Do you want to understand how long the cycles are for global warming and man's role in it? Do you want to understand the mythical story of Atlantis? What about COVID-19? In the groundbreaking book, Fire and Ice, author Michael James Meyer answers these questions and more. After many decades of Bible study, Meyer uncovered a mathematical formula for deciphering most of the Bible and Biblical prophecy. Among other things, this formula gave him a framework that provided approximate dates to many Biblical events. It helps answer a host of questions, such as: What is the message behind the building of the three large pyramids and the Sphinx? What are some of the key numbers for Biblical numerology? What is the "end of the world" prophecy in the Bible, including the resurrection? What will life on earth be like after the Lord comes and resurrects his people? Fire and Ice shows readers why the Bible is just as informative and relevant today as it was when it was first written.
Do you want to understand how long the cycles are for global warming and man’s role in it? Do you want to understand the mythical story of Atlantis? What about COVID-19? In the groundbreaking book, Michael Meyer with the End of the Age, author Michael James Meyer answers these questions and more. After many decades of Bible study, Meyer uncovered a mathematical formula for deciphering most of the Bible and Biblical prophecy. Among other things, this formula gave him a framework that provided approximate dates to many Biblical events. It helps answer a host of questions, such as: What is the message behind the building of the three large pyramids and the sphinx? What are some of the key numbers for Biblical numerology? What is the “end of the world” prophecy in the Bible, including the resurrection? What will life on earth be like after the Lord comes and resurrects his people? Michael Meyer with the End of the Age journeys through the Bible, showing readers why the holy text is just as informative and relevant today as it was when it was first written.
Long before the Patriots took the 21st century by storm and became the most dominant team in NFL history, pro football was something entirely different in New England, something comically atrocious and riddled with heartbreak. Before those juggernaut years of Bill Belichick, Tom Brady, and sold-out crowds at Gillette Stadium came a hapless franchise that managed only a single playoff victory in a quarter century and spent its entire first decade of existence just trying to establish a permanent home field (and even when they did, none of the toilets worked). In From Darkness to Dynasty, bestselling author Jerry Thornton irreverently chronicles those easily glossed-over, downtrodden decades--years when the team claimed more headlines for lawsuits, arrests, power struggles, drug problems, and inept, bizarre, behavior from players, coaches, and owners than for anything they accomplished on the field. Relive the behind-the-scenes dysfunction, the turmoil of prolonged irrelevance, and the improbable way the Patriots finally ascended to greatness. By turns hilarious and eye-opening, this is an essential history for fans and disparagers alike, and a pointed reminder that the best stories of triumph start with humble beginnings.
Do you want to understand how long the cycles are for global warming and man’s role in it? Do you want to understand the mythical story of Atlantis? What about COVID-19? In the groundbreaking book, Fire and Ice, author Michael James Meyer answers these questions and more. After many decades of Bible study, Meyer uncovered a mathematical formula for deciphering most of the Bible and Biblical prophecy. Among other things, this formula gave him a framework that provided approximate dates to many Biblical events. It helps answer a host of questions, such as: What is the message behind the building of the three large pyramids and the Sphinx? What are some of the key numbers for Biblical numerology? What is the “end of the world” prophecy in the Bible, including the resurrection? What will life on earth be like after the Lord comes and resurrects his people? Fire and Ice shows readers why the Bible is just as informative and relevant today as it was when it was first written.
Overview In this provocative reassessment of one of the most controversial figures of twentieth-century American politics, Michael Knox Beran shows how Bobby Kennedy was shaped by values of the aristocratic class to which he had been brought up to belong. He was one of them - until he realized that the welfare state they had helped to create at home and the empire they had helped to found abroad were undermining some of America's most cherished traditions. In denouncing the welfare system as a "second-rate set of social services" and "hand-outs," and in questioning the imperial commitments that the patricians made in places like Vietnam, Bobby Kennedy was a prophet who accurately foresaw the changing direction of American politics. Challenging the work of Arthur Schlesinger Jr., Jack Newfield, and others, Beran demonstrates that Bobby was neither a pious liberal martyr nor a would-be revolutionary. He was a man who drew on the wisdom of Emerson, the ancient Greeks, and his own father's ideas about the transformative power of free markets - and used them to create a compelling vision of a better America.
