Search results for ""Marquand""

Amidst ‘Brexit’, a divided and out of power Labour Party, and the wider international rise of populism, contemporary British social democracy appears in a state of crisis. This book, a collection of essays by some of Britain’s leading academics, public intellectuals and political practitioners, seeks to engage with the ‘big picture’ of British social democracy, both historical and contemporary, and point to grounds for greater optimism for its future prospects. It does so in honour of the renowned centre-left thinker David Marquand. Drawing on many of the themes which have preoccupied Marquand in his career and his writing, such as social democratic citizenship, values and participation, the volume offers the original perspective that social democracy is as much about cultures and mindsets as it is about economic policy or public institutions.

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Amidst ‘Brexit’, a divided and out of power Labour Party, and the wider international rise of populism, contemporary British social democracy appears in a state of crisis. This book, a collection of essays by some of Britain’s leading academics, public intellectuals and political practitioners, seeks to engage with the ‘big picture’ of British social democracy, both historical and contemporary, and point to grounds for greater optimism for its future prospects. It does so in honour of the renowned centre-left thinker David Marquand. Drawing on many of the themes which have preoccupied Marquand in his career and his writing, such as social democratic citizenship, values and participation, the volume offers the original perspective that social democracy is as much about cultures and mindsets as it is about economic policy or public institutions.

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During the 19th century, New York City’s grand mansions on Fifth and Madison Avenues boasted sumptuous interiors, often with each room decorated in a different historic style. Financier, art collector, and philanthropist Henry Gurdon Marquand famously commissioned eminent British painter Sir Lawrence Alma-Tadema (1836–1912) to create the Greco-Pompeian music room for his home. This beautiful publication documents and examines the celebrated design, which included an elaborately decorated Steinway grand piano, a large suite of matching furniture, and an embroidery scheme for the upholstery and coordinated curtains. Alma-Tadema secured Frederic Leighton to create a major painting for the room’s ceiling and Sir Edward Poynter to paint the piano’s fallboard. One of Alma-Tadema’s most famous paintings, A Reading from Homer, was painted for this room. For the first time since Marquand’s death in 1902, the contents of this exceptional room have been brought together and considered in light of Marquand’s patronage, Alma-Tadema’s career, the firm that manufactured the furniture, and the social function of the music room. Distributed for the Clark Art InstituteExhibition Schedule:Clark Art Institute (06/04/17–09/04/17)

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The Unknown Blakelock offers new perspectives on Ralph A. Blakelock (1847–1919) by addressing the modernity of his accomplishments as reflected in the exhibition’s paintings. A self-taught artist, Blakelock digressed from habitual procedures into stylistic experiments that were considerably in advance of common practice of the time. Associated primarily with the two dominant themes of moonlight views and Indian encampments, Blakelock was already acknowledged as a colorist during his career, an aspect of his painting attesting to his receptivity to modernist developments but largely overlooked in critical discourse. The works featured in this exhibition also attest to a salient characteristic of our own time, namely, the artist’s growing autonomy. The Unknown Blakelock explores this ongoing impact of Blakelock’s work, which has previously been placed in the context of the exploration of his own—not our—contemporaries.The Unknown Blakelock is a catalog of the exhibition of lesser-known works of Blakelock held at the Sheldon Museum of Art at the University of Nebraska–Lincoln, from January 25 to August 24, 2008, and at the National Academy Museum and School of Fine Arts in New York City, from September 25, 2008, to January 4, 2009.

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This volume explores how and why the second half of the 20th century proved such a fruitful moment for the ascendance of photography. It investigates pop art, conceptual art and emerging photo-based art forms such as film and television through the lens of fine-art photography and vernacular photography. In addition to an essay on the ill-fitting place of photography in art historical surveys of the 1960s and '70s, the book also includes essays by scholars and collectors reexamining more specialized outlets for photography. These include explorations of the use of collage, the brief fashion craze of paper dresses and the significance of television programing and news photography as source material for art production. Artists include: John Baldessari, Nan Goldin, Robert Heinecken, Andrej Paruzel, Hiromi Tuschida, Nam June Paik and Martha Rosler.

