Search results for ""MACK""

Bringing together a sequence of disquieting photographs with a dozen original short stories, Pharmakon is a surprising new work from the singular mind of Teju Cole (Open City, Fernweh, Tremor).

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'I wanted to do something so absolutely different, and physical, and in a certain way, kind of ill-conceived... I took my camera and went underwater in a bunch of pools. And made pictures.' Between 1978 and 1982, in a departure from the collaborative con- ceptual work that he had become known for, Larry Sultan photo-graphed people learning to swim in public pools in San Francisco. Initially inspired by black-and-white documentary photograhs he found in a Red Cross swimming manual, Sultan soon began exploring an urge to create pictures that were physical, sensual, immersive, and painterly. The resulting work is saturated with colour and inflected by the unpredictable forms and chance abstractions which emerge through the distorted refractions of the water as a second lens. Often beautiful and regularly unsettling in their ambiguity, the series builds to create a feeling of sensory immersion alive with the fluid and uncertain atmospheres to which Sultan was drawn. This collection presents all the pictures from the series Sultan himself chose and exhibited, and expands to include additional images he marked on contact sheets as well as further selections from his archive which he likely never even reviewed. With a newly commissioned essay by Philip Gefter

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The roots of this book lie in the Visual Studies Workshop, Rochester, NY, where Sally Stein and Gail Rebhan met in the 1980s, discovering their shared interests in feminism and critical modes of thinking and seeing - especially those that involved shades of the comic. They stayed in touch over the course of the intervening decades, Stein pursuing teaching and writing about the history of photography while Rebhan pursued teaching and image-making in various formats, with increasing recourse to text as an integral part of her graphic statements. When Rebhan was invited to show a retrospective at the American University Museum, she invited Stein to serve as guest curator. Led by Stein's insightful and often humorous commentary, this book charts Rebhan's unique artistic and political progressions, from early works using serial snapshot photographs to track the repetitive actions of domestic life through to wider-reaching studies of gentrification and inequality her home city of Washington, DC. The publication culminates with her most recent series, which examines the ways her own body bears the marks of time that women esp-ecially have learned to fear. Among the incisive, inquisitive, and politically engaged work in this collection, Rebhan's consistent rejection of photography's affiliation with stillness and silence in favour of sequence and transformation reveals time itself as the artist's perennial muse.

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‘I may pay rent to a friend for my place in Greensboro, but the South’s my landlord; and I’m trapped in its stomach trying to get to its brain. Here, I see butterflies with Confederate flag-grown wings and minstrel vestiges of Daddy Rice collecting dough. I can’t move because I’m stuck in Aunt Jemima’s syrup.’ Spell, Time, Practice, American, Body is the highly anticipated first book by artist, filmmaker, and writer RaMell Ross. Bringing together Ross’s large-format photographs, sculptures, conceptual works, and selected films, together with illuminating texts by Ross and a host of writers, this ambitious publication presents a chronicle of the American South that is both mysterious and quotidian, a historical document and a radical imagining of the future. The book opens with a series of illuminating colour photographs from Hale County, Alabama, Ross’s adoptive home and the setting of his Academy Award-nominated documentary Hale County This Morning, This Evening (2018). It then moves through a series of photographic and mixed-media works and writings that examine, deconstruct, and rewrite visual representations of the South. Amidst these works, at the book’s heart, is Ross’s film Return to Origin, a remarkable conceptual work in which Ross freight ships himself in a 4x8-foot box – a nod to Henry Brown who shipped himself to freedom in 1849. With Spell, Time, Practice, American, Body, Ross creates a new visual narrative of the South, freed from its iconic meanings to reveal the earth, dirt, soil, and land beneath. With texts by RaMell Ross, Tracy K. Smith, Richard McCabe, and Scott Matthews

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In this collection of idiosyncratic lessons, architect and teacher Pier Paolo Tamburelli engages with the very foundations of arch-itecture, proposing a series of new and open-ended perspectives on how we build the world. Developed for the 'Grundkurs', or 'basic course', at Vienna Technical University, Tamburelli's lessons are presented through the annotated sketches that form the basis of his lectures - variously rough and precise, sarcastic and sincere, and always uniquely expressive. This volume is a rich visual sourcebook of architectural ideas that form an accessible and discursive introduction to the discipline - one which pauses on the road to grand theories to learn from the intuitive processes of notetaking, drawing, and association. Tamburelli's lessons are based around a series of dialectic couples, including Roof/Wall, Shelter/Memory, and Language/Action. The pairs are experimental and often provocative, offering a framework to be used to climb in the direction of architecture. Tamburelli trusts in the capacity of images to suspend the restraints of more rigorous theoretical approaches, embraces the flexible wisdom of the note, and relishes the intrigue of the cryptic messages we leave for ourselves. Reproduced here in their entirety, these eight lessons offer countless routes towards, through, and around architecture, providing newcomers and experts alike with an intimate and refreshing encounter with a millennia-old discipline. With an introduction by the author and a text by Mark Lee, Chair of the Department of Architecture at Harvard Graduate School of Design

