Children's rights": the phrase has been a legal battle cry for twenty-five years. But as this provocative book by a nationally renowned expert on children's legal standing argues, it is neither possible nor desirable to isolate children from the interests of their parents, or those of society as a whole. From foster care to adoption to visitation rights and beyond, Martin Guggenheim offers a trenchant analysis of the most significant debates in the children's rights movement, particularly those that treat children's interests as antagonistic to those of their parents. Guggenheim argues that "children's rights" can serve as a screen for the interests of adults, who may have more to gain than the children for whom they claim to speak. More important, this book suggests that children's interests are not the only ones or the primary ones to which adults should attend, and that a "best interests of the child" standard often fails as a meaningful test for determining how best to decide disputes about children.
In the first volume of Makers of Modern Architecture (2007), Martin Filler examined the emergence of that revolutionary new form of building and explored its aesthetic, social, and spiritual aspirations through illuminating studies of some of its most important practitioners, from Louis Sullivan and Frank Lloyd Wright to, in our own time, Renzo Piano and Santiago Calatrava. Now, in Makers of Modern Architecture, Volume II, Filler continues his investigations into the building art, beginning with the historical eclecticism of McKim, Mead, and White, best remembered today for New York City’s demolished Pennsylvania Station. He surveys the seemingly inexhaustible flow of new books about Wright and Le Corbusier, and continues his commentaries on Piano’s museum buildings with an essay focused on the new Broad Contemporary Art Museum in Los Angeles. There are less well known subjects here too, from the Frankfurt urban planner Ernst May to Buckminster Fuller, inventor of the geodesic dome. Filler judges Edward Durell Stone—the architect of the U.S. embassy in New Delhi, the Huntington Hartford Museum in New York City, and the Kennedy Center in Washington—to have been “a middling product of his times,” however personally interesting he may have been. And he looks back at James Stirling, who in the 1970s and 1980s was “a veritable rock star of the profession,” responsible for what Filler considers some of the very few worthwhile postmodernist buildings. The essays collected here are not entirely historical, however. Filler also focuses on some of the most recent projects to have attracted critical and popular attention both in the United States and abroad, including Rem Koolhaas’s CCTV building in Beijing and Bernard Tschumi’s Acropolis Museum in Athens. He argues that Kazuyo Sejima and Ryue Nishizawa’s New Museum in New York City is “one of those rare, clarifying works of architecture that makes most recent buildings of the same sort look suddenly ridiculous.” He calls Tod Williams and Billie Tsien’s brilliant reimagining of the Barnes Collection in Philadelphia “a latter-day miracle...a virtually unimprovable setting” for its art. He finds Michael Arad’s September 11 Memorial at Ground Zero “a sobering, disturbing, heartbreaking, and overwhelming masterpiece.” And he argues that Diller Scofidio + Renfro’s Institute of Contemporary Art in Boston and their work revitalizing the High Line and Lincoln Center in New York make them today’s “shrewdest yet most sympathetic enhancers of the American metropolis.” Filler remains, in these nineteen essays, a shrewd observer of the pressures on architects and their projects—money, politics, social expectations, even the weight of their own reputations. But his focus is always on the buildings themselves, on their sincerity and directness, on their form and their function, on their capacity to bring delight to the human landscape.
The Rough Guide to Italy is the definitive guide to this stunning country, with informed coverage of everything from boutique hotels and state-of-the art B&Bs to authentic trattorias, gelaterias and cafes. Rough Guide authors dig deep behind the scenes of ancient and contemporary Italy, bringing its historical sites to life and equipping the reader with all they need to key into the kind of break they seek, whether it be watersports or wine, football or food, Romans or Renaissance, beaches or Baroque. From the cave city of Matera and the Baroque towns of the Val di Noto in the deep south to the internationally famous sites of Rome, Florence and Tuscany; The Rough Guide to Italy will help you explore every corner of the country. Accurate maps and comprehensive practical information, plus stunning photography make The Rough Guide to Italy your ultimate travelling companion. Make the most of your trip with The Rough Guide to Italy. Now available in epub format.