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An unprecedented and intimate look at the masking traditions of a Congolese tribe The Kuba of the Democratic Republic of Congo are recognized throughout the world for the beauty and inventiveness of their figure sculptures, decorative arts and surface design traditions. However, only a few scholarly articles have detailed the importance of Kuba masking traditions. A View from the Forest documents, in more than 160 photographs, Southern Kuba masking traditions associated with male initiation and funeral rites. This firsthand, intimate view of male initiation rites and mask making is the result of the author’s own experiences together with 25 young men in a forest initiation camp. The book reflects the passion, commitment and creativity of Southern Kuba men as they reveal the esoteric lore and teach mask-construction skills to the next generation. Belgian colonialism harshly affected the lives of all Congolese. Art-making in the form of masks, costumes, and community-wide performances proved to be a powerful form of resistance.

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A survey of the acclaimed Omaha museum’s collection of European art The collection of European art at Joslyn Art Museum includes masterworks by Titian, Paolo Veronese, Claude Lorrain, Rembrandt van Rijn, Gustave Courbet, Edgar Degas, Claude Monet and Camille Pissarro, as well as a significant group of 19th-century French academic paintings, with major examples by Jules Breton, William-Adolphe Bouguereau and Jean-Léon Gérôme. European Paintings and Sculpture from Joslyn Art Museum provides a richly illustrated catalog of 100 European artworks in the museum, presented chronologically from the late 13th to the early 20th century. Noted scholars and specialists in the field examine these works while considering artist biography, practice and technique, and cultural and historical contexts. An introductory essay offers an engaging history of the arts in Omaha and the formation of the museum’s European collection.

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“Engravings for the people”: a fresh appraisal of the printmakers Currier & Ives and their vision of America Currier & Ives was a powerhouse of 19th-century publishing and had an immeasurable influence on American visual culture. Founded in New York in 1834 by Nathaniel Currier, the company expanded to include a new partner, James Merritt Ives, after 1857. Currier & Ives produced millions of affordably priced copies of over 7,000 original lithographs, living up to its self-appointed title as “The Grand Central Depot for Cheap and Popular Prints.” The firm took advantage of New York City’s booming arts culture in the latter half of the 19th century, but its output was not seen as fine art by critics, nor was it intended as such. Its prints were first and foremost commodities; the choice subjects often determined by popularity and sales figures. Currier & Ives perpetuated Victorian ideals in its depictions of family, history, politics and urban and suburban life. But these prints also served as an important record of a nation in the midst of an extraordinary transformation from a rural and agricultural landscape to an industrialized and urbanized global power. Along with their popular appeal, Currier & Ives’s images offer a new opportunity to uncover the complexities and contradictions of our history and help shape our understanding of America’s past.

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These photographic diptychs of LGBTQ+ people in America express the acute vulnerability of coming out From 2011 to 2015, Brooklyn-based photographer Ash Kolodner (born 1987) traveled across the United States photographing hundreds of LGBTQ+ individuals of all ages. They made two consecutive portraits of each of their subjects, photographing them twice during the same sitting: once with eyes closed and then with eyes open. These diptychs symbolize the vulnerability many have felt at the outset of discovering their personal identities, and then the realization and self-actualization manifest in the intimate and profound process of coming out. Through more than 180 color portraits, along with subject interviews and contributing texts by filmmaker Kimberly Peirce and Tony award-winning producer Jordan Roth, and icon and performer, RuPaul, Gayface reflects the beauty, intimacy and sometimes the pain of a community kept in the shadows for decades. Ultimately these pictures and this handsome volume represent a revelatory statement on the profound humanity we all share. Ash Kolodner was born in Washington, DC, and holds a BFA in commercial photography from the Brooks Institute of Photography in Santa Barbara and an MFA in photography from Pratt Institute in Brooklyn. Their first major project, GAYFACE 1st Class, in 2013, is a series of more than 500 portraits of lesbian, gay, bisexual and transgender individuals living in America. Their follow-up series, Showing Face, was exhibited across Philadelphia’s subway stations and billboards in 2016 as part of the Philadelphia Mural Arts program. As a commercial photographer, they have photographed artists and musicians including Nas, Damien Marley, Mayer Hawthorne and Nipsey Hustle. Kolodner's work, which ranges from photography to drawing to sculptural installations, has been featured in numerous magazines, newspapers, galleries and group shows, including Miami Beach Art Basel, Toronto Fashion Week, Philadelphia’s Mural Arts Project, Huffington Post, Curve magazine and Photographer’s Forum.

