The first biography of America's greatest twentieth-century sculptor, Alexander Calder: an authoritative and revelatory achievement, based on a wealth of letters and papers never before available, and written by one of our most renowned art critics. Alexander Calder is one of the most beloved and widely admired artists of the twentieth century. Anybody who has ever set foot in a museum knows him as the inventor of the mobile, America's unique contribution to modern art. But only now, forty years after the artist's death, is the full story of his life being told in this biography, which is based on unprecedented access to Calder's letters and papers as well as scores of interviews. Jed Perl shows us why Calder was--and remains--a barrier breaker, an avant-garde artist with mass appeal. This beautifully written, deeply researched book opens with Calder's wonderfully peripatetic upbringing in Philadelphia, California, and New York. Born in 1898 into a family of artists--his father was a well-known sculptor, his mother a painter and a pioneering feminist--Calder went on as an adult to forge important friendships with a who's who of twentieth-century artists, including Joan Miró, Marcel Duchamp, Georges Braque, and Piet Mondrian. We move through Calder's early years studying engineering to his first artistic triumphs in Paris in the late 1920s, and to his emergence as a leader in the international abstract avant-garde. His marriage in 1931 to the free-spirited Louisa James--she was a great-niece of Henry James--is a richly romantic story, related here with a wealth of detail and nuance. Calder's life takes on a transatlantic richness, from New York's Greenwich Village in the Roaring Twenties, to the Left Bank of Paris during the Depression, and then back to the United States, where the Calders bought a run-down old farmhouse in western Connecticut. New light is shed on Calder's lifelong interest in dance, theater, and performance, ranging from the Cirque Calder, the theatrical event that became his calling card in bohemian Paris to collaborations with the choreographer Martha Graham and the composer Virgil Thomson. More than 350 illustrations in color and black-and-white--including little-known works and many archival photographs that have never before been seen--further enrich the story.
This book analyses Muslim integration into English society from the 1960s to the 1990s. The author argues that, contrary to common narratives built around a sudden transformation during the Rushdie affair, religious identity was of great importance to English Muslims throughout this period. The study also considers what the experiences of Muslim communities tell us about British multiculturalism. With chapters which consider English Muslim experiences in education, employment, and social services, British multiculturalism is shown to be a capacious artifice, variegated across and within localities and resistant to periodization. It is understood as positing separate ethnic communities, and serving these communities with special provisions aimed ultimately at integration. It is argued moreover to have developed its own momentum, limiting the efficacy of 21st century “backlashes” against it. Muslim Communities in England 1962-90 will be of interest to students and scholars across a range of disciplines, including sociology, history and politics.
The concluding volume to the first biography of one of the most important, influential, and beloved twentieth-century sculptors, and one of the greatest artists in the cultural history of America--is a vividly written, illuminating account of his triumphant later years. The second and final volume of this magnificent biography begins during World War II, when Calder--known to all as Sandy--and his wife, Louisa, opened their home to a stream of artists and writers in exile from Europe. In the postwar decades, they divided their time between the United States and France, as Calder made his first monumental public sculptures and received blockbuster commissions that included Expo '67 in Montreal and the 1968 Olympics in Mexico City. Jed Perl makes clear how Calder's radical sculptural imagination shaped the minimalist and kinetic art movements that emerged in the 1960s. And we see, as well, that through everything--their ever-expanding friendships with artists and writers of all stripes; working to end the war in Vietnam; hosting riotous dance parties at their Connecticut home; seeing the "mobile," Calder's essential artistic invention, find its way into Webster's dictionary--Calder and Louisa remained the risk-taking, singularly bohemian couple they had been since first meeting at the end of the Roaring Twenties. The biography ends with Calder's death in 1976 at the age of seventy-eight--only weeks after an encyclopedic retrospective of his work opened at the Whitney Museum in New York--but leaves us with a new, clearer understanding of his legacy, both as an artist and a man.