On the tenth anniversary of its publication, this updated edition of a work ARTNews hailed as “one of the best books ever published on the art world” features new material on the latest art deals, reflections on race and culture, the impact of the pandemic on the art world, and more. Internationally renowned dealer and market expert Michael Findlay offers a lively and authoritative look at the financial and emotional value of art throughout history. In this newly revised, updated, and generously illustrated edition Findlay draws on a half-century in the business and a passion for great art to question and redefine what we mean by “value,” addressing developments in this conversation since the book was first published in 2012: the rise of NFTs and digital art; the auction house as theatre; the pressing relationship between art and society’s fraught political landscape; and the impact of the pandemic. With style and wry wit, Findlay demystifies how art is bought and sold while also constantly looking beyond sales figures to emphasize the primacy of art’s essential, noncommercial worth. Coloring his account with wise advice, insider anecdotes involving scoundrels and scams, stories of celebrity collectors, and remarkable discoveries, Findlay has distilled a lifetime’s experience in this indispensable guide, now updated for today’s sophisticated and discerning audience.
The rules of composition have changed. Discover the new ideas that shape the art we make today. Art has changed beyond recognition since the principles of harmonious composition were established in classical times. From the invention of photography to the digital revolution, technological and social advances have transformed the way we see the world. This new vision, influenced by changing attitudes not least towards gender roles and the West's colonial history, is reflected in the art we make. From the rejection of Western compositional orthodoxy by artists such as Édouard Manet, Vincent van Gogh and Mary Cassatt to the revolutionary practices of Jean- Michel Basquiat, Tania Bruguera, Meleko Mokgosi and many others, acclaimed art critic and writer Michael Archer reveals the ideas and intentions behind a thrillingly diverse selection of artworks, giving readers a new set of tools for understanding art today.
For decades, aesthetics has been subjected to a variety of critiques, often concerning its treatment of beauty or the autonomy of art. Collectively, these complaints have generated an anti-aesthetic stance prevalent in the contemporary art world. Yet if we examine the motivations for these critiques, Michael Kelly argues, we find theorists and artists hungering for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. Following an analysis of the work of Stanley Cavell, Arthur Danto, Umberto Eco, Susan Sontag, and other philosophers of the 1960s who made aesthetics more responsive to contemporary art, Kelly considers Sontag's aesthetics in greater detail. In On Photography (1977), she argues that a photograph of a person who is suffering only aestheticizes the suffering for the viewer's pleasure, yet she insists in Regarding the Pain of Others (2003) that such a photograph can have a sustainable moral-political effect precisely because of its aesthetics. Kelly considers this dramatic change to be symptomatic of a cultural shift in our understanding of aesthetics, ethics, and politics. He discusses these issues in connection with Gerhard Richter's and Doris Salcedo's art, chosen because it is often identified with the anti-aesthetic, even though it is clearly aesthetic. Focusing first on Richter's Baader-Meinhof series, Kelly concludes with Salcedo's enactments of suffering caused by social injustice. Throughout A Hunger for Aesthetics, he reveals the place of critique in contemporary art, which, if we understand aesthetics as critique, confirms that it is integral to art. Meeting the demand for aesthetics voiced by many who participate in art, Kelly advocates for a critical aesthetics that confirms the power of art.
The Alley of Angels takes readers on a dark journey to El Salvador during the waning days of that countrys bloody civil war. Chicago writer Henry Reed and his friend and colleague photographer Jean-Michel Beaulieu are assigned to discover the fate of Robert Zorn, a high-profile pastor and celebrity rabble-rouser, whose unwelcome involvement in the war may have led to his disappearance, and possibly, his death. Reed and Beaulieus investigation finds them crossing paths with a dangerous assortment of war-weary players, including peace activists, CIA agents, death squad assassins, FMLN rebels and teenage prostitutes. In this lethal environment nothing is what it seems and no one can be trusted.
