Richard Powell is one of those individuals who is determined to have as many different experiences as possible as he goes through life. He is a hunter and has spent most of his entire adult life broke . having spent his gold on airfares and hunting licenses and guide fees on four continents. Along the way he has met incredibly interesting men and women . experienced African nights . was attacked by an enraged water buffalo in South America, been offered a thousand dollars to shoot poachers in the Chete area of the remote Zambezi Valley, and been really wet and bug bitten during the rainy season near the Matto Grosso. His latest book deals with various sagas including a hunt for water buffalo in Aboriginal country in Northern Australia where an aborigine lady named Maura called him Cartoon Richard . On this hunt the camp cook did her best to starve the paying clients which led to a hissy fit by the New Zealand dude in camp. Being a big man it was a big hissy fit. Off to Africa, a funky little Suzuki named Baby Red with 800,000 km carried Richard and his wife Margaret around safely as they did their best to hunt kudu and gemsbok and warthog and leopard. In Old Montana a hunt for tundra swans with a fine gentleman from Billings led to a morning where one rejoices to be alive . as an ancient man with many ailments refused to . 'go gently into that good night' . He was a hunter-not some old man waiting to die somewhere in an institution. And the major theme of all these adventures is laughter. Maybe different mountains and skies and accents-but always . laughter as things go awry .
A kaleidoscopic survey of black satire in 20th- and 21st-century American art In this groundbreaking study, Richard J. Powell investigates the visual forms of satire produced by black artists in 20th- and 21st-century America. Underscoring the historical use of visual satire as antiracist dissent and introspective critique, Powell argues that it has a distinctly African American lineage. Taking on some of the most controversial works of the past century—in all their complexity, humor, and provocation—Powell raises important questions about the social power of art. Expansive in both historical reach and breadth of media presented, Going There interweaves discussions of such works as the midcentury cartoons of Ollie Harrington, the installations of Kara Walker, the paintings of Robert Colescott, and the movies of Spike Lee. Other artists featured in the book include David Hammons, Arthur Jafa, Beverly McIver, Howardena Pindell, Betye Saar, and Carrie Mae Weems. Thoroughly researched and rich in context, Going There is essential reading in the history of satire, racial politics, and contemporary 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.
Cheers for Arabella and Andy "A fast, furious and funny spy story with a welcome duo of amateur detectives who track down suspects the hard way. Blithely written." -Boston Post "Wild, wacky spy-intrigue-mystery opus packed with laughs and shivers." -New York Herald Tribune "Joyously daffy melodrama." - San Francisco Chronicle "A thoroughly rewarding yarn with a climax that is riotous, thrilling, and amusing as the events leading up to it." -Harpers Magazine "Thrills, action, suspense and laughs enough for an omnibus." -Boston Evening Globe A Collection of Richard Powell's Arabella and Andy Mysteries is the first published volume of five books in Richard Powell's Arabella and Andy series. DON'T CATCH ME ALL OVER BUT THE SHOOTING LAY THAT PISTOL DOWN SHOOT IF YOU MUST AND HOPE TO DIE
This is one of a series of board books in which the reader is given written and visual clues as to the identity of a certain animal. To expose the answer a large tab has to be pulled to slide a picture of the character into view within a die-cut window.
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