In the early 1960s, Richard Avedon was commissioned by Harper's Bazaar to create Observations, a column that consisted of a series of nine photographic essays. The subject of the first essay was John F. Kennedy and his young family, who sat for formal black-and-white portraits just three weeks prior to Kennedy's presidential inauguration. Six images appeared in the magazine's February 1961 issue. That same day, Avedon created more informal color portraits of Kennedy and his family at the Kennedy compound in Palm Beach. One of these images ran as the cover of LOOK magazine's February 28 issue, with photographs by Avedon inside. Just before the magazine hit the newsstands and was delivered to over 6.5 million people, a set of photographs, comprised mostly of the LOOK images, was released by the White House and appeared in newspapers across the country. During his lifetime, Richard Avedon donated more than two hundred images to the Smithsonian Institution, including all of the photographs of the Kennedy family sitting for Harper's Bazaar. Smithsonian curator Shannon Thomas Perich has culled more than seventy-five images from that donation for The Kennedys: Portrait of a Family, making these stunning photographs available for view for the first time. Perich's introductory essay—accompanied by a wealth of archival photographs of both Avedon and the Kennedy family—provides historical background on the two sittings within a political and cultural context and critically examines the work of one of the finest photographers of the twentieth century. A foreword by Robert Dallek, distinguished historian and author of the bet-selling An Unfinished Life: John F. Kennedy, 1917-1963, provides authoritative and compelling insight to one of the most fascinating presidents in American history.
A master of American fashion and art photography turns his artistry to capturing--in a series of photograph portraits--the cowboys, roustabouts, drifters, gamblers, bar girls, and others who characterize the modern Western experience
In The Art Prophets, Richard Polsky introduces us to influential late twentieth-century dealers and tastemakers in the art world. These risk takers opened doors for artists, identified new movements, and resurrected art forms that had fallen into obscurity. In this distinctive tour, Polsky offers an insightful and engaging dialog between artists and the visionaries who paved their way. Table of contents Ivan Karp and Pop Art Stan Lee and Comic Book Art Chet Helms, Bill Graham, and the Art of the Poster John Ollman and Outsider Art Joshua Baer and Native American Art Virginia Dwan and Earthworks Tod Volpe and Ceramics Jeffrey Fraenkel and Photography Louis Meisel and Photorealism Tony Shafrazi and Street Art
Examining portraits of black people over the past two centuries, Cutting a Figure argues that these images should be viewed as a distinct category of portraiture that differs significantly from depictions of people with other racial and ethnic backgrounds. The difference, Richard Powell contends, lies in the social capital that stems directly from the black subject’s power to subvert dominant racist representations by evincing such traits as self-composure, self-adornment, and self-imagining. Powell forcefully supports this argument with evidence drawn from a survey of nineteenth-century portraits, in-depth case studies of the postwar fashion model Donyale Luna and the contemporary portraitist Barkley L. Hendricks, and insightful analyses of images created since the late 1970s. Along the way, he discusses major artists—such as Frédéric Bazille, John Singer Sargent, James Van Der Zee, and David Hammons—alongside such overlooked producers of black visual culture as the Tonka and Nike corporations. Combining previously unpublished images with scrupulous archival research, Cutting a Figure illuminates the ideological nature of the genre and the centrality of race and cultural identity in understanding modern and contemporary portraiture.
When the Greatest Generation came marching home, they buckled right down to work. I WAS A MAD MAN is the story of one of those men. Richard L. Gilbert, born in New York, devoted Giants fan in the cheap seats of Coogan's Bluff, CCNY grad, soldier, returned home in 1946. He needed a job. He found one in advertising. You don’t know his name (yet) but you'll recognize his work. In a 40-year career Richard Gilbert and his intrepid staff of copywriters, designers and artists at Gilbert Advertising changed how Americans thought about fur coats, foreign languages, cars, perfume and the Vietnam War. Gilbert Advertising wasn't the biggest shop on Madison Avenue but it was influential beyond its size. From encouraging the Metropolitan Opera to offer less than full season subscriptions (unheard of till 1971) in the Met's first ad campaign; to persuading people Renault had mended its ways (a Renault for the people who swore they’d never buy another); to tweaking the tail of the Russian Bear (Premier Kosygin, we'd like to give you a free tuxedo); London Fog rainwear; Berlitz Language school, and Club Med, Gilbert Advertising was the creator of iconic pop culture images that remain fresh and persuasive years later. Along the way Richard Gilbert spearheaded the ad campaign that helped end the Vietnam War (The First American Ballot on the War; Some Toys Hate War) and helped litigate protection of commercial free speech. Armed only with a pencil, and the indomitable American can-do spirit, Richard Gilbert marched up Madison Avenue into history. This is his story, and ours.