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This limited edition artist’s book brings together digital collages and manipulated photographs by painter James White based on the celebrated and hugely influential series 'Evidence' by Mike Mandel and Larry Sultan. In 'Evidence', Sultan and Mandel drew on the archives of more than a hundred US government agencies, finding surreal narrative suggestions in deadpan images that were intended as functional documents, upending and interrogating the documentary natures they espoused. The book has been a continual reference for the grayscale photographic paintings for which James White has become known. In this volume, White pays tribute to Sultan and Mandel’s project by further undermining the evidentiary nature of the photographic medium through a process of intervention and painterly gesture which disrupts and reconstitutes the images’ mercurial surfaces. Published as a limited edition of 1000 signed copies.

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The Citadel is a story told in three movements: mapping a route through discovery, loss, and renewal across the uncanny landscapes of contemporary Africa. In 2007, Mame-Diarra Niang returned to Senegal to bury her father after spending years away living in France. Her unequivocally intimate relationship with the African continent translates into a refracted representation in which the places before Niang's lens are at once forensically studied and transformed into fabular non-places. In Sahel Gris, the outskirts of Dakar, where infrastructural projects lay abandoned to the dust, evoke a state of permanent suspension between movement and inertia. At the Wall presents a prismatic interrogation of the surfaces and perimeters of Dakar, depicting a city eerily drained of human life yet dense with its traces. And in Metropolis, Niang steps finally into the belly of the beast, looking outwards from within the crowded urban superficies of Johannesburg, dazzling in the southern light. At the centre of Niang's vision is the notion of 'the plasticity of territory', in which a personal investigation of place becomes indistinguishable from the photographer's own metamorphosis, and landscape becomes a 'material for producing many selves.' In these works, collected here to form a sustained project, a deeply personal but rigorously analytic relationship with place emerges, offering a complex, layered image to offset historic, imperially motivated Western visions of Africa as a vacant land.

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Part memoir, part tablueau, Corbeau is a multi-layered narrative collage tracing life and death in the rural farm on which Swiss artist Anne Golaz grew up. Made over a twelve-year period and bridging three generations, the three-part book weaves together photographs, video stills and drawings, with texts by the author, screenwriter and playwright, Antoine Jaccoud, as well as the artist’s own writings. Jaccoud reconstructs transcripts of conversations between family members and memories recounted by the artist in order to help to build this intricate story of stories into a dramatalogical work. The protagonist of Corbeau is a young man seen in each chapter dutifully working on the farm. Gradually, however, his sense of duty appears to be instilled with doubt – one that infuses the entire book.

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This new edition of Ray’s a Laugh restores Richard Billingham’s original vision for his ground-breaking and deeply personal photobook, including many unseen images and a distinct approach to sequencing.

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Between 2021 and 2022, artist Lucy Raven created a series of more than sixty unique silver gelatin shadowgrams at an explosives range in New Mexico, often used as a test site by the US Department of Defense and private munition companies. From within a custom-built room-sized black box purpose-built on the site, Raven recorded the elemental pressures of air and the raw materials that constitute the explosive event by exposing photosensitive paper for micro-seconds. These empirical experiments resulted in the subtly inflected abstractions that are collected in this artist's book. The town where the explosives range is located was given its name, Socorro (meaning 'succour' or 'relief'), by ailing Spanish settlers when Piro Native Americans welcomed them with water. Raven became interested in this location, which is also close to the very first sites of nuclear weapon testing, whilst filming for the second of a cinematic trilogy of latter-day Westerns, each of which investigates properties of pressure, force, and material transformation in relation to the Western United States, past and present. Accompanied by newly commissioned essays by art historian Pamela M. Lee and David Levi Strauss

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Puglia. Tra albe e tramonti offers a brilliant account of Luigi Ghirri's relationship with Puglia - a distinctive region at the heel of Italy, which was pivotal in establishing Ghirri's career and continued to inspire him throughout it. A first visit in 1982 introduced Ghirri to Puglia's whitewashed streets, luminescent nights, doorways and arches, potted cacti, funfairs, and beaches, as well as a group of artists, critics, and curators who would become his close friends and collaborators. Over the following decade, Ghirri returned to the area almost every year, photographing, exhibiting, and deepening his understanding of its subtle terrain. These photographs, almost all of which are little-known and previously unpublished, capture the textures and rhythms of urban life, delighting in visual coincidence and tactile detail. Their sense of quiet discovery - and the colour film on which they are shot - allude warmly to the area's identity as a popular holiday destination. Ghirri maps the Apulian territory via the traces left by its inhabitants and visitors in images flooded with the distinctive light of Southern Italy - the bright sun and its eloquent shadows, and the otherworldly aura of neon and streetlights after dark. With texts by Adele Ghirri and Arturo Carlo Quintavalle.