Full-colour throughout, The Rough Guide to New York is the ultimate travel guide to one of the world's most iconic cities. With 30 years experience and our trademark 'tell it like it is' writing style Rough Guides cover all the basics with practical, on-the-ground details, as well as unmissable alternatives to the usual must-see sights. At the top of your to-pack list, and guaranteed to get you value for money, each guide also reviews the best accommodation and restaurants in all price brackets we know there are times for saving, and times for splashing out. In The Rough Guide to New York: - Over 50 colour-coded maps featuring every listing - Area-by-area chapter highlights - More listings in outer boroughs with user friendly subway maps - Top 5 boxes - Things not to miss section Make the most of your trip with The Rough Guide to New York. Now available in ePub format.
The best New York has to offer, Pocket Rough Guide New York City is your essential guide to the cultural capital of the USA, with all the key sights, restaurants, shops and bars. Whether you have an afternoon or a few days at your disposal, our itineraries help you plan your trip, and the Best of New York section picks out the highlights you won't want to miss, from MoMA's incredible modern art collection to towering skyscrapers like the Empire State. Divided by area for easy navigation, the Places section is written in Rough Guide's trademark honest and informative style, with listings of the must-see sights and our pick of the places to eat, drink and dance, from the best Jewish delis to the city's most historic jazz clubs. Make the most of your time with The Pocket Rough Guide to New York City. Now available in ePub format.
Winner, 2023 Choice Outstanding Academic Title Now, for the first time in history, the majority of the world’s population lives in cities. But urbanization is accelerating in some places and slowing down in others. The sprawling megacities of Asia and Africa, as well as many other smaller and medium-sized cities throughout the “Global South,” are expected to continue growing. At the same time, older industrial cities in wealthier countries are experiencing protracted socioeconomic decline. Nonetheless, mainstream urban studies continues to treat a handful of superstar cities in Europe and North America as the exemplars of world urbanism, even though current global growth and development represent a dramatic break with past patterns. Martin J. Murray offers a groundbreaking guide to the multiplicity, heterogeneity, and complexity of contemporary global urbanism. He identifies and traces four distinct pathways that characterize cities today: tourist-entertainment cities with world-class aspirations; struggling postindustrial cities; megacities experiencing hypergrowth; and “instant cities,” or master-planned cities built from scratch. Murray shows how these different types of cities respond to different pressures and logics rather than progressing through the stages of a predetermined linear path. He highlights new spatial patterns of urbanization that have undermined conventional understandings of the city, exploring the emergence of polycentric, fragmented, haphazard, and unbounded metropolises. Such cities, he argues, should not be seen as deviations from a norm but rather as alternatives within a constellation of urban possibility. Innovative and wide-ranging, Many Urbanisms offers ways to understand the disparate forms of global cities today on their own terms.
Grand Bilbao. Deluxe Edition. From Industry to Art. A Personal Album. Prologue by the architect: Bernardo I. García de la Torre 200 Pages on high quality photographic paper, 174 Photographs, 19 Historical and architectural reviews. Discover the evolution of Bilbao, from an industrial city in decadence to a modern centre of services, tourism and culture. Through stunning photographs, the author guides us through charming corners of the city and shows us the construction of monumental works such as the Guggenheim Museum, the bridge and the Euskalduna Palace. This book captures contemporary views, some of which are destined to become historic, such as those of the Fine Arts Museum, Abando station and the island of Zorrotzaurre, where urban transformations are underway. It also offers images that are already part of the past, giving an insight into the evolution of Bilbao during this transformation. It highlights the contrast between its recent past and its vibrant present, showing how the city has successfully reinvented itself.
In 1953, Samuel Beckett’s Waiting for Godot premiered at a tiny avant-garde theatre in Paris; within five years, it had been translated into more than twenty languages and seen by more than a million spectators. Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition. Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.