In the early 1960s, Richard Avedon was commissioned by Harper's Bazaar to create Observations, a column that consisted of a series of nine photographic essays. The subject of the first essay was John F. Kennedy and his young family, who sat for formal black-and-white portraits just three weeks prior to Kennedy's presidential inauguration. Six images appeared in the magazine's February 1961 issue. That same day, Avedon created more informal color portraits of Kennedy and his family at the Kennedy compound in Palm Beach. One of these images ran as the cover of LOOK magazine's February 28 issue, with photographs by Avedon inside. Just before the magazine hit the newsstands and was delivered to over 6.5 million people, a set of photographs, comprised mostly of the LOOK images, was released by the White House and appeared in newspapers across the country. During his lifetime, Richard Avedon donated more than two hundred images to the Smithsonian Institution, including all of the photographs of the Kennedy family sitting for Harper's Bazaar. Smithsonian curator Shannon Thomas Perich has culled more than seventy-five images from that donation for The Kennedys: Portrait of a Family, making these stunning photographs available for view for the first time. Perich's introductory essay—accompanied by a wealth of archival photographs of both Avedon and the Kennedy family—provides historical background on the two sittings within a political and cultural context and critically examines the work of one of the finest photographers of the twentieth century. A foreword by Robert Dallek, distinguished historian and author of the bet-selling An Unfinished Life: John F. Kennedy, 1917-1963, provides authoritative and compelling insight to one of the most fascinating presidents in American history.
This book provides a richly rewarding vision of the burgeoning interdisciplinary field of somaesthetics. Composed of fourteen wide-ranging but finely integrated essays by Richard Shusterman, the originator of the field, Thinking through the Body explains the philosophical foundations of somaesthetics and applies its insights to central issues in ethics, education, cultural politics, consciousness studies, sexuality and the arts. Integrating Western philosophy, cognitive science and somatic methodologies with classical Asian theories of body, mind and action, these essays probe the nature of somatic existence and the role of body consciousness in knowledge, memory and behavior. Deploying somaesthetic perspectives to analyze key aesthetic concepts (such as style and the sublime), he offers detailed studies of embodiment in drama, dance, architecture and photography. The volume also includes somaesthetic exercises for the classroom and explores the ars erotica as an art of living.
Sennett's brilliant study of the physical fabric of the city as a mirror of Western society and culture was originally published (cloth) in 1990 by Alfred A. Knopf. Annotation copyrighted by Book News, Inc., Portland, OR
The work of nearly every photographer of consequence since the nineteenth century is captured in this collection of photographs of California farmworkers, raising moral questions about the exploitation and colonization of an entire class of people.
One of the nation’s top art critics shows how six great artists made old age a time of triumph by producing some of the greatest work of their long careers—and, in some cases, changing the course of art history. Ordinarily, we think of young artists as the bomb throwers. Monet and Renoir were still in their twenties when they embarked on what would soon be called Impressionism, as were Picasso and Braque when they ventured into Cubism. But your sixties and the decades that follow can be no less liberating if they too bring the confidence to attempt new things. Young artists may experiment because they have nothing to lose; older ones because they have nothing to fear. With their legacies secure, they’re free to reinvent themselves…sometimes with revolutionary results. Titian’s late style offered a way for pigment itself—not just the things it depicted—to express feelings on the canvas, foreshadowing Rubens, Frans Hals, 19th-century Impressionists, and 20th-century Expressionists. Goya’s late work enlarged the psychological territory that artists could enter. Monet’s late waterlily paintings were eventually recognized as prophetic for the centerless, diaphanous space developed after World War II by abstract expressionists like Jackson Pollock and Phillip Guston. In his seventies, Matisse began to produce some of the most joyful art of the 20th century, especially his famous cutouts that brought an ancient craft into the realm of High Modernism. Hopper, the ultimate realist, used old age on occasion to depart into the surreal. And Nevelson, the patron saint of late bloomers, pioneered a new kind of sculpture: wall-sized wooden assemblages made from odds and ends she scavenged from the streets of Manhattan. Though these six artists differed in many respects, they shared one thing: a determination to go on creating, driven not by the bounding energies of youth but by the ticking clock that would inspire them to produce some of their greatest masterpieces.