Diego Rivera, Dorothea Lange, Adolfo Pérez Esquivel: Art and activism have long been intertwined, and the political fallout has resulted in an artistic canon riddled with historical holes. One of the most glaring omissions from most listings of American art masters is Ad Reinhardt (1913–67). An artist who had significant ties to the American Communist movement and leftist political organizations, Reinhardt and his contributions to modern art have been largely pushed out of the spotlight for political reasons. But in this unprecedented in-depth study of Reinhardt’s life and work, Michael Corris returns the artist to his rightful place in the history of modern art and culture. A pioneering avant-garde artist with fierce political beliefs, Reinhardt immersed himself in the vibrant left-wing political and cultural circles of the 1930s and ’40s, only to be marginalized by the social and cultural conservatism that arose in postwar America. Corris examines Reinhardt’s work against this historical background, charting the development of his entire oeuvre, ranging from his abstract paintings to his popular graphic artwork, illustrations and cartoons. Ad Reinhardt also re-evaluates Reinhardt’s role and influence in the art world, chronicling his time as an artist and educator at the California School of Fine Arts, University of Wyoming, Yale University, and Hunter College, and examining his influence on younger artists who created successive avant-garde movements such as minimal and conceptual art. A long-awaited examination of a less-heralded American master, Ad Reinhardt is a fascinating portrait of an artist whose political radicalism infused his art with a poignant resonance that stretches, through this rediscovery, into the present.
Collecting the Now offers a new, in-depth look at the economic forces and institutional actors that have shaped the outlines of postwar art history, with a particular focus on American art, 1960–1990. Working through four case studies, Michael Maizels illuminates how a set of dealers and patrons conditioned the iconic developments of this period: the profusions of pop art, the quixotic impossibility of land art, the dissemination of new media, and the speculation-fueled neo-expressionist painting of the 1980s. This book addresses a question of pivotal importance to a swath of art history that has already received substantial scholarly investigation. We now have a clear, nuanced understanding of why certain evolutions took place: why pop artists exploded the delimited parameters of aesthetic modernism, why land artists further strove against the object form itself, and why artists returned to (neo-)traditional painting in the 1980s. But remarkably elided by extant scholarship has been the question of how. How did conditions coalesce around pop so that its artists entered into museum collections, and scholarly analyses, at pace unprecedented in the prior history of art? How, when seeking to transcend the delimited gallery object, were land artists able to create monumental (and by extension, monumentally expensive), interventions in the extreme wilds of the Western deserts? And how did the esoteric objects of media art come eventually to scholarly attention in the sustained absence of academic interest or a private market? The answers to these questions lie in an exploration of the financial conditions and funding mechanisms through which these works were created, advertised, distributed, and preserved.
Between the countless works of art in the world and numerous laws on their care, the task of deciphering correct procedure can seem daunting. In Art Law: A Concise Guide for Artists, Curators, and Art Educators, Michael E. Jones breaks down the legal language into a concise tool for all those involved in the art world. While most art law books are written for law students or museum directors, trustees, and curators, Jones’ book appeals to a far larger audience, particularly undergraduate and graduate students studying art, graphic design, photography, museum studies, art education and art business. It is also a useful research guide for museum professionals, gallery directors, foundation heads, working professional visual fine artists and board/trustee members. Art Law distinguishes itself by providing a broad scope of art law in relation to the world of artists and those organizations that support, preserve, govern, display, and even sell art. Covering topics such as acquisition, grants, and buying and selling, this book takes a look at the ethical and legal issues and rights that confront the art community and museums. Through case studies complete with images, readers can see these topics in action. Art Law is a must-have guide for art educators, museum studies students, art law and business programs, and artists looking for clear and readable descriptions and answers to the relevant legal issues facing the art world community.