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A spirited guide to the century-old diorama halls at Los Angeles' Natural History Museum, where habitats across the globe mergeThe diorama halls at the Natural History Museum of Los Angeles County (NHM) are among the oldest in the world, captivating Angelenos and tourists alike for over a century. Its immersive habitats range from the windswept ice of Greenland's musk ox to the quiet bamboo forests of Kenya's bongo antelope. Fabricating Wilderness, a PST ART project, is the first book to explore the art, science and history of NHM's remarkable habitat groups. Drawing upon new research, this behind-the-scenes tour is illustrated by both contemporary photographs and archival images. It takes readers through the origin of dioramas and the turbulent early history of NHM's halls, while also introducing the gifted artists who painted picturesque background murals and meticulously recreated every natural detail. Even at 100 years old, the story of NHM's diora

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Prescient prints from the golden age of Dutch satire This volume explores the satirical visual strategies that early modern Netherlandish printmakers—such as Joan Blaeu, Romeyn de Hooghe, Willem Jacobsz and Claes Jansz Visscher—used to memorialize historical events, lionize (or demonize) domestic and international leaders, and instigate collective action. While some of their prints employ visual puns that even the illiterate could enjoy, others were captioned in Latin, French or Dutch, prompting educated elites across Europe to consider the relationship between text and image in earnest. Published for an exhibit at Krannert Art Museum, Paper Knives, Paper Crowns provides a chronological arc and thematic overview of Netherlandish political prints, addressing multiple types of printmaking as well as the medium’s relationship to other art forms, engaging with art historical scholarship and studies of early modern political history and theory in the process.

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Dreamlike oil paintings positioning our present era as part of a larger mythology Vacillating between a highly stylized approach and startling realism, Portland-based Bangladeshi painter Srijon Chowdhury (born 1987) brings an uncanny contemporary twist to traditional genres like family portraiture and the vanitas still life. Accompanying his first solo museum exhibition, this volume provides an overview of Chowdhury’s burgeoning career.

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The prismatic work of the famed Mexican-American brothers merges religious iconography and German Expressionism with Mexican vernacular arts and pre-Columbian artThis zestful publication showcases the Mexican de la Torre brothers'Einar (born 1963) and Jamex (born 1960)particular vision of the Latino experience and American culture. Wielding a combination of humor and critical earnestness, the brothers continuously explore this vision through their mixed media works in a chameleonic-kaleidoscopic process that culminates in a palimpsest of images and meanings.Published in conjunction with the traveling exhibition, Collidoscope advances the scholarship concerning Chicana/o/x and Latina/o/x artists in an effort to challenge the art historical record, asserting that Chicano art is American art.

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This handsome volume is the newest publication on the artwork of Tallur L.N. (born 1971), featuring works from the last 13 years. Using a range of media including found objects, appropriated industrial machines, carved stone and wood, cast bronze, and works embedded in concrete and studded with coins, Tallur questions the value we assign to money, icons and artifacts. Building on the rich sculptural traditions of India, he references ancient religious and patriotic iconography, and often invites the viewer to become a participant through his interactive works. Among the works documented here are two new site-specific installations and a new video work, Interference; (2019). The publication includes scholarly essays by art historian Chaitanya Sambrani and curator Gary Garrido Schneider, and presents new information on the art and politics of this important 21st-century artist.