Jackson Pollock's (1912–1956) first large-scale painting, Mural, in many ways represents the birth of Pollock, the legend. The controversial artist’s creation of this painting has been recounted in dozens of books and dramatized in the Oscar-winning film Pollock. Rumors—such as it was painted in one alcohol-fueled night and at first didn’t fit the intended space—abound. But never in doubt was that the creation of the painting was pivotal, not only for Pollock but for the Abstract Expressionists who would follow his radical conception of art —“no limits, just edges.” Mural, painted in 1943, was Pollock’s first major commission. It was made for the entrance hall of the Manhattan duplex of Peggy Guggenheim, who donated it to the University of Iowa in the 1950s where it stayed until its 2012 arrival for conservation and study at the Getty Center. This book unveils the findings of that examination, providing a more complete picture of Pollock’s process than ever before. It includes an essay by eminent Pollock scholar Ellen Landau and an introduction by comedian Steve Martin. It accompanies an exhibition of the painting on view at the J. Paul Getty Museum from March 11 through June 1, 2014.
An invaluable guide to lives and work of Frank Gehry, Atoni Gaudí, Frank Lloyd Wright, Louis Kahn, Maya Lin, and other important figures of 20th and 21st century architecture. Martin Filler's "contribution to both architecture criticism and general readers' understanding is invaluable," according to Publishers Weekly. This latest installment in his acclaimed Makers of Modern Architecture series again demonstrates his unparalleled skill in explaining the revolutionary changes that have reshaped the built environment over the past century and a half. These studies of more than two dozen master builders--women and men, celebrated and obscure, idealists and opportunists--range from the environmental pioneer Frederick Law Olmsted and the mystical eccentric Antoni Gaudí to the present-day visionaries Frank Gehry and Maya Lin. Filler's broad knowledge embraces everything from the glittering Viennese luxury of Josef Hoffmann to the heavy-duty construction of the New Brutalists, from the low-cost postwar suburbs of the Levitt Brothers to today's super-tall condo towers on Manhattan's Billionaire's Row. Sometimes the interplay of social and political forces leads to dark results, as with Hitler's favorite architect, Albert Speer, and interior designer, Gerdy Troost. More often, though, heroic figures including Frank Lloyd Wright, Louis Kahn, and Lina Bo Bardi offer uplifting inspiration for the future of the one art form we all live with—and in—every day.
Tall, handsome with steely blue eyes, Ian McGregor looked more like a leading man actor than a playwright in 1929 Hollywood. Ian is the golden boy scenarist for Universal Studios. The banter in Hollywood was that soon motion pictures would have sound, and Ian would be the writer everyone would demand to write their screenplays".
The first history of the deaccession of objects from museum collections that defends deaccession as an essential component of museum practice. Museums often stir controversy when they deaccession works—formally remove objects from permanent collections—with some critics accusing them of betraying civic virtue and the public trust. In fact, Martin Gammon argues in Deaccessioning and Its Discontents, deaccession has been an essential component of the museum experiment for centuries. Gammon offers the first critical history of deaccessioning by museums from the seventeenth to the twenty-first century, and exposes the hyperbolic extremes of “deaccession denial”—the assumption that deaccession is always wrong—and “deaccession apology”—when museums justify deaccession by finding some fault in the object—as symptoms of the same misunderstanding of the role of deaccessions in proper museum practice. He chronicles a series of deaccession events in Britain and the United States that range from the disastrous to the beneficial, and proposes a typology of principles to guide future deaccessions. Gammon describes the liquidation of the British Royal Collections after Charles I's execution—when masterworks were used as barter to pay the king's unpaid bills—as establishing a precedent for future deaccessions. He recounts, among other episodes, U.S. Civil War veterans who tried to reclaim their severed limbs from museum displays; the 1972 “Hoving affair,” when the Metropolitan Museum of Art sold a number of works to pay for a Velázquez portrait; and Brandeis University's decision (later reversed) to close its Rose Art Museum and sell its entire collection of contemporary art. An appendix provides the first extensive listing of notable deaccessions since the seventeenth century. Gammon ultimately argues that vibrant museums must evolve, embracing change, loss, and reinvention.
