfax Media (Australia) eBook Features: (Best viewed on tablet devices and smartphones) Downloadable PDF and offline maps prevent roaming and data charges Effortlessly navigate and jump between maps and reviews Add notes to personalise your guidebook experience Seamlessly flip between pages Bookmarks and speedy search capabilities get you to key pages in a flash Embedded links to recommendations' websites Zoom-in maps and images Inbuilt dictionary for quick referencing Important Notice: The digital edition of this book may not contain all of the images found in the physical edition.
Hello, to all who are thinking of purchasing my book untitled "The turquoise" lounge. Please note that there are two copys of the book floating around out there. There is my first copy. To which I'm sad to say is very bad, pretty much unreadable, it is 76 pages long. Please stand clear of this one, however the Newer version is 118 pages long do enjoy this copy. Anna K Martin.
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