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Colombian-born painter Fanny Sanin (born 1938) has dedicated a long, prolific career to the exploration of geometric abstraction; her oeuvre is characterized by large-scale canvases depicting hard-edge geometric compositions in vibrant color configurations. Over the past five decades, Sanin has exhibited widely, mainly in Latin America and the United States (where she has lived since the 1970s, in New York), positioning herself as one of Latin America's most extraordinary colorists.This publication is a long-overdue comprehensive monograph on this pioneering painter. Featuring contributions from prominent academics and curators such as Beverly Adams, Jay Oles and Edward J. Sullivan, the book contextualizes Sanin's work within international geometric abstraction and offers a glimpse into the artist's rigorous working process. It surveys her entire career, from her energetic abstractions of the 1960s through the evolution and continual refinement of her ongoing commitment to concrete abstraction.

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Mallarmé’s magnum opus rendered as an open-ended Tarot-esque card game Upon his death, Stéphane Mallarmé (1842–98) left hundreds of notes on an unrealized great work he called The Book. Housed in a clear Plexiglas box, this card-deck conception of his project draws from that material, and from other writings alluding to its possible forms, including a letter in which he describes “a book that is architectural…. The orphic explanation of the Earth, which is the sole duty of the poet, and the literary game par excellence.” The title of this game derives from another letter in which Mallarmé writes, “perhaps the title of my volume of lyric poetry will be The Glory of the Lie, or The Glorious Lie.” Each deck contains 48 cards: three with artwork on each side, and 45 with words or phrases on each side. The size of the cards, their gold edging and the physical housing of the decks in the box reflect descriptions and clues in Mallarmé’s notes. The manner of playing the game is left open, but quotes and diagrams by Mallarmé in the accompanying 20-page booklet point to the idea of pulling cards from each of the four decks and laying them out for one reading, then flipping the cards over for a second reading. The image cards function like the Arcana of Tarot, providing a visual language equal to the word cards. The readings might be used to create poetry or, like Tarot, to divine or illuminate.

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Amid the murky ethics of archival material, Syjuco rehabilitates images of Asian and Asian American people within America's documented historiesFilipino American artist Stephanie Syjuco (born 1974) rephotographs and reconstructs photographs from museum and library collections to reveal the instability of images and the violence of the colonial gaze. Across her photographs, videos and installations, Syjuco employs visual disruptions, annotations and other cues of constructedness: artistic actions that explode the implied innocence of the archival regime. Her most recent projects have dealt with materials relating to early 20th-century American imperialism in the Philippines, including ethnological displays from the 1904 World's Fair in St. Louis. This full-color catalog is the artist's first monograph and accompanies a solo exhibition of her recent lens-based artworks. Essays by writer and art critic Aruna D'Souza, exhibition curator Georgia Erger and scholar

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The first monograph on the work of a multimedia artist exploring environmental destruction across the United States and Latin America LA-based Brazilian artist Clarissa Tossin (born 1973) employs film, sculpture and drawing to explore the intersections of climate change and global capitalism’s frontier mythologies. Published by the Frye Art Museum, this catalog presents an overview of Tossin’s career through full-color reproductions of works that span from 2008 to 2023, including images of several new artworks commissioned by the Frye. The exhibition borrows its title from science fiction writer Octavia Butler’s Earthseed novels, in which humans seek to survive amid ecological and cultural apocalypse. Tossin’s new works explore mapping and naming as colonial technologies of discovery and conquest on Earth and beyond. Through their seamless melding of synthetic and organic materials, the artist’s works embody the tension between ecological destruction and the caretaking approaches of Indigenous communities. Essays by curator Vic Brooks, writer Leslie Dick and exhibition curator Georgia Erger offer intimate assessments of the artist’s practice at a timely moment.