Soon after arriving at his Oxford school, the enigmatic North has invited his female history teacher, Bernie, to lunch - and not, as she had thought, to discuss history. When Monty, North's married physics teacher, makes it clear that he wants Bernie for himself, North seeks to mollify him in his own particular way: by seducing him. As North and his bizarre cohort travel across Oxford, London, Ravello, and Washington, the sexual anarchy grows ever more devastating, until eventually North's farcical ménage-à-trois results in death and tragedy. But what is the real story - and is the English master's version to be trusted? A dazzling psychological thriller, North is by turns erudite, audacious and brilliantly witty. An utterly assured and wholly original debut.
This book deals with the history of mining and smelting from the Renaissance to the present. Martin Lynch opens with the invention, sometime before 1453, of a revolutionary technique for separating silver from copper. It was this invention which brought back to life the rich copper-silver mines of central Europe, in the process making brass cannon and silver coin available to the ambitious Habsburg emperors, thereby underpinning their quest for European domination. Lynch also discusses the Industrial Revolution and the far-reaching changes to mining and smelting brought about by the steam engine; the era of the gold rushes; the massive mineral developments and technological leaps forward which took place in the USA and South Africa at the end of the 19th century; and, finally, the spread of mass metal-production techniques amid the violent struggles of the 20th century. In an engaging, concise and fast-paced text, he presents the interplay of personalities, politics and technology that have shaped the metallurgical industries over the last 500 years.
Everyone knows what modern architecture looks like, but few understand how this revolutionary new form of building emerged little more than a century ago or what its aesthetic, social, even spiritual aspirations were. Through illuminating studies of the leading men and women who forever changed our built environment, veteran architecture critic Martin Filler offers fresh insights into this unprecedented cultural transformation. From Louis Sullivan, father of the skyscraper, to Frank Gehry, magician of post-millennial museum, Filler emphasizes how their force of personality has had a decisive effect on everything from how we inhabit our homes to how we shape our cities. Why was the sudden shift in architectural fashion that wrecked the career of the Scottish designer Charles Rennie Mackintosh not enough to destroy the indomitable spirit of Frank Lloyd Wright, who rose from adversity to become America’s greatest architect? Why was Philip Johnson, “dean of American architecture” during the 1980s, so haunted by the superior talent of this less-fortunate contemporary Louis Kahn that he could barely utter his name even at the peak of his own success? How did Ludwig Mies van der Rohe’s dictum “Less is more” give way to Robert Venturi’s “Less is a bore”? Surveying such current urban design sagas as the reconstruction of Ground Zero and the reunification of Berlin, Filler also trains his sharp eye on some of the biggest names in architecture today, puncturing more than one overinflated reputation while identifying the true masters who are now building for the ages.
Add No Vulgar Hotel to the list of books you must read before you come to Venice." —Donna Leon This is the definitive book for managing an incurable passion for a decaying, waterlogged village. Whether you already have a raging case of Venetophilia or are among the fifteen million people who yearly put themselves in danger of contracting it, here is where you get your fix of Venetian wit, history, practicality, and enchantment.
The Rights of Women is a comprehensive guide that explains in detail the rights of women under present U.S. law, and how these laws can be used in the continuing struggle to achieve full gender equality at home, in the workplace, at school, and in society at large. The Rights of Women explores the concept of equal protection and covers topics including employment, education, housing, and public accommodations. This handbook also examines the specific issues of trafficking, violence against women, welfare reform, and reproductive freedom. Using a straightforward question-and-answer format while translating the law into accessible language, this volume is a tool for individuals, lawyers, and advocates seeking to assert women’s rights under the law. Now in its fully revised and updated fourth edition, The Rights of Women is an invaluable guide to finding legal solutions to the most pressing issues facing women today.