Jake Hunt kills a homicidal drug dealer. Though it was in self-defence, the maddened leader of an international cartel has sworn revenge, and Jake and girlfriend Nicole must fight for their lives. With a fortune at stake and their lives in the balance, the action races from Peru to New Guinea, Australia and on to the UK. The young couple’s love is tested to breaking point, and Jake needs an edge to survive. In this battle there can only be winners and losers. —There will be no draw— “Few are as well-qualified to write an action-adventure novel as Jed Hart. He served in the Malayan conflict as a naval officer and in the Vietnam War as a pilot before founding Hart Aviation. Not only has he lived an extraordinary life, but Hart is also a gifted storyteller.” —Surf Coast Times
This book addresses an anomaly in the novel as genre: the generic promise to readers—that "reading a novel" is a familiar and repeatable experience—is challenged by the extravagant exceptions to this rule. Furthermore, these exceptions (such as Moby-Dick, Ulysses, or To the Lighthouse) are sui generis, hybrid concoctions that cannot be said to be typical novels. The novel, then, as literary form, succeeds by extravagantly disregarding or even disavowing the protocols of its own genre. Examining a number of famous examples from Don Quixote to Nostromo, this book offers an anatomy of exceptions that illustrate the structural role of their exceptionality for the prestige of the novel as literary form.
Gain a deeper understanding and live out the insights from the devotional masterpiece by Oswald Chambers, My Utmost for His Highest, with this study guide. You'll find it easy to use because each page examines the corresponding reading in the devotional and includes a short summary of the day’s topic, the Scripture context of the quoted text, and application questions. Grow to love God and His Word even more with this practical guide that helps you better understand the rich truths from My Utmost for His Highest.
In this landmark work, Jed Perl captures the excitement of a generation of legendary artists–Jackson Pollack, Joseph Cornell, Robert Rauschenberg, and Ellsworth Kelly among them–who came to New York, mingled in its lofts and bars, and revolutionized American art. In a continuously arresting narrative, Perl also portrays such less well known figures as the galvanic teacher Hans Hofmann, the lyric expressionist Joan Mitchell, and the adventuresome realist Fairfield Porter, as well the writers, critics, and patrons who rounded out the artists’world. Brilliantly describing the intellectual crosscurrents of the time as well as the genius of dozens of artists, New Art City is indispensable for lovers of modern art and culture.
This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.
An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music. As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or total work of art, which in turn infused the arts of the fin de siècle with an aura of expectancy, challenging them to induce musical effects by their own means. With each art aspiring to produce the effects of another artistic medium, a synesthetic yearning ran like a shiver through the body of art that would emerge over the next half century. Rasula traces this pan-arts polyphony from German Romantic theory to early experiments in "visual music," encompassing such diverse phenomena as American fixation on Arcadia, early film theory, and the lure of the fourth dimension. All the while, he keeps focus on the paramount historical consequence in elevating music to a new universal aesthetic standard, arguing that Wagnerism was first among modern "isms." In surveying this momentous interplay among arts, History of a Shiver ranges from literature, music and painting to theatre, cinema, dance, photography, and civic pageantry. It retells the story of modernism by recovering not an idea, but a feeling--the hair-raising potential for each painting, literary text, or musical composition to herald an unprecedented domain of human enterprise.
On the 100th anniversary of T. S. Eliot’s modernist masterpiece, a rich cultural history of The Waste Land’s creation, explosive impact, and enduring influence When T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. “But,” as Jed Rasula writes, “The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern.” In What the Thunder Said, Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music. From its famous opening, “April is the cruellest month, breeding / Lilacs out of the dead land,” to its closing Sanskrit mantra, “Shantih shantih shantih,” The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound’s injunction to “make it new.” What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot’s storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the “men of 1914.” Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century’s most influential poem.
A RESOURCE FOR PASTORS, RELIGIOUS EDUCATORS, TEACHERS, AND PARENTS Think about how Jesus taught. And rabbis. How have Buddhist monks taught children and adults for centuries? How have Hindu swamis taught? And Islamic leaders? And Indigenous elders in lands around the globe? It is difficult to overstate the importance of storytelling when it comes to our desire to pass along our values, our spirituality, our faith to the next generation. Or to teach and inspire our own generation. In this small book you will find perhaps the most concise and well-articulated guide to storytelling anywhere. Jed Griswold’s 12 tips for storytelling and his 20 original stories are more than enough to clarify and inspire readers to engage in the art of storytelling.