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Monumental, colorful and expressive, Matt Wedel’s ceramics revel in what’s possible with clay In a bright yellow studio nestled in the rolling hills of southeastern Ohio, Matt Wedel (born 1983) builds ideas out of clay. A prolific maker, he regularly pivots between stoneware, earthenware and porcelain, exploring the expressiveness of material and color. Wedel’s focus shifts between figure and flora, representation and abstraction, monumental and intimate, object and drawing—dualities that have a supportive tension rather than being at odds with each other. For Wedel, everything that goes into the making of the object is the work of art. Matt Wedel: Phenomenal Debris investigates the development and cross-pollination of figuration and landscape in Wedel’s ceramic sculptures, as well as his own psychology and how it transforms both his work and the way he perceives his role as artist, father and global citizen.

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On the feminist sculpture and interventions of the Guerrilla Girls member and veteran of New York’s 1980s art scene Rising to prominence in the downtown New York art scene of the 1980s and 1990s, Mary Ann Unger (1945–98) was skilled in graphic composition, watercolor, large-scale conceptual sculpture and environmentally responsive, site-specific interventions. Unger was a member of the Guerrilla Girls and is acknowledged as a feminist pioneer of neo-expressionist sculptural form. This monograph brings together 50 images of the artist’s work, often monumental sculpture formed into organic shapes. Taking the reprinting of Roberta Smith's 1999 obituary for Unger as a starting point, the book’s essays provide the first full consideration of Unger, tracing her life, her studies and her network of artists and mentors. This catalog also includes an interview with Unger's daughter, the artist Eve Biddle.

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Presenting Kehinde Wiley’s hotly anticipated response to a legendary Gainsborough portrait This volume presents A Portrait of a Young Gentleman, a new portrait by Kehinde Wiley (born 1977), commissioned to mark the centennial of the acquisition of Blue Boy by Henry and Arabella Huntington. The Huntington Library, Art Museum, and Botanical Gardens places Wiley's painting in conversation with Thomas Gainsborough's 18th-century masterpiece. A deep connection exists between the museum’s most famous painting and the artist who is known for creating one of the most beloved presidential portraits of our time. A native of Los Angeles, Wiley has often spoken about his childhood visits to the Huntington’s British portrait gallery and how they inspired him to become an artist. Richly illustrated with portraits by Wiley and by 18th-century masters such as Gainsborough, Joshua Reynolds and Thomas Hudson, this book offers insight into the evolving history of portraiture and the representation of power. An essay by Malik Gaines, Associate Professor of Performance Studies at New York University’s Tisch School of the Arts, investigates Wiley’s postmodern strategy of inserting Black subjects into canonical European settings. An essay by fashion historian Kimberly Chrisman-Campbell situates Wiley’s work within the traditions and trappings of 18th-century grand manner portraiture.

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Matson’s fabric works unite painterly abstraction, digital technology and textile tactility Working within a renewed interest in craft practices, Los Angeles–based artist Christy Matson (born 1979) creates woven pictures that explore memory and imagination through the layered history of textile production, while advocating for issues surrounding sustainability. Her abstract, constantly evolving compositions resemble paintings, and yet they are deeply rooted in textile history. Using a digital jacquard loom together with the language of historic weaving techniques, Matson honors the centuries-old craft while also embracing a new approach to technology. Her works allow viewers to engage with textiles of the past in thoughtful, innovative ways. A continuation of the Milwaukee Art Museum’s Currents series, which highlights new trends in contemporary art, this volume brings together nearly 50 of Matson’s most recent works from the last five years, and is the first publication to explore Matson's wide-ranging textile art.