Naum Gabo (1890-1977), whose eventful life took him from his native Russia to Berlin, Paris, London, and finally the United States, achieved renown as one of the most inventive and controversial figures in twentieth-century sculpture. This book is the first comprehensive account of Gabo's life, career, and artistic theory and practice. Martin Hammer and Christina Lodder explore in detail the evolution of the artist's work and his aesthetic concerns, creative processes, assimilation of such new materials as plastic, and approach to public sculpture. The authors also examine his response to the scientific and political revolutions of his age and trace the origins and development of Gabo's utopian conviction that Constructivist art was profoundly in tune with modernity, social progress, and advances in science and technology. Drawing on Gabo's extensive and largely unpublished archives of letters, diaries, notebooks, models, and sketchbooks, Hammer and Lodder discuss the sculptor's work in the context of his relations with other avant-garde artists, architects, and critics, including his brother Antoine Pevsner. They also situate his aesthetic theory and practice within the Constructi
The Mini Rough Guide to New York City is your essential companion to one of the world's most dynamic cities. It covers all the major sights and attractions in NYC, plus the practical, nitty-gritty information you'll need to make the most of your visit. The guide's introduction offers a lively city overview and a selection of 'things not to miss' - museums, architecture, green spaces, nightlife, cuisine and more. Then discover New York City by neighbourhood; from bustling Chinatown and once-bohemian Greenwich Village to the beautifully refurbished Lincoln Centre on Manhattan's Upper West Side. Find snappy reviews of hotels, restaurants and bars for every budget and taste, plus shops, clubs, galleries and more. It'll help you get around with clear, readable maps - grid referenced with all the top attractions and recommendations. Entertaining, engaging and opinionated, this guide is unbeatable. Make the most of your break with The Mini Rough Guide to New York City.
History no longer belongs only to historians, but is woven into the fabric and discourse of daily life. This fresh and wide-ranging survey explores how new media and new historiographic approaches are dramatically expanding what we understand by “history” today. Controversy about the aims and limits of historical analysis has raged ever since the rise of postmodern history in the 1970s. But these debates have rarely affected the understanding of history in Central and Eastern Europe. The volume confirms the crucial importance of audiovisual and mass media, from film to television and radio to comics, but does not exclude literary scholars and art historians who are also rethinking their methods, taking note of their new consumers. If history formerly appeared to be a one-way transmission of expertise, it is increasingly a dynamic engagement between researchers and audiences.
Written by New York natives, this guide zeros in on Manhattan, the city's crown jewel, and its world-class museums, restaurants, clubs, and hotels, and then goes on to the rich and diverse outer boroughs, digging up the less obvious charms. 34 maps. of color maps.
Because every single one of us will die, most of us would like to know what—if anything—awaits us afterward, not to mention the fate of lost loved ones. Given the nearly universal vested interest in deciding this question in favor of an afterlife, it is no surprise that the vast majority of books on the topic affirm the reality of life after death without a backward glance. But the evidence of our senses and the ever-gaining strength of scientific evidence strongly suggest otherwise. In The Myth of an Afterlife: The Case against Life after Death, Michael Martin and Keith Augustine collect a series of contributions that redress this imbalance in the literature by providing a strong, comprehensive, and up-to-date casebook of the chief arguments against an afterlife. Divided into four separate sections, this collection opens with a broad overview of the issues, as contributors consider the strongest evidence of whether or not we survive death—in particular the biological basis of all mental states and their grounding in brain activity that ceases to function at death. Next, contributors consider a host of conceptual and empirical difficulties that confront the various ways of “surviving” death—from bodiless minds to bodily resurrection to any form of posthumous survival. Then essayists turn to internal inconsistencies between traditional theological conceptions of an afterlife—heaven, hell, karmic rebirth—and widely held ethical principles central to the belief systems supporting those notions. In the final section, authors offer critical evaluations of the main types of evidence for an afterlife. Fully interdisciplinary, The Myth of an Afterlife: The Case against Life after Death brings together a variety of fields of research to make that case, including cognitiveneuroscience, philosophy of mind, personal identity, philosophy of religion, moralphilosophy, psychical research, and anomalistic psychology. As the definitive casebookof arguments against life after death, this collection is required reading for anyinstructor, researcher, and student of philosophy, religious studies, or theology. It issure to raise provocative issues new to readers, regardless of background, from thosewho believe fervently in the reality of an afterlife to those who do not or are undecidedon the matter.