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This essay-led book project by Izabella Scott and Skye Arundhati Thomas examines ongoing land disputes, military occupation, and communication blackouts. Through an extended text and a selection of photo essays made in collaboration with photographers, the project gathers together records produced under daily surveillance and confrontation. It seeks a new register of writing and image to make visible the conditions of military occupation and the protracted violence of the blackout.

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This intimate, conversational reader transports us to the enchanted world of Alessandra Sanguinetti’s photographic series The Adventures of Guille and Belinda, exploring the evolution of this celebrated work and the themes and questions it raises. Made in the countryside of Buenos Aires Province, Sanguinetti’s series follows the lives of two cousins as they come of age alongside the realities of rural life. From a young age, Guille and Belinda have been Sanguinetti’s collaborators, co-conspirators, and playmates, evoking the unique worlds suspended between dreams and reality that define childhood, adolescence, and eventually adulthood. Here, they reflect with Sanguinetti on the work’s making and their changing relationship to it over time in an extended conversation illustrated with previously unseen images from across the years. This discussion is complemented by a conversation between Sanguinetti and curators Clément Chéroux and Pierre Leyrat, unpacking the ways this work engages with and disrupts conversations around documentary photography, artistic collaboration, and the depiction of the lives of girls and women the world over. This reader coincides with a solo exhibition of Alessandra Sanguinetti’s work at Fondation Henri Cartier-Bresson, Paris, opening 30 January 2024.

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The title of this new book from renowned photographer and book-maker Torbjorn Rodland suggests that the artist is looking for the divine in his sitters. If the child in Madonna and child paintings sym-bolises truth, then the pregnant virgin might represent a temporarily concealed truth - one masked or hidden behind compromised shells and failing bodies, young and old. The photographs in this arresting new collection negotiate surface and interiority and welcome tensions between contingent reality and archetypes, often uncannily recalling day-to-day life in intensely physical and opaquely allusive scenes. Constructed with characteristic precision and an instinct for surrealism and surprise, this sequence feeds on symbolism and visual texture in a sense reminiscent of classic 'art' photography or religious painting, but its self-conscious edge gives it a distinct and hard-to-fathom charge. With The Pregnant Virgin, Rodland explores analogue photography in dialogue both with online digital culture and visual art from before photography existed as a stable medium.

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The Triple Folly presents the rich collaboration between artist Thomas Demand, architects Caruso St John, and textile makers Kvadrat which produced an astonishing new pavilion for Kvadrat’s Ebeltoft campus. The basis of the building is three found paper objects – a legal pad, a paper plate, and a soda jerk hat – which Demand brought to Caruso St John with the simple question: ‘Can you make this into architecture?’ In response, the architects created a sculptural tripartite folly, a kind of inhabitable still life poised on the area’s rolling seaside hillocks, encompassing a meeting room, a kitchen, and a flexible living space which holds a textile work by the artist Rosemarie Trockel. Inspired by Kvadrat’s role as a celebrated textile producer, Demand initially pursued the idea of the tent as an archetypal architectural structure with many iterations across contexts of leisure and shelter, simplicity and grandeur. Translating these concepts into his own artistic idiom of paper, he tasked Caruso St John with materialising this lightness of form, with a touch of his distinctive, duplicitous whimsy. The final building, completed in September 2022, achieves this through a harmonious sequence of steel and fibreglass structures which create their environments through the fall of light and shadow, textured opacity and welcoming transparency. This publication presents extensive images of the completed buildings alongside in-depth illustrated conversations with Frank Gehry, Denise Scott Brown, Adam Caruso, Valerie Verhack, Anders Byriel, Emilie Appercé, and Thomas Demand.

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Face to Face presents a selection of portraits of artists by three of the most prominent portrait artists of our time. Bringing together the diverse and distinctive work of Tacita Dean, Brigitte Lacombe, and Catherine Opie, this book forms an investigation into the charged genre of portraiture and its various approaches, navigating tensions between intimacy and publicity. While the three artists collected here share a wide set of historical touchstones, each deploys the camera differently: Dean exploits cinema's capacity for duration; Lacombe takes her cameras out on assignment; Opie works in the tradition of the studio photograph. Often overlapping in the subjects depicted, Face to Face offers an opportunity to look closely at bracing, intimate, and resonant portraits of the seminal thinkers and makers that these artists have encountered across the fields of music, painting, photography, film, and literature, among them Hilton Als, Maya Angelou, Richard Avedon, Joan Didion, David Hockney, Joan Jonas, Fran Lebowitz Patti Smith, Kara Walker, and many others. Published in conjunction with an exhibition at the International Center of Photography (ICP), New York, the book includes essays by the exhibition's curator, Helen Molesworth, and the artist and writer Jarrett Earnest