“The Light and Space movement—of great importance to my development as a young artist—is far more than a valid art historical reference. It translates matters of psychology, phenomenology, criticality, emotional investment, and now-ness into an immaterial language that is both subversive and compelling. Light and Space is as contemporary as ever.” —Olafur Eliasson
The break-up of the Ottoman empire and the disintegration of the Russian empire were watershed events in modern history. The unravelling of these empires was both cause and consequence of World War I and resulted in the deaths of millions. It irrevocably changed the landscape of the Middle East and Eurasia and reverberates to this day in conflicts throughout the Caucasus and Middle East. Shattering Empires draws on extensive research in the Ottoman and Russian archives to tell the story of the rivalry and collapse of two great empires. Overturning accounts that portray their clash as one of conflicting nationalisms, this pioneering study argues that geopolitical competition and the emergence of a new global interstate order provide the key to understanding the course of history in the Ottoman-Russian borderlands in the twentieth century. It will appeal to those interested in Middle Eastern, Russian, and Eurasian history, international relations, ethnic conflict, and World War I.
This important volume looks back to 1890 and -- 100 years later -- asks some of the same questions William James was asking in his Principles of Psychology. In so doing, it reviews our progress toward their solutions. Among the contemporary concerns of 1990 that the editors consider are: the nature of the self and the will, conscious experience, associationism, the basic acts of cognition, and the nature of perception. Their findings: Although the developments in each of these areas during the last 100 years have been monumental, James' views as presented in the Principles still remain viable and provocative. To provide a context for understanding James, some chapters are devoted primarily to recent scholarship about James himself -- focusing on the time the Principles was written, relevant intellectual influences, and considerations of his understanding of this "new" science of psychology. The balance of this volume is devoted to specific topics of particular interest to James. One critical theme woven into almost every chapter is the tension between the role of experience (or phenomenological data) within a scientific psychology, and the viability of a materialistic (or biologically reductive) account of mental life. Written for professionals, practitioners, and students of psychology -- in all disciplines.
The Encyclopaedia of Serial Killers, Second Edition provides accurate information on hundreds of serial murder cases - from early history to the present. Written in a non-sensational manner, this authoritative encyclopaedia debunks many of the myths surrounding this most notorious of criminal activities. New major serial killers have come to light since the first edition was published, and many older cases have been solved (such as the Green River Killer) or further investigated (like Jack the Ripper and the Zodiac Killer). Completely updated entries and appendixes pair with more than 30 new photographs and many new entries to make this new edition more fascinating than ever. New and updated entries include: Axe Man of New Orleans; BTK Strangler; Jack the Ripper; Cuidad Juarez, Mexico; John Allen Muhammad and Lee Boyd Malvo, the Sniper Killers; Gary Leon Ridgway, the Green River Killer; and Harold Frederick Shipman.
The Theater of Trauma is a groundbreaking rereading of the relations between psychology and drama in the age of Eugene O'Neill, Susan Glaspell, and their many brilliant contemporaries. American modernist Theater of Trauma drew its vision from the psychological investigation of trauma and its consequences - among them hysteria and dissociation - made by French and American psychiatrists such as the great Pierre Janet, Alfred Binet, William James, Morton Prince, and W.E.B. Du Bois; the European and American «dissociationist culture» that developed around their work; and the resulting trauma of World War I. American dramatists' deep resistance to Freud's suppression of trauma challenges the equation of Freud and modernism that has become commonplace in modernist criticism.
New scholarship and interpretation of Flavin's work also appears in the form of three critical essays by experts and an extensive chronology, comprehensive bibliography, and exhibition history. In addition, this book includes Flavin's text, "'...in daylight or cool white.' an autobiographical sketch," originally published in Artforum in 1965, and two interviews with the artist - one from 1972 and the other from 1982."--BOOK JACKET.