A former Undersecretary of Defense for the first Bush administration strongly advises the United States to withdraw support from the United Nations, arguing that it, with the European Union countries, undermines American interests.
RICO: Civil and Criminal Law and Strategy provides a fundamental grounding in substantive RICO law and focuses on strategic and tactical considerations of RICO practice.
Collects Doctor Strange (2023) #1-5. Stephen Strange is alive! Reunited with Clea and Wong, it's back to business for the Sorcerer Supreme when an unending sleeping sickness strikes the children of Bleecker Street! There can only be one culprit behind this attack - and now it's up to Doctor Strange and Clea to travel into the Dream Dimension to confront their old foe, Nightmare. But all is not what it seems, and what they discover will shock them! Then, when a cult summons the Dread Dormammu to New York, Stephen must risk everything in order to defeat his most dangerous foe! Plus: Wong takes on a new role - as an Agent of W.A.N.D.! Dark wedding bells are ringing for Clea's mother, Umar the Unrelenting - but who is she marrying?! And Doctor Strange shares a magical adventure with Sister Grimm of the Runaways!
Collects Doctor Strange (2023) #6-10. To beat his dark half, will Strange have to become something even worse? Many years ago, Doctor Strange fought in a five-thousand-year battle called the War of the Seven Spheres. But how did that war create the mysterious threat that plagues the Master of the Mystic Arts today? Stephen Strange is a doctor who has sworn to do no harm. But there's another, darker side to him - and it's his duty to win at any cost. Can Stephen best his mirror image, trained through thousands of years of mystic combat? General Strange has millennia of fierce and ruthless experience over the Sorcerer Supreme - but Doctor Strange has friends. Can they protect the Earth and all of magic itself?
Tolerance is usually regarded as a quintessential liberal value. This position is supported by a standard liberal history that views religious toleration as emerging from the post-Reformation wars of religion as the solution to the problem of religious violence. Requiring the separation of church from state, tolerance was secured by giving the state the sole authority to punish religious violence and to protect the individual freedoms of conscience and religion. Commitment to tolerance is independent of judgements about justice and the common good. This standard liberal history exerts a powerful hold on the modern imagination: it undergirds several important recent accounts of liberal tolerance and virtually every major study of tolerance in the ancient world. Nevertheless, this familiar narrative distorts our understanding of tolerance's premodern origins and impoverishes present-day debates when many members of Christianity and Islam, the two largest global religions, have reservations about liberal tolerance. Setting aside the standard liberal history, The Christian Origins of Tolerance recovers tolerance's beginnings in a forgotten tradition forged by North African Christian thinkers of the first five centuries CE in critical conversation with one another, St. Paul, the rival tradition of Stoicism, and the political and legal thought of the wider Roman world. This North African Christian tradition conceives of tolerance as patience within plurality. This tradition does not require the separation of religion and the secular state as a prerequisite for tolerance and embeds individual rights and the freedoms of conscience and religion within a wider theoretical framework that derives accounts of political judgement and patience from theological reflection on God's roles as a patient father and just judge. By recovering this forgotten tradition, we can better understand and assess the choices made by leading theorists of liberal tolerance, and as a result, think better about how to achieve peaceful coexistence within and beyond liberal democracies in a world in which many Christians and Muslims are sceptical of liberalism.
This short, colorful catalog, which accompanied an exhibition of the same name at the Maryland Historical Society, presents readers with some insider views of Maryland's growing film presence. Its most valuable feature is a full filmography of the movies (141) made in or about the state. Each entry lists the film's title, studio, date, director, author of the screenplay, major actors, and plot line. From The Blair Witch Project to The Tin Men, a surprising number of America's favorite movies were filmed in Maryland.
When the SEALs are disbanded after an accidental death and the resulting political battle, "America's enemies recognize the opportunity to strike," and they kidnap the president and some foreign dignitaries and hold them hostage in the Statue of Liberty.--Jacket.
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