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Beautiful, Still. is the first monograph from photographer Colby Deal, documenting the people, objects, and environments of everyday life in the Third Ward neighbourhood in Houston, Texas, where the artist grew up. In this ongoing project, currently consisting of over a thousand negatives, Deal sets out to provide a visual record of overlooked communities and the cultural characteristics gradually being erased by gentrification, as well as a depiction of communities of colour whose members are often portrayed with negative connotations. Through these instinctive black-and-white photographs, Deal’s down-to-earth approach to his subjects is made apparent; at times candid and blurred, other times poised and sharply focussed, the series builds to convey the dynamism and vibrancy of family, community, and individual life in the Third Ward. The scratches and dust left on the negatives reflect the marks of lived life and simultaneously suggest the fragility of these documents and the corresponding precarity of the fabrics of social life they often depict. Deal’s almost conversational tone — the anthesis of media portrayals of the neighbourhood — invites his viewers in with a sense of joy and intuitive playfulness. From these alternately staged and documentary images, a new narrative emerges about a reductively and oppressively narrativized place, celebrating the agency and freedom that the photographic medium can offer.

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An iconic project made at the height of the 'Troubles', Troubled Land deals with the small but insistent signs of political division embedded in the landscape of Northern Ireland. At the heart of the Irish conflict lays the land - who owns it, who controls it, whose history it expresses. Paul Graham's quietly radical book keeps this material truth in mind as it uniquely combines landscape and conflict photography, seducing us with bucolic views in which telling details only gradually appear: painted kerbs, distant soldiers or helicopters, flags and graffiti, paint-splattered roads, each tacitly aligning that location to its Republican or Loyalist allegiance. Pastoral photographs of green fields and hedgerows reveal themselves to be images of conflict and dispute - despite the steadiness of the photographic frame and the clarity of Graham's vision, this is unsettled land. Originally published in 1986, Troubled Land is reprinted here for the first time in thirty-five years. Controversial then for its use of colour and refusal to follow the cliched tropes of photojournalism, the book was pivotal in providing a fresh perspective on Northern Ireland's 'Troubles' and left a lasting impact on landscape photography, suggesting how it might engage with politics and society rather than escape from them. Together with A1 - The Great North Road and Beyond Caring, it completes a new edition of the remarkable trilogy of books Graham made in 1980s UK.

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This collection evokes a mysterious and fragmented cityscape of two places - London and Athens - both of which artist Effie Paleologou has come to regard as almost home. Working nocturnally, when identities become blurred and indeterminate, Paleologou conjures a third fictional staging that she has become all the more attached to. Her images are infused with a sense of the familiar but are equally beholden to the states of uncertainty and vulnerability that arise in alternative realities. Stripped of inhabitants this hybrid city appears silent yet strangely resonant. Paleologou offers a modern mapping of transitory and liminal spaces. She is drawn to train stations, hotels, carparks, seaports and airports, sites in which encounters, departures, disappearances, and endings unfold perpetually. Shadows and artificial light cast across urban geometries reveal phantasmagoric scenes and uncanny moods. If this is home, there is a restless theatre at play too. Alienation and belonging belong together here. With essays by Brian Dillon and Iain Sinclair.

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In 1983, Ursula Schulz-Dornburg accompanied two ethnologists and an architect on a research trip to Tana Toraja on the central Indonesian island of Sulawesi. Initiated by the Royal Tropical Institute of Amsterdam, the trip was intended to “explore the changing patterns in architecture and symbolism among the Sa‘dan Toraja”. On the way back from Rantepao to Ujung Pandang airport, Schulz-Dornburg passed the distinctive houses of the Bugis or To-Ugiq people, perched on the yellow paddy fields. Fascinated by their complex, expressive architectures, she began to photograph the houses in the short time she had before leaving, realising that the structures would likely not exist in their traditional form for much longer. The result is a body of work that not only surveys the houses’ physical forms but also considers wide-ranging ideas of physical and emotional homebuilding and the precarious place of tradition in the present day. Poised between heaven and earth and standing above the water when the rice fields are flooded, the Bugis houses reflect the creation myth of their people, in which the gods of the upper and lower worlds came together to create man to populate the uninhabited middle world. The farmers depicted by Schulz-Dornburg are likewise suspended between historic tradition and the impending pressures of the contemporary world. As they go about their work or greet her camera, they and their homes are held in the balance between past and future, mythology and everyday reality. With these shrewd and sensitive images, Schulz-Dornburg captures life as it is built and lived within a particular culture and landscape, offering a searching reflection on the places we call home. With a text by Sirtjo Koolhof.

