On thinking the matter through, it doesn't seem exaggerated to assert that my coming out of the sexual closet, my desire to assume and assert my homosexuality, coincided within my personal trajectory with my shutting myself up inside what I might call a class closet. -- from "Returning to Reims" After his father dies, Didier Eribon returns to his hometown of Reims and rediscovers the working-class world he had left behind thirty years earlier. For years, Eribon had thought of his father largely in terms of the latter's intolerable homophobia. Yet his father's death provokes new reflection on Eribon's part about how multiple processes of domination intersect in a given life and in a given culture. Eribon sets out to investigate his past, the history of his family, and the trajectory of his own life. His story weaves together a set of remarkable reflections on the class system in France, on the role of the educational system in class identity, on the way both class and sexual identities are formed, and on the recent history of French politics, including the shifting voting patterns of the working classes -- reflected by Eribon's own family, which changed its allegiance from the Communist Party to the National Front. "Returning to Reims" is a remarkable book of sociological inquiry and critical theory, of interest to anyone concerned with the direction of leftist politics in the contemporary world, and to anyone who has ever experienced how sexual identity can clash with other parts of one's identity. A huge success in France since its initial publication in 2009, "Returning to Reims" received enthusiastic reviews in "Le Monde, Lib'ration, L'Express, Les Inrockuptibles," and elsewhere.
An intimate portrayal of the very human side of battle, it covers the debate over National Service, the television media coverage, and reflects on the war's aftermath. The Vietnam War was Australia's longest overseas active service commitment and had the third greatest number of battle casualties. A remarkable record of Australia's involvement in one of the most controversial and divisive wars of the 20th century.
The disastrous toll of the 1914-1918 conflict, the shattering of the idealistic schemes for international order that followed it and the presence of a hostile and feared Asian empire close to the north meant that Australians regarded the declaration of war as a grim necessity, not a cause for celebration as in 1914. This beautifully illustrated book is a moving pictorial record of the Second World War as experienced by the Australian men and women who contributed so much. More than 500 rarely seen photographs, historic maps, letters and diaries from the Australian War Memorial archives bring the Second World War to life and create an intimate portrayal of the very human side of battle. Australians fought in North Africa, the Mediterranean, Europe and across the Pacific. In these theatres of war, despite the hardships, the horrors and the loss of life suffered, the inextinguishable bravery, dignity and spirit shown by the Australians make the Second World War one of our greatest endeavours as a nation.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Selections from the Richard Nickel Archive at the Ryerson and Burnham Archives of The Art Institute of Chicago. Mary K. Woolever, Art and Architecture Archivist; Joe Tallarico, Digital Imaging Photographer. With contributions from the personal collections of Tim Samuelson, Susan Nickel Brunson, Nancy Nickel, Donald and Harriet Nickel, Emily Eads"--Page 264.
While Richard Prince (born 1949) is most often discussed for his strategies as an appropriation artist--from the Marlboro cowboys in the 1980s to the Instagram portraits today--it is his own work as a painter that stands at the center of his approach: starting with paintings of jokes and cartoons, following up with, among other things, nurses and cowboys taken from the covers of dime novels, and freewheeling riffs on Picasso and de Kooning. For his extensive new series Super Group, Prince uses objects loaded with meaning: the inner sleeves of vinyl records, which he collages on canvas and then overpaints with band names, abstract washes and funny figures. Richard Prince: Super Grouppresents 51 works in this new series, engaging with the question of how we define ourselves by our choices of objects, images and music.
It's rare to find images of the likes of Zac Efron, Taylor Swift and Miley Cyrus emblazoned across wallpaper.com but, in the hands of artist Richard Phillips, they take on a curiously alluring new guise - as seen from his exhibition at London's White Cube Hoxton Square. The American artist is known for taking material from the realms of television, cinema, porn and advertising and translating it into glossy, hyperreal oil-paintings, using the meticulous techniques of Northern Renaissance painters. The resulting images are redolent with complex discourse on subjects like celebrity, sexuality and identity. For White Cube, Phillips has chosen ten famous names, which also include Leonardo DiCaprio, Justin Timberlake and Kristen Stewart, and depicted them with red carpet-perfect smiles against branded 'step and repeat' backdrops. Each subject is given a bright halo around their image, in reference to Richard Bernstein's illustrations for Interview Magazine, emphasising their deity-like celebrity status, while strangely flattening their image, morphing them into the brands they stand before.
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