Of the conceptual artists who began their careers in the 1960s and 1970s—Bruce Nauman, Chris Burden, Vito Acconci, and Mel Bochner among them—Barry Le Va may be the most elusive. As this first study of his work reveals, his rigorously planned art was instigated to mask its creator’s intentions and methods, presenting itself as an “aftermath” of modernism’s claim to permanency and civil society’s preferred mode of monumentalism. For Michael Maizels, Le Va’s work constitutes a particularly productive subject of inquiry because it clearly articulates the interconnection between the avant-garde’s distrust of autonomous art objects, two decades of social unrest, the emergence of information theory, and lingering notions of scientific objectivity. Barry Le Va: The Aesthetic Aftermath explores how Le Va used such materials as shattered glass, spent bullets, sound recordings, scattered flour, and meat cleavers embedded in a floor to challenge the interlocking assumptions behind blind faith in lasting beauty, just government, and perfectible knowledge. Taking inspiration from popular crime novels as well as contemporary art theory, Le Va charged his viewers to attempt, like detectives at a crime scene, to decipher an order underlying the apparent chaos. Le Va’s installations were designed to erode not simply the presumed autonomy of the art object but also the economic and political authority of the art establishment. In his concluding chapter, Maizels looks at the more fixed work of the past two decades in which Le Va turned to architectural themes and cast concrete to probe the limits of dynamism and the idea of permanence.
This work is a composite index of the complete runs of all mystery and detective fan magazines that have been published, through 1981. Added to it are indexes of many magazines of related nature. This includes magazines that are primarily oriented to boys' book collecting, the paperbacks, and the pulp magazine hero characters, since these all have a place in the mystery and detective genre.
Science content helps develop the skills needed to understand how science works, learn new concepts, solve problems, and make decisions in today's technological society.
This is the social history of art at its best."--Alex Potts, author of The Sculptural Imagination: Figurative, Modernist, Minimalist "James Rosenquist: Pop Art, Politics, and History in the 1960s provides a new perspective on the work of Rosenquist, a key but neglected artist of the Pop Art movement. Michael Lobel, who bases his study on detailed contextual research as well as close visual analysis, highlights the themes of obsolescence, novelty, and ephemera in Rosenquist's images and effectively relates the artist's interests to broader questions of consumer culture and urban planning in 1960s New York. Clearly written and thoroughly engaging, this book makes a significant contribution to our understanding of the artist and of Pop Art."--Cecile Whiting, author of Pop L.A.
Syria's Monuments: their Survival and Destruction analyses travellers’ accounts of the Roman, Christian and Islamic monuments of Syria (including Lebanon, Jordan, Palestine/Israel). An epilogue assesses the impact of the recent civil war on the state of the monuments, and their likely future.
A facsimile reprint of the Second Edition (1994) of this genealogical guide to 25,000 descendants of William Burgess of Richmond (later King George) County, Virginia, and his only known son, Edward Burgess of Stafford (later King George) County, Virginia. Complete with illustrations, photos, comprehensive given and surname indexes, and historical introduction.
The first volume of Michael Horton’s magisterial intellectual history of “spiritual but not religious” as a phenomenon in Western culture Discussions of the rapidly increasing number of people identifying as “spiritual but not religious” tend to focus on the past century. But the SBNR phenomenon and the values that underlie it may be older than Christianity itself. Michael Horton reveals that the hallmarks of modern spirituality—autonomy, individualism, utopianism, and more—have their foundations in Greek philosophical religion. Horton makes the case that the development of the shaman figure in the Axial Age—particularly its iteration among Orphists—represented a “divine self.” One must realize the divinity within the self to break free from physicality and become one with a panentheistic unity. Time and time again, this tradition of divinity hiding in nature has arisen as an alternative to monotheistic submission to a god who intervenes in creation. This first volume traces the development of a utopian view of the human individual: a divine soul longing to break free from all limits of body, history, and the social and natural world. When the second and third volumes are complete, students and scholars will consult The Divine Self as the authoritative guide to the “spiritual but not religious” tendency as a recurring theme in Western culture from antiquity to the present.
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