David Hockney reflects upon life and art as he experiences lockdown in rural Normandy in this inspiring book which includes conversations with the artist and his latest artworks. On turning eighty, David Hockney sought out rustic tranquility for the first time: a place to watch the sunset and the change of the seasons; a place to keep the madness of the world at bay. So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year earlier, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art. Spring Cannot Be Cancelled is an uplifting manifesto that affirms art’s capacity to divert and inspire. It is based on a wealth of new conversations and correspondence between Hockney and art critic Martin Gayford, his long-time friend and collaborator. Their exchanges are illustrated by a selection of Hockney’s new Normandy drawings and paintings alongside works by Van Gogh, Monet, Bruegel, and others. We see how Hockney is propelled ever forward by his infectious enthusiasms and sense of wonder. A lifelong contrarian, he has been in the public eye for sixty years, yet remains entirely unconcerned by the view of critics or even history. He is utterly absorbed by his four acres of northern France and by the themes that have fascinated him for decades: light, color, space, perception, water, trees. He has much to teach us, not only about how to see . . . but about how to live.
In this sequel to The Haunting of America, national bestselling authors Joel Martin and William J. Birnes bring up to the present the story of how paranormal events influenced and sometimes even drove political events. In unearthing the roots of America's fascination with the ghosts, goblins, and demons that possess our imaginations and nightmares, Martin and Birnes show how the paranormal has driven America's political, public, and militarypolicies. The authors examine the social history of the United States through the lens of the paranormal and investigate the spiritual events that inspired momentous national decisions: UFOs that frightened the nation's military into launching nuclear bomber squadrons toward the Soviet Union, out-of-body experiences used to gather sensitive intelligence on other countries, and even spirits summoned to communicate with living politicians. The Haunting of Twentieth-Century America is a thrilling evidencebased exploration of the often unexpected influences of the paranormal on science, medicine, law, the government, the military, psychology, theology, death and dying, spirituality, and pop culture. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Venice was a major centre of art in the Renaissance: the city where the medium of oil on canvas became the norm. The achievements of the Bellini brothers, Carpaccio, Giorgione, Titian, Tintoretto and Veronese are a key part of this story. Nowhere else has been depicted by so many great painters in so many diverse styles and moods. Venetian views were a speciality of native artists such as Canaletto and Guardi, but the city has also been represented by outsiders: J. M. W. Turner, Claude Monet, John Singer Sargent, Howard Hodgkin, and many more.Then there are those who came to look at and write about art. The reactions of Henry James, George Eliot, Richard Wagner and others enrich this tale. Nor is the story over. Since the advent of the Venice Biennale in the 1890s, and the arrival of pioneering modern art collector Peggy Guggenheim in the late 1940s, the city has become a shop window for the contemporary art of the whole world, and it remains the site of important artistic events.In this elegant volume, Gayford who has visited Venice countless times since the 1970s, covered every Biennale since 1990, and even had portraits of himself exhibited there on several occasions takes us on a visual journey through the past five centuries of the city known La Serenissima, the Most Serene. It is a unique and compelling portrait of Venice that will delight lovers of the city and lovers of its art.
Martin Gayford’s masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselves The development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley. Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.
