THE DEFINITIVE GUIDE TO WINNING AN ARGUMENT WITH A LIBERAL. "Antifa leftists may still burn this book, but more than a few center-left individuals will read 13 1/2 Reasons Why NOT to Be a Liberal and develop a new respectful understanding of conservatism.” — Dinesh D’Souza Although conservatives outnumber liberals in 44 out of 50 states, it’s a situation conservatives know very well in today’s contentious political environment: Conservatives often find themselves in discussions with liberals who relentlessly hammer conservatives with insults, accusations, and unfounded assumptions about conservatism. The question is: What is a proud and informed conservative to do?! The answer is: 13 1/2 Reasons Why NOT to be a Liberal: And How To Enlighten Others, the conservative playbook to persuasive facts and arguments that detail the policies, accomplishments, and often-ignored compassionate nature of the conservative philosophy. Presented in an easy-to-access format, Judd Dunning’s ideological treatise will empower readers not only to hold their own in an argument with a liberal, but also to change hearts and minds, or at worst, preserve a few more mutually respectful relationships with more ease, clarity, and dignity. Both a current and timeless conservative philosophical and argumentative manifesto made for conservative, right-leaning, independent, libertarian or “on the fence” Americans who are both passionate about politics and love being Americans. If you can't achieve a win-win civil discussion with a liberal, at least you can use 13 1/2 Reasons Why NOT to be a Liberal to land some clear, intelligent blows. You will no longer serve as a liberal's doormat. You can maintain your pride and then move on to someone who really wants to both talk and listen. A "Freethinker"… probably a conservative!
THE DEFINITIVE GUIDE TO WINNING AN ARGUMENT WITH A LIBERAL. "Antifa leftists may still burn this book, but more than a few center-left individuals will read 13 1/2 Reasons Why NOT to Be a Liberal and develop a new respectful understanding of conservatism.” — Dinesh D’Souza Although conservatives outnumber liberals in 44 out of 50 states, it’s a situation conservatives know very well in today’s contentious political environment: Conservatives often find themselves in discussions with liberals who relentlessly hammer conservatives with insults, accusations, and unfounded assumptions about conservatism. The question is: What is a proud and informed conservative to do?! The answer is: 13 1/2 Reasons Why NOT to be a Liberal: And How To Enlighten Others, the conservative playbook to persuasive facts and arguments that detail the policies, accomplishments, and often-ignored compassionate nature of the conservative philosophy. Presented in an easy-to-access format, Judd Dunning’s ideological treatise will empower readers not only to hold their own in an argument with a liberal, but also to change hearts and minds, or at worst, preserve a few more mutually respectful relationships with more ease, clarity, and dignity. Both a current and timeless conservative philosophical and argumentative manifesto made for conservative, right-leaning, independent, libertarian or “on the fence” Americans who are both passionate about politics and love being Americans. If you can't achieve a win-win civil discussion with a liberal, at least you can use 13 1/2 Reasons Why NOT to be a Liberal to land some clear, intelligent blows. You will no longer serve as a liberal's doormat. You can maintain your pride and then move on to someone who really wants to both talk and listen. A "Freethinker"… probably a conservative!
In the tradition of Louis L'Amour's Sackett series, Cameron Judd's bestselling Underhill novels chronicle the dramatic saga of the early American frontier, of the men and women who came together as friends, family, and enemies, and of the pioneers who pushed westward and marked a land with their courage and blood. They made their way across the Mississippi and carved out a home on the Missouri frontier. Not, Bushrod Underhill and his three youngest sons must leave it behind. From Texas, the word has come that Bushrod's son, John , has disappeared along with his family, victims of lawless land. Following the trail of a legend known as Davy Crockett, Bushrod sets out to save his eldest son. But in a journey that will bring them up against madmen and killers, innocents and old enemies, Bushrod and his boys cannot stop until they go gun-to-gun with a man who has built an empire of betrayal and violence-and who holds the key not only to John Underhill's fate, but to the future of a free land called Texas...
A guide for developers of affordable housing on how to work with the U.S. Secretary of the Interior. Contents: benefits of rehabilitating historic buildings for affordable housing (benefits to owners and developers, benefits to tenants, benefits to the community, a successful approach to rehabilitation, and solving common design issues in historic buildings); and 11 case studies of successful projects. Appendices: Federal section 106 review; state and local environmental review; and historic building codes. Glossary and bibliography.
Skillfully joining genealogy with history, this volume chronicles and illuminates in accessible narrative the whole lives of members of a single strand of family through seven generations.