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A Civil Rights Journey presents the astonishing archive of Dr Doris Derby: photographer, activist, and professor of anthropology. Active throughout the Civil Rights Movements of the mid twentieth century in the southern United States, particularly Mississippi, Derby acted as a photographer, organiser and teacher, making photographs of the intimate and human side of the everyday struggle for survival and human rights. She photographed both the organisation of political events, meetings, and funerals, alongside the literacy, co-operative and community theatre programmes, many of which she founded, and encountered much danger and tragedy along the way. Here we see the speeches and protests that gave the movement its defining moments, as well as vital figures including Muhammad Ali, Alice Walker, Fannie Lou Hamer, and Jesse Jackson. We also see classrooms and church halls, doctors and secretaries: everyday scenes of joy, frustration, curiosity, and connection, in which the determination and collective actions and resolve and actions of the movement are equally expressed. This extensive volume presents Derby's images in sequences that between them document rural and urban poverty, offer lucid ethnographies of particular streets and families, track the day-to-day lives of African American children growing up in the Mississippi Delta, and bear witness to such pivotal events as the Jackson State University shooting, the funeral of Martin Luther King Jr., and the 1968 Democratic Convention. Derby's photographs offer us an invaluably rich portrait of a historical moment whose effects have defined today's world and issues a vital reassertion of the work that remains to be done. Artist photographer Hannah Collins has worked with Doris Derby to recount the events photographed in extensive texts which accompany the images.

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What the Living Carry unveils a small town named Hoy’s Fork, situated in the American South. Drawing on memories of the rural setting in which he grew up, Virginian photographer Morgan Ashcom brings together photographs, type-written letters and a hand-drawn map to build a fictional narrative of a foreboding place. Leading us on a trail through the town and its surrounding forest, Ashcom presents scenes that point to a mysterious history, and people whose familial connections remain unknown: a forlorn old man, with champagne to hand, reclines on the corroding steps of a once grand home; a bloodied mattress is carried through an overgrown field; a solitary child burrows into a meadow, while on the streets, a man dutifully cleans a white picket fence – a vision that belies a local mural of a distant, ancient land. Interspersing this fragmented narrative is a set of texts – four letters responding to ‘Morgan’s’ request for DNA analysis – written by ‘Eugene’ of the ‘Center for Epigenetics and Wellness of the Spirit’. If What the Living Carry provides a set of clues to unravel the enigma behind this strange world, it is through a visual record that is simultaneously autobiographical and imagined, and inclined to elude.

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Taking its name from a line in the Wallace Stevens’ poem “The Gray Room,” Alec Soth’s latest book is a lyrical exploration of the limitations of photographic representation. While these large-format color photographs are made all over the world, they aren’t about any particular place or population. By a process of intimate and often extended engagement, Soth’s portraits and images of his subject’s surroundings involve an enquiry into the extent to which a photographic likeness can depict more than the outer surface of an individual, and perhaps even plumb the depths of something unknowable about both the sitter and the photographer. “After the publication of my last book about social life in America, Songbook, and a retrospective of my four, large scale American projects, Gathered Leaves, I went through a long period of rethinking my creative process. For over a year I stopped traveling and photographing people. I barely took any pictures at all. When I returned to photography, I wanted to strip the medium down to its primary elements. Rather than trying to make some sort of epic narrative about America, I wanted to simply spend time looking at other people and, hopefully, briefly glimpse their interior life. In order to try and access these lives, I made all of the photographs in interior spaces. While these rooms often exist in far-flung places, it’s only to emphasize that these pictures aren’t about any place in particular. Whether a picture is made in Odessa or Minneapolis, my goal was the same: to simply spend time in the presence of another beating heart.” – Alec Soth Coincides with four solo exhibitions in New York, San Francisco, Minneapolis, and Berlin. Includes interview with Alec Soth by Hanya Yanagihara.

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Victor Burgin is one of the most influential artists and writers working today. He came to prominence as a key figure in the Conceptual Art of the late 1960s. After turning to photography in his artistic practice he produced a series of groundbreaking theoretical essays that drew on semiotics, psychoanalysis and feminism in order to think through the ideological role of photographs in the production of beliefs and values, and in the understanding of memory, history, subjectivity and space. In the last decade or so, Burgin has worked with computer-generated imagery and the virtual camera. But rather than accepting a radical divide between so-called ‘analogue’ and ‘digital’ realms, Burgin has emphasised the continuity of the virtual camera, the various physical cameras in use today, and the painted images of Quattrocento painting – all of which have their essence in the perspectival system of representation. Further to this, Burgin argues that no image is merely an optical experience – all images are essentially psychological events and thus virtual also. Inseparable from language, they form the psychical spaces of fantasy and projection, recognition and misrecognition. Whether on pages, walls or screens, in galleries or online, single views, or swarms of picture fragments, images are the making and unmaking of our sense of self, and the world around us. This collection brings together for the first time Victor Burgin’s writings related specifically to the camera, following the shifts and nuances in his thinking over nearly five decades. Moreover, it allows us to chart the evolution of what the camera was and is, and how its affects are to be understood.