The destruction of a town, and the creation of a masterpiece--On April 26, 1937, in the late afternoon of a busy market day in the Basque town of Gernika in northern Spain, the German Luftwaffe began the relentless bombing and machine-gunning of buildings and villagers at the request of General Francisco Franco and his rebel forces. Three-and-a-half hours later, the village lay in ruins, its population decimated. This act of terror and unspeakable cruelty--the first intentional, large-scale attack against a nonmilitary target in modern warfare--outraged the world and one man in particular, Pablo Picasso. The renowned artist, an expatriate living in Paris, reacted immediately to the devastation in his homeland by creating the canvas that would become widely considered one of the greatest artworks of the twentieth century--Guernica. Weaving themes of conflict and redemption, of the horrors of war and of the power of art to transfigure tragedy, Russell Martin follows this monumental work from its fevered creation through its journey across decades and continents--from Europe to America and, finally and triumphantly, to democratic Spain. Full of historical sweep and deeply moving drama, Picasso's War delivers an unforgettable portrait of a painting, the dramatic events that led to its creation, and its ongoing power today.
Created for engineers and students working with pure polymers and polymer solutions, this handbook provides up-to-date, easy to use methods to obtain specific volumes and phase equilibrium data. A comprehensive database for the phase equilibria of a wide range of polymer-solvent systems, and PVT behavior of pure polymers are given, as are accurate predictive techniques using group contributions and readily available pure component data. Two computer programs on diskettes are included. POLYPROG implements procedures given for prediction and correlation for specific volume of pure polymer liquids and calculation of vapor-liquid equilibria (VLE) of polymer solutions. POLYDATA provides an easy method of accessing the data contained in the many databases in the book. Both disks require a computer with a math coprocessor. This handbook is a valuable resource in the design and operation of many polymer processes, such as polymerization, devolatilization, drying, extrusion, and heat exchange. Special Details: Hardcover with Disks. Special offer: Purchase this book along with X-131, Handbook of Diffusion and Thermal Properties of Polymers and Polymer Solutions and receive a 20 percent discount off the list or member price.
You've read about Jack Welch, Lou Gerstner and Steve Jobs - but what can you learn about business from van Gogh and Picasso? The Fine Art of Success shows why you should look to pop-stars like Madonna or artists like Damian Hirst for guidance on innovation, competitive advantage, leadership, and a host of other business issues. Managers, marketing professionals, and students will see how these creative artists can help their organizations. Chapters include Madonna - Strategy at the dance floor; Damian Hirst - The shark is dead/How to build yourself a new market; Beuys – Understanding creativity, is every manager an artist; Picasso – Art lessons for global managers; Koons – Made in Heaven produced on eart; and Paik – Global Groove, innovation through juxtaposition. With controversial ideas, fascinating facts and memorable examples, The Fine Art of Success delivers business lessons that you'll be eager to apply.
In this companion volume to The Haunting of America and The Haunting of Twentieth-Century America, national bestselling authors William J. Birnes and Joel Martin explore today's intellectual and spiritual awakening—one that is challenging traditional belief systems. Birnes and Martin show that, though many governments deny the importance of a spiritual component to national policy, even the most conservative governments have based social and financial policy decisions on a profound belief in the existence of the paranormal, ghosts, and spirits. From using psychic spying programs to gather intelligence on enemy nations to investigating the use of mind control to impede the abilities of hostile troops, the U.S. government has continuously developed paranormal weapons and tactics alongside their more mundane counterparts. U.S. Presidents from Franklin Pierce through Ronald Reagan regularly relied on the paranormal, using trance mediums, channelers, and astrologists to help plan agendas and travel schedules. The Haunting of Twenty-First-Century America is unlike any American history you will ever read—it posits that not only is the paranormal more normal than most people think, but that it is driving current events to a new "Fourth Culture" of the twenty-first century. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
In Opera at the Bandstand: Then and Now, George W. Martin surveys the role of concert bands during the nineteenth and early twentieth centuries in making contemporary opera popular. He also chronicles how in part they lost their audience in the second half of the twentieth century by abandoning operatic repertory. Martin begins with the Dodworth bands in New York City from the 1850s and moves to the American tour of French conductor and composer Louis Antoine Jullien, bandmaster Patrick S. Gilmore’s jubilee festivals, the era of John Philip Sousa from 1892 to 1932, performances of the Goldman Band of New York City from 1920 to 2005, and finally the wind ensembles sparked by Frederick Fennell. He illustrates the degree to which operatic material comprised these bands’ overall repertory and provides detailed programs in the appendixes. Opera at the Bandstand describes how the technological advancements sweeping the country, such as radio, automobiles, recordings, television, and air conditioning, along with changes in demographics, affected the country’s musical life. It will appeal to bandmasters and their players, as well as those with an interest in American history, music, popular culture, and opera.
