In three books I tried to capture all aspects of the Old West—the rowdy towns, saloons, prostitutes, homesteaders, cattle ranchers, cattle rustlers, cattle drives, stampedes, canvas-covered wagons, wagon trains, wild horses, cowboys, Indians, miners and prospectors, fur traders, claimjumpers, sheriffs, outlaws, gunfighters, railroads and trains, stagecoaches, banks and holdups, love, life, and death—when I wrote the trilogy of “Once Upon A Time In The Past”. Book One of Once Upon A Time in the Past, subtitled “The Sons Of Sam Logan”—involves four young boys, Chance William, Burt Wiley, Peter Wallace and Jesse Lee “Boots” Logan, a black youth who adopts the Logan name, who grows up and become outlaws—opens circa 1890 in Payton, Kansas: Rancher Clay Miller sat behind his desk staring at four miniature porcelain horses: a black and white piebald; black, white-rump appaloosa; golden palomino with a white blazed face; and a black stallion with a diamond-shaped white dot on its forehead. The rancher’s eyes then stared down at a necklace made with pure gold nuggets wedged together on a long string of rawhide-leather with a black, genuine Indian arrowhead at the end. He reached down and picked the necklace up. A shadow of sudden gloominess crossed his face as he gazed at the necklace. A finger fiddled unconsciously with the arrowhead dangling at the end of it, as he held the necklace in his hands, staring into space. The necklace brought back memories of the past—good times and bad times. His thoughts wiggled and waggled as his recollections took him back into time long before he was a man:
Explores how individuals and groups adapt to the challenges of globalization. In this era of globalization, people organize into fluid, adaptive networks to solve complex problems and provide resources that nation-states cannot. Examples include the Grameen Bank, mHealth, and the Ushahidi open source software project. Why do these networks succeed where nation-states fail? Only recently have social scientists developed tools to understand exactly how these complex networks self-organize, emerge, adapt, and solve collective problems. Three of these toolsagent-based modeling, social network analysis, and evolutionary computingare converging in a field known as computational social science. In this provocative book, David C. Earnest discusses how computational social science helps us understand massively parallel globalization. Using explorations of global systems ranging from fisheries to banking, Earnest illustrates the promise of computer models for explaining the surprises, cascades, and complexity that characterize global politics today. These examples of massively parallel globalization contrast sharply with the hierarchical and inflexible governmental bureaucracies that are poorly suited to solve many of todays transnational and global challenges.
Since 2000, The Brooklyn Rail has been a platform for artists, academics, critics, poets, and writers in New York and abroad. The monthly journal’s continued appeal is due in large part to its diverse contributors, many of whom bring contrasting and often unexpected opinions to conversations about art and aesthetics. No other publication devotes as much space to the artist’s voice, allowing ideas to unfold and idiosyncrasies to emerge through open discussion. Since its inception, cofounder and artistic director Phong Bui and the Rail’s contributors have interviewed over four hundred artists for The Brooklyn Rail. This volume brings together for the first time a selection of sixty of the most influential and seminal interviews with artists ranging from Richard Serra and Brice Marden, to Alex Da Corte and House of Ladosha. While each interview is important in its own right, offering a perspective on the life and work of a specific artist, collectively they tell the story of a journal that has grown during one of the more diverse and surprising periods in visual art. There is no unified style or perspective; The Brooklyn Rail’s strength lies in its ability to include and champion difference. Selected and coedited by Jarrett Earnest, a frequent Rail contributor, with Lucas Zwirner, the book includes an introduction to the project by Phong Bui as well as many of the hand-drawn portraits he has made of those he has interviewed over the years. This combination of verbal and visual profiles offers a rare and personal insight into contemporary visual culture. Interviews with Vito Acconci, Ai Weiwei, Lynda Benglis, James Bishop, Chris Burden, Vija Celmins, Francesco Clemente, Bruce Conner, Alex Da Corte, Rosalyn Drexler, Keltie Ferris, Simone Forti, Andrea Fraser, LaToya Ruby Frazier, Suzan Frecon, Coco Fusco, Robert Gober, Leon Golub, Ron Gorchov, Michelle Grabner, Josephine Halvorson, Sheila Hicks, David Hockney, Roni Horn, House of Ladosha, Alfredo Jaar, Bill Jensen, Alex Katz, William Kentridge, Matvey Levenstein, Nalini Malani, Brice Marden, Chris Martin, Jonas Mekas, Shirin Neshat, Thomas Nozkowski, Lorraine O’Grady, Genesis Breyer P-Orridge, Joanna Pousette-Dart, Ernesto Pujol, Martin Puryear, Walid Raad, Dorothea Rockburne, Tim Rollins and K.O.S., Robert Ryman, Dana Schutz, Richard Serra, Shahzia Sikander, Nancy Spero, Hiroshi Sugimoto, Sarah Sze, Rirkrit Tiravanija, James Turrell, Richard Tuttle, Luc Tuymans, Kara Walker, Stanley Whitney, Jack Whitten, Yan Pei-Ming, and Lisa Yuskavage Special thanks to Furthermore, a program of the J.M. Kaplan Fund, for their support of The Brooklyn Rail.