Through the eyes of an inventor of new markets, Good Derivatives: A Story of Financial and Environmental Innovation tells the story of how financial innovation – a concept that is misunderstood and under attack - has been a positive force in the last four decades. If properly designed and regulated, these “good derivatives” can open vast possibilities to address a variety of global problems. Filled with provocative ideas, fascinating stories, and valuable lessons, it will provide both an insightful interpretation of the last forty years in capital and environmental markets and a vision of world finance for the next forty years. As a young economist at the Chicago Board of Trade, Richard Sandor helped create interest rate futures, a development that revolutionized worldwide finance. Later, he pioneered the use of emissions trading to reduce acid rain, one of the most successful environmental programs ever. He will provide unique insights into the process of creating these new financial products. Covering successes and failures, the story describes the tireless process of inventing, educating and creating support for these new inventions in places like Chicago, New York, London, Paris and how it is unfolding today in Mumbai, Shanghai and Beijing. The book will tell the story of the creation of the Chicago Climate Exchange and its affiliated exchanges (European Climate Exchange, Chicago Climate Futures Exchange and Tianjin Climate Exchange, located in China). The lessons learned in these markets can play a critical role in effectively addressing global climate change and other pressing environmental issues. The author argues that market-based trading systems are a far more effective means of reducing pollutants than “command-and-control”. Environmental markets may ultimately help to find solutions to issues such as rainforest destruction, water problems and biodiversity threats. Written in an engaging, narrative style, Good Derivatives will be of interest to both practitioners and general readers who want to better understand the creative process of financial innovation. In the middle of so much distrust of markets, it is also a recipe of how transparent, well-regulated markets can be a force for good in the environmental, health, and social areas.
Glacier Girl: The Quest—The Prize is a memoir based on the journals of seven expeditions co-led by Richard Taylor and Pat Epps. Taylor’s journals cover eleven years of the search and retrieval of the P-38 Lightning, later called Glacier Girl. On her way to war in 1942, she and seven other planes in their squadron ran out of gas and crash-landed on the Greenland ice cap. After a two-week wait, all of the pilots and crew were rescued—no one left behind. They then went back to war, and the eight planes were abandoned. Eventually, they became known as the Lost Squadron. Thirty-nine years later, in 1981, Pat and Richard heard about this aviation event and formed the Greenland Expedition Society (GES). They teamed up with a couple of other pilots and headed north to find the planes. Their ambitious plan was to put fresh gas in the tanks, attach skis, and fly as many of the fighters as they could back to the States. What greater way to store airplanes than in a giant deep freeze? As it turned out, the planes turned out to be difficult to find. The first four expeditions to the ice cap ended were conspicuous mission failures. In situ lessons in Arctic survival are not offered without startlingly high payments of personal sacrifice. On the upside, some thrilling and harrowing stories of Mother Nature exercising her unlimited fury are shared. The ice cap adage of “shovel or die” takes on new meaning. It was not until the fifth expedition, using ground-penetrating radar of a discrete frequency, that the planes were finally located. At a glacial rate they had moved more than a mile from their original location. But that wasn’t the big problem. The bad news was that they were now encased in solid-blue ice, 260 feet deep in the bowels of the glacier. To melt a shaft through the ice and down to the planes, the GES, invented and built a system they called the thermal meltdown generator (TMG). In its first field application, at seventy feet deep in the glacier, the melt head lost directional control (gravity) and started heading horizontally. Henceforth, the future TMGs were affectionately called gophers. In 1990, the team returned to the glacier with a new gopher, melted a four-foot diameter shaft down to the B-17 bomber Big Stoop. They then descended down the ice shaft, melted out a hangar area around the bomber and salvaged an array of historical aviation paraphernalia—machine guns, throttle quadrants, instruments, the upper gun turret, and so on. The near impossible was accomplished. In 1992, now a little more seasoned, and with a few garlands of hard-earned achievement, they returned again with a new super gopher. Their sights were now set on retrieving at least one complete Lockheed, P-38 Lightning fighter plane. The mission started with melting five ice-shafts, closely in a row. The webs between the holes were then melted out to create a four-foot-by-twenty-foot slot in the glacier—260 feet deep. This was the right-sized opening through which they could lift large wings and fuselage sections to the surface. The airplane was then carefully deconstructed, hauled to the surface, and then delivered to the States for reassembly. It took ten years and two million dollars to put the plane back into flying condition. They called her Glacier Girl. The renovation was performed by Roy Shoffner, a GES partner in the seventh expedition. In 2002, Glacier Girl flew again and was featured in the one-hour History Channel presentation The Hunt for the Lost Squadron. Glacier Girl now flies and is the feature star attraction in airshows all over the country. Citius, altius, fortius.
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