Solid state physics, the study of the physical properties of solid matter, was the most populous subfield of Cold War American physics. Despite prolific contributions to consumer and medical technology, such as the transistor and magnetic resonance imaging, it garnered less professional prestige and public attention than nuclear and particle physics. Solid State Insurrection argues that solid state physics was essential to securing the vast social, political, and financial capital Cold War physics enjoyed in the twentieth century. Solid state’s technological bent, and its challenge to the “pure science” ideal many physicists cherished, helped physics as a whole respond more readily to Cold War social, political, and economic pressures. Its research kept physics economically and technologically relevant, sustaining its cultural standing and policy influence long after the sheen of the Manhattan Project had faded. With this book, Joseph D. Martin brings a new perspective to some of the most enduring questions about the role of physics in American history.
The young Lucian Freud was described by his friend Stephen Spender as totally alive, like something not entirely human, a leprechaun, a changeling child, or, if there is a male opposite, a witch. All that magnetism and brilliance is displayed in the letters assembled here, many published for the first time. From schoolboy messages to his parents, though letters to friends, lovers, and confidants, to correspondence with patrons and associates as he became established as a professional painter, they are peppered with wit, affection and irreverence. Collectively, they provide a powerful insight into his early life and art. Co-authored by David Dawson, Freuds longstanding personal assistant and now Director of the Lucian Freud Archive, and Martin Gayford, author, critic, and friend of the artist, this is the first published collection of Freuds correspondence. Reproduced in facsimile alongside reproductions of Freuds artwork, the letters are linked by a narrative that weaves them into the story of his life and relationships through his formative first three decades.
In August 1943, the Luftwaffe began using radio-controlled anti-ship glide bombs and within weeks they had sunk one battleship, crippled another, wrecked two cruisers, and destroyed numerous merchant ships. Yet, a year later the Germans abandoned their use, defeated by scientists who developed electronic systems to jam the radio links that guided the bombs. Drawing on a wealth of new sources, Martin Bollinger examines what happened from both a historical and technological perspective and lays out a mission-by-mission analysis of effectiveness. Based on interviews with participants, intelligence documents, and archival records in four countries, his book chronicles the yearlong battle between the Allied seamen (the warriors) and the scientists (the wizards) for a story of courage, technical achievement, and sacrifice.
From Accommodating Life, The accommodation of human beings within created space is the true concern of any well-conceived built environment. In architecture, the term modern means an architecture that is acutely responsive to the demands of current accommodation while utilizing the most advanced techniques available in order to achieve an apt expression of its particular now. In other words, modern architecture, in each era, means an architecture devoted to accommodating life. In recent decades, an architecture of true relevance to life concerns has been conspicuously absent as a cultural force. In its stead, a succession of design initiatives divorced from their social moorings, dedicated primarily to image and motivated as much by subjective whim or the dictates of fashion as by any direct response to human need, has long been dominating the determination of the human habitat. It is vitally important that we consider where we are and how we got here and make an attempt to point the way toward a new modern architecture, an architecture that enhances existence, an architecture that encompassing both use and beauty and accommodates and enhances life (Martin Bloom).
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