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In "German Idealism and the Jew", Michael Mack uncovers the deep roots of anti-Semitism in the German philosophical tradition. While many have read German anti-Semitism as a reaction against Enlightenment philosophy, Mack instead contends that the redefinition of the Jews as irrational, oriental Others forms the very cornerstone of German idealism, including Kant's conception of universal reason. Offering the first analytical account of the connection between anti-Semitism and philosophy, Mack begins his exploration by showing how the fundamental thinkers in the German idealist tradition - Kant, Hegel, and, through them, Feuerbach and Wagner - argued that the human world should perform and enact the promises held out by a conception of an otherworldly heaven. But their respective philosophies all ran aground on the belief that the worldly proved incapable of transforming itself into this otherworldly ideal. To reconcile this incommensurability, Mack argues, philosophers created a construction of Jews as symbolic of the "worldliness" that hindered the development of a body politic and that served as a foil to Kantian autonomy and rationality. In the second part, Mack examines how Moses Mendelssohn, Heinrich Heine, Franz Rosenzweig and Freud, among others, grappled with being both German and Jewish. Each thinker accepted the philosophies of Kant and Hegel, in varying degrees, while simultaneously critiquing anti-Semitism in order to develop the modern Jewish notion of what it meant to be enlightened - a concept that differed substantially from that of Kant, Hegel, Feuerbach and Wagner. By speaking the unspoken in German philosophy, this book profoundly reshapes our understanding of it.

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CATHERINE MACK (she/her) is the pseudonym for the USA Today and Globe & Mail bestselling author of over a dozen novels. Her books are approaching two million copies sold worldwide and have been translated into multiple languages, including French, German, Portuguese and Polish. Television rights to Every Time I Go on Vacation, Someone Dies and its forthcoming sequels sold in a major auction to Fox TV for development into a series, with Mack writing the pilot script. A dual Canadian and US citizen, she splits her time between Canada and various warmer locations in the US.

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From John Mack, former CEO of Morgan Stanley, an intimate personal memoir and riveting business story, recounting how he helped grow the company from 300 to 50,000 employees over four decades, transformed a notoriously competitive culture into a successful and collaborative one, and lead the company through the 2008 financial crisis.During his thirty-four-year tenure at Morgan Stanley, John Mack’s goal was to build the strongest and most productive team on Wall Street. His ability to motivate his employees to do their best work, especially in times of crisis, was fostered by his willingness to slash through bureaucracy and stand up to powerful interests. A forceful personality, one journalist said Mack was “described as ‘charismatic’ so regularly that it could be part of his name.” In Up Close and All In, Mack traces his personal journey from a one-stoplight North Carolina mill town to a fortieth-floor corner office on Wall Street—and shares the life lessons he learned along the way. He developed a titanium-strength stomach for risk, stress, and competition while landing accounts early in his career, as investment banks fought like wolfpacks to take advantage of new deregulation, fielding business raids, booms, and busts. As he rose through the ranks, he never forgot where he came from, relying on his instincts, doing what was right, and listening to his people on the front lines. This culture of trust and collaboration helped Morgan Stanley anticipate future trends before other firms, adapt quickly, and achieve record profits. This gripping memoir includes both humbling lows—like when Mack made the difficult decision to leave Morgan Stanley in 2001—and exhilarating highs—such as when he made an eleventh-hour agreement with the Japanese bank Mitsubishi to save the company during the 2008 financial crisis, having refused to give in when top regulators pressured him to sell the firm for $2 per share. With humor and honesty, Mack shares advice on both business and life: how to create a culture of team players, how to keep perspective during crises, how to make difficult decisions when all eyes are on you, and more. From a singular man who’s as unafraid to cry publicly as he is to anger some of the most powerful people in the world, this is an indispensable guide to living and leading well.