This vital book is a call to action: to reduce online harm, to protect the integrity of our digital lives and to uphold democratic participation and inclusion. A diverse group of contributors reveal the hidden impacts of technology on society and on individuals, exploring policy change and personal action to keep the internet a force for good. These voices arrive at a crucial juncture in our relationship to fast-evolving technologies.
With hundreds of pages of new and previously unpublished essays, notes, and letters, Donald Judd Writings is the most comprehensive collection of the artist’s writings assembled to date. This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice. Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art. Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.
Donald Judd Interviews presents sixty interviews with the artist over the course of four decades, and is the first compilation of its kind. It is the companion volume to the critically acclaimed and bestselling Donald Judd Writings. This collection of interviews engages a diverse range of topics, from philosophy and politics to Judd’s insightful critiques of his own work and the work of others such as Mark di Suvero, Edward Hopper, Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening discussion of the volume between Judd, Dan Flavin, and Frank Stella provides the foundation for many of the succeeding conversations, focusing on the nature and material conditions of the new art developing in the 1960s. The publication also gathers a substantial body of unpublished material across a range of mediums including extensive interviews with art historians Lucy R. Lippard and Barbara Rose. Judd’s contributions in interviews, panels, and extemporaneous conversations are marked by his forthright manner and rigorous thinking, whether in dialogue with art critics, art historians, or his contemporaries. In one of the last interviews, he observed, “Generally expensive art is in expensive, chic circumstances; it’s a falsification. The society is basically not interested in art. And most people who are artists do that because they like the work; they like to do that [make art]. Art has an integrity of its own and a purpose of its own, and it’s not to serve the society. That’s been tried now, in the Soviet Union and lots of places, and it doesn’t work. The only role I can think of, in a very general way, for the artist is that they tend to shake up the society a little bit just by their existence, in which case it helps undermine the general political stagnation and, perhaps by providing a little freedom, supports science, which requires freedom. If the artist isn’t free, you won’t have any art.” Donald Judd Interviews is co-published by Judd Foundation and David Zwirner Books. The interviews expand upon the artist’s thinking present in Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016).
One of the most influential American artists of the post-war period, Donald Judd (1928-1994) changed the course of modern sculpture. This lavishly illustrated survey accompanies a major exhibition at Tate Modern in early 2004, which subsequently tours to European venues. Featuring contributions by Nicholas Serota (Director of Tate), Rudi Fuchs (former Director of The Stedelijk Museum, Amsterdam), American critics Richard Shiff and David Raskin, and British artist and critic David Bachelor, it will comprise the most thorough and up-to-date publication on Judd in print. Beginning as an art critic and then a painter, Judd moved into three dimensions with the box-like structures he produced in the early 1960s, either arranged on the gallery floor, stacked or mounted on the wall. Initially constructed by hand, the sculptures were later industrially manufactured in galvanished iron, steel, plexiglass and plywood. His use of vibrant colour, polished and reflective metals and brightly hued lacquer confounds expectations as to what 'minimalist' sculpture should look like. Forty-one works from collections around the world, many of them large scale, are being gathered for the exhibition and w
A detailed biography of the late artist David Park accompanies an exhibition catalog highlighting the later Abstract Expressionist period, roughly 1950 to Park's death in 1960, of the artist's figurative works
The work of Donald Judd, one of the most significant American artists of the postwar period, has come to define Minimalist art, a label to which the artist strongly objected. The unaffected, straightforward quality of Judd’s work demonstrates his strong interest in color, form, material, and space. Wanting to create works that could assume a direct material and physical presence without recourse to grand philosophical statements, Judd eschewed classical ideals of representational sculpture and created works that relied on clear, definite objects. Donald Judd: Cor-ten represents the first-ever focused examination of Judd’s works in Cor-ten steel, which he began to produce in earnest in 1989 and would continue to elaborate on until his death in 1994. Cor-ten is an alloy that makes steel more resistant to corrosion, and eliminates the need for paint. With its distinctive red-brown patina, Cor-ten afforded Judd a new medium for exploring the relationship between surface and volume, as well as color and form. Prior to 1989, Judd executed a handful of works in Cor-ten primarily as outdoor commissions or site-specific works. This volume is produced on the occasion of the 2015 exhibition at David Zwirner, New York. Designed in close collaboration with Flavin Judd and Judd Foundation, Donald Judd: Cor-ten sheds new light on a body of work that represents the culmination of three decades of aesthetic output and underscores the mastery and control over material and space that characterizes Judd’s practice as a whole.
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