The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time. In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide. Equal parts oral history and analysis of craft, What It Means to Write About Art offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard. Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art. Interviews with Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.
This book is designed for the world of children and adults who are unfamiliar with the early 20th century farm culture. It is created as a tool for early learners through the eyes of exrtraordinary Art by artist, Mother Lizzie Wilkerson. Each reader will learn farm history in the form of Art, alphabets, and words' recognitions;12 colorful paintings introduces details for accelerated learning. The design requires minimal coaching from an adult.
Book Three of Once Upon A Time in the Past, subtitled "The Last Of The Logan Boys", marks the end of the infamous Logan boys' Outlaw Trail when all the brothers but one are dead, two by a posse's bullets, one at the end of a rope, and the other to escape to freedom - if freedom is tired, lonely, hungry- with a big lawman named Jake Shaw hounding his trail beyond his juridiction. Jake Shaw was an old army veteran of the Civil War turned lawman shortly after the war ended. He was just twenty-two years old when Robert E. Lee surrendered to Ulysses S. Grant in April of 1865, just twenty-one years ago. He had hung up his uniform for a deputys badge and later became sheriff of Clayton County. He been wearing a Silver Star every since. Jake Shaw had not lost brothers, uncles or cousins in the war as other soldiers he had known and, therefore, he held no drudge toward his fellow man of the Gray. Before the war, it had been just him and his maw. He knew nothing of his paw, only that he had been a riverboat operator on the Mississippi. His maw had traveled with his paw on every route, carrying him, Shaw, in her womb until the day he was born on the river. She had been there when he left to join the war, standing in the yard waving goodbye. And she was there when he came home four years later. He had stood over her with his head bowed, his Union hat in hand, to say goodbye to her again. A headstone said Sally Shaw had died in 1863. But her son hadnt learned of her death until he came home from the War of the Lost
Book Two of Once Upon A Time in the Past, subtitled: "The Legend Of The Logan Boys", depicts the turning point in the Logan boys lives when they leaves Arizona to Kansas and take jobs on a railroad and Mr. Howard Floyd Cade, a mean, cruel railroad boss deprives them of their rights, driving the brothers on the other side of the law; their first crime when they rob and kills the railroad boss and his five-men escort to take back hard-earned money they made working on the rails that he'd illegally withheld from their pay. After that, which they'd vowed to never break the law again, they rode The Outlaw Trail . . .
The story of Thugg begins atop Mt. Kilimanjaro,Tanzania,where his perfectly preserved frozen body is discovered after 12,000 years in the ice. The ancient African is transported to the prestigious University in Massachusetts for study, where the head of the Bio-engineering department announces that it is possible to restore him to life utilizing the emerging new science of microrobotics called nanotechnology. Setting this mind-boggling enterprise into motion, it is quickly realized by the university staff that the Kilimanjaroan is unprepared to cope with the shocking circumstances of his resurrection and the realities he faces in 21st Century. Thugg is deeply distrustful of white people, having never seen one in his original lifetime, and thus is paired with the head of YU's Psychology Department, a brilliant African American named Dr. Quantez Phillips, and his best friend and colleague, Dr. Ruthenia Haynes, head of the Language Department. Together they set out to prove that they can teach this "caveman" to become a thinking and productive member of modern-day society. They succeed beyond their wildest imaginations. As Thugg's language skills become increasingly sophisticated, he reveals that he was born a barbarian and ruled as the king of a vast, now extinct African empire. His saga intrigues and inspires all of humanity, especially African Americans, who hold him up as proof that blacks can achieve any goal they set their minds upon. Thugg becomes a global celebrity a cross between Dr. Martin Luther King and Tupac Shakur. As he becomes increasingly cognizant of the dire plight of the black race, he invokes his royal roots and uses his status to speak out for revolution a call that has the potential to dramatically alter race relations across the planet, for better or worse, forever. The epic saga plays out against the backdrop of the convoluted love triangle that erupts between Thugg, Dr. Haynes and Dr. Phillips, whose homosexuality is a closely guarded secret
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