Over the last twenty years, numerous scholarly publications have treated the work of African American artists of the 1950s, 1960s and 1970s. At that time, Detroit was the fifth largest city in the country with a large African American population and a vibrant Black arts scene. Nevertheless, the aforementioned publications fail to discuss Detroit African American artists. This book, which accompanies an exhibition of the same title, focuses on the life and work of Memphis born, Detroiter Harold Neal, who created some of the most forceful artistic statements of the Civil Rights and Black Power Movements. It also discusses other Detroit African American artists, including his predecessors Hughie Lee Smith and Oliver LaGrone, who greatly influenced his career; his contemporaries Glanton Dowdell, Charles McGee, Jon Onye Lockard, Henri Umbaji King, LeRoy Foster and Shirley Woodson, and his successors Aaron Ibn Pori Pitts and Allie McGhee, who were greatly impacted by his work. Additionally the book addresses the rift in the Detroit African American art community in the wake of the Black Power/Black Arts Movements. Neal, like other artists of the Black Arts Movement, felt that art should speak directly to the experience of African Americans using African American figurative subjects, while others artists, like Charles McGee, sought to compete in the white art world, working in the abstract, non-objective styles then dominant in New York galleries. The result of some ten years of research, this book presents a view of post-World War II African American art history essentially unknown to other scholars. It expands our understanding of Detroit African American art first set forth in the author's 2009 publication Energy: Charles McGee at Eighty Five. For this later project, Dr. Myers conducted extensive interviews with artists, scholars, friends and family members of the above mentioned artists. Most of their works remains in private collections, and Dr. Myers surveyed many of these, some in states outside of Michigan, in order to select the highest quality works for the exhibition. The book is based on hundreds of contemporary articles, published in Michigan Chronicle, Detroit's African American newspaper and in other local newspapers, as well as on other hard-to-locate archival materials. Dr. Myers assesses these Detroit artists in relation to their peers in other major metropolises such as New York, Chicago, Los Angeles/San Francisco, thus establishing that Detroit artists were significant contributors to African American art in the 1950s, 1960s and 1970s.
Painter of vibrant assemblages and champion of African American art, Suzanne Jackson receives her first monograph Published on the occasion of the first full-career survey of Savannah-based artist Suzanne Jackson (born 1944) at the Telfair Museums in Savannah, Georgia, Five Decades illuminates a career that spans more than 50 years, across painting, drawing, theatre, costume design, dance, printmaking and sculpture. The book presents a unique selection of Jackson's artworks and explicates their relationships to identity, community, the natural world and the human body. In addition to featuring new photo documentation and archival images, the book includes essays that contextualize Jackson's practice through the lenses of ecowomanism, materiality, an ethics of care and African American retentions. Five Decades complicates canonical and exclusionary narratives and timelines, opening up Jackson's work to new generations of artists, thinkers and doers to find inspiration in the singular contributions one person can make to collective culture.
A book about doing the will of God and loving Him no matter what, but with the realization that God does not expect us to be a doormat for everyone and we do have the right to love ourselves and to do nice things for ourselves too sometimes, not just for everyone else around us. A book that will waken you with a fresh breath of air and a new dose of strength to carry on when life is hard. What others are saying about this book! "Julia Carrington draws from the depth of her relationship with God to connect her readers to His heart and His voice. She knows the language of God and writes encouraging her readers to know His voice and follow Him." --Theresa Croft, Kingdom Messenger Network "We are on such a similar path of God's great rescues from our wants and the supplementation of God's sweet plan, path and will."--Kate Hicks-Young "How great God is!" --Carol Neal Julia Audrina Carrington is a world leader in the realm of Christian books and Christian novels as she is the best selling Christian author of more than 350 Christian books and Christian novels that are sold around the world. Get many of her Christian books and Christian novels at www.amazon.com by typing her name Julia Carrington in the search box on www.amazon.com. Money from the sales of this book is used to help orphans around the world. It is Julia's desire to glorify God in all things.
