“Insightful . . . should be on the bookshelf of anyone interested in contemporary art on the continent of Africa, its politics, its display, its economics.” —African Arts Art World City focuses on contemporary art and artists in the city of Dakar, a famously thriving art metropolis in the West African nation of Senegal. Joanna Grabski illuminates how artists earn their livelihoods from the city’s resources, possibilities, and connections. She examines how and why they produce and exhibit their work and how they make an art scene and transact with art world mediators such as curators, journalists, critics, art lovers, and collectors from near and far. Grabski shows that Dakar-based artists participate in a platform that has a global reach. They extend Dakar’s creative economy and the city’s urban vibe into an “art world city.” “In her fine-grained analysis, Joanna Grabski demonstrates the ways that the urban environment and the sites of art production, exhibition, and sale imbricate one another to constitute Dakar as an Art World City.” —Mary Jo Arnoldi, Curator, Anthropology, National Museum of Natural History, Smithsonian “A valuable addition to the anthropology of cities and of art worlds. It stretches and revises the notion of art world to include multiple scales, and illustrates how the city enables simultaneous engagement for artists with local, national, Pan-African, and global discourses and platforms.” —City & Society “A beautiful book. The photographs, most of which are by the author, are stunning.” —College Art Association Reviews
In Cursed, Joanna Tokarska-Bakir investigates the July 4, 1946, Kielce pogrom, a milestone in the periodization of the Jewish diaspora. This massacre compelled thousands of Polish Jews who survived the Holocaust to flee postwar Poland. It remains a negative reference point in the Polish historical narrative and represents a lack of reckoning with the role of antisemitism in postwar Polish society and identity politics. Tokarska-Bakir weaves together the voices of the Kielce pogrom survivors, witnesses, and perpetrators with a myriad of other archival sources. Her meticulous research exposes wartime and postwar biographies of local factory workers, city and church officials, local police officers, and members of the security service, some of whom participated in the Holocaust and then directly or indirectly participated in the Kielce pogrom. Tokarska-Bakir paints a social portrait that explores people's behavior in light of forces and emotions greater than themselves. She reconstructs a postwar communist system that, despite promises to combat deeply rooted antisemitism, not only failed to prevent its spread but turned a blind eye to it and eventually used it to legitimize itself. Cursed is a microhistory that recreates the events of the Kielce pogrom step by step and examines the dominant hypotheses about the pogrom through the prism of previously classified archival evidence. It offers readers a nuanced analysis that cuts across social and ideological divisions. The resulting narrative is filled with new discoveries not only about the Kielce pogrom but about the nature of antisemitism, hostility toward minorities, and collective violence. Published in Association with the United States Holocaust Memorial Museum.
In this provocative and insightful book, Joanna Beata Michlic interrogates the myth of the Jew as Poland's foremost internal "threatening other," harmful to Poland, its people, and to all aspects of its national life. This is the first attempt to chart new theoretical directions in the study of Polish-Jewish relations in the wake of the controversy over Jan Gross's book Neighbors. Michlic analyzes the nature and impact of anti-Jewish prejudices on modern Polish society and culture, tracing the history of the concept of the Jew as the threatening other and its role in the formation and development of modern Polish national identity based on the matrix of exclusivist ethnic nationalism.
This book deals with critical infrastructure safety analysis based on reliability modelling of multistate ageing system. It shows how changes of the operation process as well as climate-weather changes in the operating area of the critical infrastructure do influence the safety parameters of its assets. Building upon previous authors’ research, the book formulates an integrated modeling approach where the multistate critical infrastructure safety model is combined with semi-Markov models for its operation process and for the climate-weather change process. This approach is shown to be successful in determining basic critical infrastructure safety, risk and resilience indicators, regardless of the number of assets and the number of their safety states. Besides the theory, the book reports on a successful application to the safety analysis of a real critical infrastructure, such as a port oil terminal. All in all, this book proposes a comprehensive and timely review of cutting-edge mathematical methods for safety identification, prediction and evaluation of critical infrastructures. It demonstrates that these methods can be applied in practice for analyzing safety of critical infrastructure under time-varying operation and climate-weather change processes.