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Honorable Mention, Association for Middle East Women’s Studies Honorable Mention, 2018 Arab American Book Awards (Non-Fiction) In contemporary France, particularly in the banlieues of Paris, the figure of the young, virile, hypermasculine Muslim looms large. So large, in fact, it often supersedes liberal secular society’s understanding of gender and sexuality altogether. Engaging the nexus of race, gender, nation, and sexuality, Sexagon studies the broad politicization of Franco-Arab identity in the context of French culture and its assumptions about appropriate modes of sexual and gender expression, both gay and straight. Surveying representations of young Muslim men and women in literature, film, popular journalism, television, and erotica as well as in psychoanalysis, ethnography, and gay and lesbian activist rhetoric, Mehammed Amadeus Mack reveals the myriad ways in which communities of immigrant origin are continually and consistently scapegoated as already and always outside the boundary of French citizenship regardless of where the individuals within these communities were born. At the same time, through deft readings of—among other things—fashion photography and online hook-up sites, Mack shows how Franco-Arab youth culture is commodified and fetishized to the point of sexual fantasy. Official French culture, as Mack suggests, has judged the integration of Muslim immigrants from North and West Africa—as well as their French descendants—according to their presumed attitudes about gender and sexuality. More precisely, Mack argues, the frustrations consistently expressed by the French establishment in the face of the alleged Muslim refusal to assimilate is not only symptomatic of anxieties regarding changes to a “familiar” France but also indicative of an unacknowledged preoccupation with what Mack identifies as the “virility cultures” of Franco-Arabs, rendering Muslim youth as both sexualized objects and unruly subjects. The perceived volatility of this banlieue virility serves to animate French characterizations of the “difficult” black, Arab, and Muslim boy—and girl—across a variety of sensational newscasts and entertainment media, which are crucially inflamed by the clandestine nature of the banlieues themselves and non-European expressions of virility. Mirroring the secret and underground qualities of “illegal” immigration, Mack shows, Franco-Arab youth increasingly choose to withdraw from official scrutiny of the French Republic and to thwart its desires for universalism and transparency. For their impenetrability, these sealed-off domains of banlieue virility are deemed all the more threatening to the surveillance of mainstream French society and the state apparatus.

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Emphasizing how modes of book production, promotion, and consumption shape ideas of literary value, Edward Mack examines the role of Japan’s publishing industry in defining modern Japanese literature. In the late nineteenth century and early twentieth, as cultural and economic power consolidated in Tokyo, the city’s literary and publishing elites came to dominate the dissemination and preservation of Japanese literature. As Mack explains, they conferred cultural value on particular works by creating prizes and multivolume anthologies that signaled literary merit. One such anthology, the Complete Works of Contemporary Japanese Literature (published between 1926 and 1931), provided many readers with their first experience of selected texts designated as modern Japanese literature. The low price of one yen per volume allowed the series to reach hundreds of thousands of readers. An early prize for modern Japanese literature, the annual Akutagawa Prize, first awarded in 1935, became the country’s highest-profile literary award. Mack chronicles the history of book production and consumption in Japan, showing how advances in technology, the expansion of a market for literary commodities, and the development of an extensive reading community enabled phenomena such as the Complete Works of Contemporary Japanese Literature and the Akutagawa Prize to manufacture the very concept of modern Japanese literature.

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An industrial city on the outskirts of Stockholm, Södertälje is the global capital of the Syriac Orthodox Christian diaspora, an ethnic and religious minority group fleeing persecution and discrimination in the Middle East. Since the 1960s, this Syriac community has transformed the standardized welfare state spaces of the city’s neighborhoods into its own “Mesopotälje,” defined by houses with Mediterranean and other international influences, a major soccer stadium, and massive churches and social clubs. Such projects have challenged principles of Swedish utopian architecture and planning that explicitly emphasized the erasure of difference. In The Construction of Equality, Jennifer Mack shows how Syriac-instigated architectural projects and spatial practices have altered the city’s built environment “from below,” offering a fresh perspective on segregation in the European modernist suburbs.Combining architectural, urban, and ethnographic tools through archival research, site work, participant observation (among residents, designers, and planners), and interviews, Mack provides a unique take on urban development, social change, and the immigrant experience in Europe over a fifty-year period. Her book shows how the transformation of space at the urban scale—the creation and evolution of commercial and social districts, for example—operates through the slow accumulation of architectural projects. As Mack demonstrates, these developments are not merely the result of the grassroots social practices usually attributed to immigrants but instead are officially approved through dialogues between residents and design professionals: accredited architects, urban planners, and civic bureaucrats. Mack attends to the tensions between the “enclavization” practices of a historically persecuted minority group, the integration policies of the Swedish welfare state and its planners, and European nativism.

