Held Together with Tape and Glue consists of 17 poems, including erasures and collage. The visual collage of the cover art uses a photo which inspired the first poem in the collection, "Flight Over a Quiet Square."
Sunday Ink: Works by the Uptown Writers is an eclectic, multi-genre anthology of fiction and fairytale, poetry and play, with a touch of memoir that adds an element of personal narrative to the collection. The Uptown Writers-Carol Bolt, Pamela Hobart Carter, Geri Gale, Sandra E. Jones, Susan Knox, Stacy Lawson, Arleen Williams, and Janet Yoder-gather for timed-writing practice every Sunday morning. Sunday Ink is a product of that process and their commitment to writing and art.
Joyce will lose her old house on South Sixteenth Street unless she finds more money. How will her old student, Lionel, save the day? A story in easy English for adults. Book 1, The Old House Series
This book considers patterns of women's employment in the period 1700-1850. Focusing on the county of Essex, material on the worsted industry, agriculture, fashion trades, service, prostitution, and marriage and family life will shed light on contemporary debates in history such as the sexual division of labour, controversy over continuity or change in women's employment, the importance of ideas of 'separate spheres' and 'domestic ideology', and the overall effects of capitalism on women's employment.
He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.
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