A sculptor who began working during the postwar period in a classical figurative style, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but also of her own body. Though her career effectively spanned less than two decades (cut short by the artist's premature death in 1973 at age 47), Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Râealisme, and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which at times incorporated photographs, clothing, or car parts, all remain as wonderfully idiosyncratic and culturally resonant today as when they were first made. Well known in Poland, where her work has been highly influential since early in her career, Szapocznikow's compelling book of work is ripe for art historical reexamination. Alina Szapocznikow: Sculpture Undone, 1955-1972 offers a comprehensive overview of this important artist's work at a moment when international interest is blossoming. Spanning one of the most rich and complex periods of the 20th century, Szapocznikow's oeuvre responds to many of the ideological and artistic developments of her time through artwork that is at once fragmented and transformative, sensual and reflective, playfully realized and politically charged. Featuring over 100 works, including sculpture, drawings, and photography, the exhibition draws on loans from private and public collections, including major institutions in Poland. It is accompanied by a major publication, co published by The Museum of Modern Art and Mercatorfonds, that reflects new scholarship on Szapocznikow, contextualizing this little known artist's work for a wider audience."--Publisher's website.
“Insightful . . . should be on the bookshelf of anyone interested in contemporary art on the continent of Africa, its politics, its display, its economics.” —African Arts Art World City focuses on contemporary art and artists in the city of Dakar, a famously thriving art metropolis in the West African nation of Senegal. Joanna Grabski illuminates how artists earn their livelihoods from the city’s resources, possibilities, and connections. She examines how and why they produce and exhibit their work and how they make an art scene and transact with art world mediators such as curators, journalists, critics, art lovers, and collectors from near and far. Grabski shows that Dakar-based artists participate in a platform that has a global reach. They extend Dakar’s creative economy and the city’s urban vibe into an “art world city.” “In her fine-grained analysis, Joanna Grabski demonstrates the ways that the urban environment and the sites of art production, exhibition, and sale imbricate one another to constitute Dakar as an Art World City.” —Mary Jo Arnoldi, Curator, Anthropology, National Museum of Natural History, Smithsonian “A valuable addition to the anthropology of cities and of art worlds. It stretches and revises the notion of art world to include multiple scales, and illustrates how the city enables simultaneous engagement for artists with local, national, Pan-African, and global discourses and platforms.” —City & Society “A beautiful book. The photographs, most of which are by the author, are stunning.” —College Art Association Reviews
Reliability and Safety of Complex Technical Systems and Processes offers a comprehensive approach to the analysis, identification, evaluation, prediction and optimization of complex technical systems operation, reliability and safety. Its main emphasis is on multistate systems with ageing components, changes to their structure, and their components reliability and safety parameters during the operation processes. Reliability and Safety of Complex Technical Systems and Processes presents integrated models for the reliability, availability and safety of complex non-repairable and repairable multistate technical systems, with reference to their operation processes and their practical applications to real industrial systems. The authors consider variables in different operation states, reliability and safety structures, and the reliability and safety parameters of components, as well as suggesting a cost analysis for complex technical systems. Researchers and industry practitioners will find information on a wide range of complex technical systems in Reliability and Safety of Complex Technical Systems and Processes. It may prove an easy-to-use guide to reliability and safety evaluations of real complex technical systems, both during their operation and at the design stages.
This book is the first study of displaced Mozambican men, women, and children—from refugees and asylum seekers to liberation leaders, students, and migrant workers—during the war for independence from Portugal (1964-1974). Throughout the war, two distinct communities of Mozambicans emerged. On the one hand, a minority of students and liberation leaders, congregated in Dar es Salaam and, on the other, the majority of Mozambicans, who settled in refugee camps. Joanna T. Tague attends to both these groups by juxtaposing the experiences of the two. Using a diverse range of archival materials and oral interviews, she argues that during decolonization the displaced acted as their own agents and strategized their own trajectories in exile. Compelling scholars to reconsider how governments, aid agencies, local citizens, and the displaced themselves defined, debated, and reconstituted what it meant to be a "refugee" in Africa during decolonization, this book ultimately shows how the state of being a refugee could be generative and productive, rather than simply debilitating and destructive. Displaced Mozambicans in Postcolonial Tanzania will be invaluable for students and scholars of African and world contemporary history.
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