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Emphasizing how modes of book production, promotion, and consumption shape ideas of literary value, Edward Mack examines the role of Japan’s publishing industry in defining modern Japanese literature. In the late nineteenth century and early twentieth, as cultural and economic power consolidated in Tokyo, the city’s literary and publishing elites came to dominate the dissemination and preservation of Japanese literature. As Mack explains, they conferred cultural value on particular works by creating prizes and multivolume anthologies that signaled literary merit. One such anthology, the Complete Works of Contemporary Japanese Literature (published between 1926 and 1931), provided many readers with their first experience of selected texts designated as modern Japanese literature. The low price of one yen per volume allowed the series to reach hundreds of thousands of readers. An early prize for modern Japanese literature, the annual Akutagawa Prize, first awarded in 1935, became the country’s highest-profile literary award. Mack chronicles the history of book production and consumption in Japan, showing how advances in technology, the expansion of a market for literary commodities, and the development of an extensive reading community enabled phenomena such as the Complete Works of Contemporary Japanese Literature and the Akutagawa Prize to manufacture the very concept of modern Japanese literature.

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Everyone knows that America is 50 states and…some other stuff. Scattered shards in the Pacific and the Caribbean, the not-quite states—American Samoa, Guam, Puerto Rico, the Northern Mariana Islands, and the U.S. Virgin Islands—and their 4 million people are often forgotten, even by most Americans. But they’re filled with American flags, U.S. post offices, and Little League baseball games. How did these territories come to be part of the United States? What are they like? And why aren’t they states? When Doug Mack realized just how little he knew about the territories, he set off on a globe-hopping quest covering more than 30,000 miles to see them all. In the U.S. Virgin Islands, Mack examines the Founding Fathers’ arguments over expansion. He explores Polynesia’s outsize influence on American culture, from tiki bars to tattoos, in American Samoa. He tours Guam with members of a military veterans’ motorcycle club, who offer personal stories about the territory’s role in World War II and its present-day importance for the American military. In the Northern Mariana Islands, he learns about star-guided seafaring from one of the ancient tradition’s last practitioners. And everywhere he goes in Puerto Rico, he listens in on the lively debate over political status—independence, statehood, or the status quo. The Not-Quite States of America is an entertaining account of the territories’ place in the USA, and it raises fascinating questions about the nature of empire. As Mack shows, the territories aren’t mere footnotes to American history; they are a crucial part of the story.

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Acclaimed newborn and maternity photographer Kristina Mack shares her knowledge of the creative and practical aspects of the genre, and how to make a living from capturing this unique stage of the human experience. Have you always dreamt of turning your photography hobby into a business, but don't feel you have the skills or accumen to succeed? Newborn and maternity photography is one of the fastest-growing businesses for photographers to move into, and with a seasoned pro as your guide you can quickly learn the secrets of success. In this book, acclaimed newborn and maternity photographer Kristina Mack shares her knowledge of the creative and practical aspects of the genre, and also the tricky business of making a living from capturing this unique stage of the human experience. With newborn and maternity photography remaining one of the fastest-growing businesses for photographers to move into, this book serves as a must-have

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Author-illustrator Jeff Mack introduces two new hilarious characters-Bear and Skunk! Everyone likes hugs, especially when Bear gives them! Everyone, that is, except for Skunk. Bear really gets on Skunk's nerves. He's too happy ...and he's always giving way too many hugs! Skunk has the perfect plan to keep Bear from giving any more hugs. Will it work? Similar to characters like Bugs Bunny and Elmer Fudd and Tom and Jerry, Bear and Skunk are sure to make young readers laugh in this fun read-aloud!

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This wonderful collection brings together seven well-loved carols, all newly arranged by Mack Wilberg for low voice and piano. Featuring a range of Christmas texts, including 'Bring a torch, Jeannette, Isabella', 'Deck the hall', and 'The Twelve Days of Christmas', it also offers two carols with alternative, original foreign-language options (French and Catalan). With a delightful variety of musical styles and moods, this volume is perfect for recitals, services, and concerts at Christmas time. Also available in a volume for high voice.

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South Africa’s Truth and Reconciliation Commission (TRC) hearings can be considered one of the most significant rhetorical events of the late twentieth century. The TRC called language into action, tasking it with promoting understanding among a divided people and facilitating the construction of South Africa’s new democracy. Other books on the TRC and deliberative rhetoric in contemporary South Africa emphasize the achievement of reconciliation during and in the immediate aftermath of the transition from apartheid. From Apartheid to Democracy, in contrast, considers the varied, complex, and enduring effects of the Commission’s rhetorical wager. It is the first book-length study to analyze the TRC through such a lens. Katherine Elizabeth Mack focuses on the dissension and negotiations over difference provoked by the Commission’s process, especially its public airing of victims’ and perpetrators’ truths. She tracks agonistic deliberation (evidenced in the TRC’s public hearings) into works of fiction and photography that extend and challenge the Commission’s assumptions about truth, healing, and reconciliation. Ultimately, Mack demonstrates that while the TRC may not have achieved all of its political goals, its very existence generated valuable deliberation within and beyond its official process.

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