The comprehensive biography of the iconic twentieth-century American photographer Berenice Abbott, a trailblazing documentary modernist, author, and inventor. Berenice Abbott is to American photography as Georgia O’Keeffe is to painting or Willa Cather to letters. She was a photographer of astounding innovation and artistry, a pioneer in both her personal and professional life. Abbott’s sixty-year career established her not only as a master of American photography, but also as a teacher, writer, archivist, and inventor. Famously reticent in public, Abbott’s fascinating life has long remained a mystery—until now. In Berenice Abbott: A Life in Photography, author, archivist, and curator Julia Van Haaften brings this iconic public figure to life alongside outlandish, familiar characters from artist Man Ray to cybernetics founder Norbert Wiener. A teenage rebel from Ohio, Abbott escaped first to Greenwich Village and then to Paris—photographing, in Sylvia Beach’s words, "everyone who was anyone." As the Roaring Twenties ended, Abbott returned to New York, where she soon fell in love with art critic Elizabeth McCausland, with whom she would spend thirty years. In the 1930s, Abbott began her best-known work, Changing New York, in which she fearlessly documented the city’s metamorphosis. When warned by an older male supervisor that "nice girls" avoid the Bowery—then Manhattan’s skid row—Abbott shot back, "I’m not a nice girl. I’m a photographer…I go anywhere." This bold, feminist attitude would characterize all Abbott’s accomplishments, including imaging techniques she invented in her influential, space race–era science photography and her tenure as The New School’s first photography teacher. With more than ninety stunning photos, this sweeping, cinematic biography secures Berenice Abbott’s place in the histories of photography and modern art, while framing her incredible accomplishments as a female artist and entrepreneur.
Varney's Midwifery continues to be the gold standard for midwifery practice in an updated seventh edition. New lead editors assembled a team of expert contributors and authors to continue the legacy of Varney's Midwifery as the trusted, must-have resource for students, professional midwives, and women's health practitioners. Varney's Midwifery uses current evidence-based guidelines to address the care of women throughout the lifespan, including primary care, gynecology, maternity care in a variety of settings, and newborn care. The Seventh Edition reflects the new Core Competencies for Basic Midwifery Practice published in 2020, including care of transgender individuals and abortion-related care. It also provides updated information on chronic conditions in pregnancy including a section discussing COVID-19, new techniques for fetal screening, diagnosis across the lifespan, and updated content on health equity.
The fourth in a series that documents architectural conservation in different parts of the world, Architectural Conservation in Australia, New Zealand and the Pacific Islands: National Experiences and Practice addresses cultural heritage protection in a region which comprises one third of the Earth’s surface. In response to local needs, Australia, New Zealand and the Pacific Islands have developed some of the most important and influential techniques, legislation, doctrine and theories in cultural heritage management in the world. The evolution of the heritage protection ethos and contemporary architectural conservation practices in Australia and Oceania are discussed on a national and regional basis using ample illustrations and examples. Accomplishments in architectural conservation are discussed in their national and international contexts, with an emphasis on original developments (solutions) and contributions made to the overall field. Enriched with essays contributed from fifty-nine specialists and thought leaders in the field, this book contains an extraordinary breadth and depth of research and synthesis on the why’s and how’s of cultural heritage conservation. Its holistic approach provides an essential resource and reference for students, academics, researchers, policy makers, practitioners and all who are interested in conserving the built environment.
This book explores the connections between comics and Gothic from four different angles: historical, formal, cultural and textual. It identifies structures, styles and themes drawn from literary gothic traditions and discusses their presence in British and American comics today, with particular attention to the DC Vertigo imprint. Part One offers an historical approach to British and American comics and Gothic, summarizing the development of both their creative content and critical models, and discussing censorship, allusion and self-awareness. Part Two brings together some of the gothic narrative strategies of comics and reinterprets critical approaches to the comics medium, arguing for an holistic model based around the symbols of the crypt, the spectre and the archive. Part Three then combines cultural and textual analysis, discussing the communities that have built up around comics and gothic artifacts and concluding with case studies of two of the most famous gothic archetypes in comics: the vampire and the zombie.
In the decades following the immediately postwar period in Britain, a loose grouping of experimental writers that included Alan Burns, Christine Brooke-Rose, B. S. Johnson, and Ann Quin worked against the dominance, as they saw it, of the realist novel of the literary mainstream. Late Modernism and the Avant-Garde British Novel reassesses the experimentalism versus realism debates of the period, and finds a body of work engaged with, rather than merely antagonistic towards, the literary culture it sought to renovate. Charting these engagements, it shows how they have significance not just for our understanding of these decades but for the broader movement of the novel through the century. This volume takes some of the claims made about experimental fiction—that it is unreadable, nonlinear, elliptical, errant, plotless—and reimagines these descriptors as historically inscribed tendencies that express the period's investment in the idea of the accidental. These novels are interested in the fleeting and the fugitive, in discontinuity and shock. The experimental novel cultivates an interest in methods of representation that are oblique: attempting to conjure the world at an angle, or in the rear-view mirror; by ellipsis or evasion. These concepts—error, indeterminacy, uncertainty, accident—all bear a relation to that which evades or resists interpretation and meaning. Asking what are the wider political, ethical, and philosophical correlates of this incommensurability, Late Modernism and the Avant-Garde British Novel reads experimental literature in this light, as suffused with anxiety about its adequacy in the light of its status as necessarily imitative and derivative, and therefore redolent of the forms of not-knowing and uncertainty that mark late modernism more generally.
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