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Sanford Schwartz explores the trailblazing career of 19th-century Quaker folk artist Edward Hicks Edward Hicks (1780–1849) was the creator of one of the most familiar scenes in American art: the Peaceable Kingdom, which depicts a realm where wild and flesh-eating animals come together with defenseless creatures, and will not harm them. Because Hicks was a Quaker minister, his many renderings of the scene have been taken as largely a self-taught artist’s professions of Quaker pacifism. But here, author and curator Sanford Schwartz, in a wide-ranging study that for the first time looks at Hicks as an imaginative artist as well as a minister, shows how the Peaceable Kingdom paintings—there are some 60 examples, made over 30 years—tell a richer story. In Schwartz’s hands, Hicks emerges as a person and a painter who hardly seems to be of the past. We spend time with this passionate, vehement figure who was also empathic and ardently connected to his wide community. And we see how the Kingdom series, though labeled folk art, share much with the work of mainstream artists of the time and even with work we now call outsider art.

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When justice is at stake, artists have spearheaded challenging conversations. The work in this book bears witness to stories that challenge dominant paradigms. Among the 50 artists represented here are Carlos Amorales, Loretta Bennett, Mark Bradford, Willie Cole, Abraham Cruzvillegas, Ellen Gallagher, Glenn Ligon, Julie Mehretu and Wangechi Mutu.

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A talented visual storyteller, Barbara Earl Thomas has drawn from history, literature, folklore, mythology, and biblical stories over her forty-year career to reflect the social fabric of our times. Thomas’s figural and narrative imagery has a deeply philosophical and emotional force, and light and dark have been especially potent concepts in her work. This book of new works meditates on the visual experience of the body within a physical and metaphorical world of light and shadow. Based on real people, the portraits "elevate to the magnificent" her family, friends, and neighbors, as well as cultural icons of the African American literary landscape. Thomas's illumination of the human figure through her light-filled artworks and portraiture encourages the viewer to reflect on how we communicate ourselves to the world and how we perceive those among us. Exhibition dates: Chrysler Museum of Art: February 24–August 20, 2023; Wichita Art Museum: October 7, 2023–January 14, 2024; Arthur Ross Gallery, the University of Pennsylvania: February 17–May 21, 2024

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How the influential American art historian used his print collection to theorize body language and the concept of the copy Beginning in the early 1960s, with only the meager budget of a part-time art history professor, Leo Steinberg (1920–2011) amassed a collection of more than 3,500 prints spanning the medium’s 500-year history in the West. Steinberg’s prints formed a visual library that shaped his scholarship in fundamental ways. His collection, incorporating the work of artists both famous and obscure, illuminates his claim that before photography, prints functioned as the "circulating lifeblood of ideas," disseminating figures and styles across boundaries. Through close observation of his prints, Steinberg developed some of his most innovative arguments about the instructive richness of the copy and the expressive potential of body language. This lavishly illustrated volume examines the development of Steinberg’s remarkable collection and its role in his scholarship. It also serves as an introduction to the history of Western printmaking that these works broadly encompass.

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On America's first modern dance company and its many collaborators, with reproductions of costumes, sets, ephemera and more Ruth St Denis (1879–1968) and Ted Shawn (1891–1972) pioneered modern dance in the US with their company Denishawn, founded in 1914. Incorporating elements from ancient, non-Western and Native American sources, Denishawn became the first important American dance company. A generation of dancers and choreographers, including Martha Graham, trained and performed with the company, and many artists, including Auguste Rodin, John Singer Sargent, Katherine Dreier, Marcel Duchamp and Joseph Cornell, collaborated with them. This catalog reproduces artwork, sets, ephemera and especially costumes, many of which have not been seen since the 1930s. Some of the materials and costumes, as well as the choreography, borrow from East and South Asian and Native American cultures, and the publication interrogates the legacy of cultural appropriation in dance. The materials also demonstrate St. Denis and Shawn’s stylistic and personal connections to American and European modernists, broadening an understanding of American dance in early modernism.

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How female artists have depicted women's lives, from the 17th century to the 1960s Selected from the rich holdings of the Loeb Art Center at Vassar College in Poughkeepsie, New York, Women Picturing Women explores the common themes and complex visions that emerge when women depict other women. Portraits and domestic scenes are often the vehicles through which these artists grappled with narratives found in religion, mythology or social critique, focusing on motifs of both intimacy and isolation in varying degrees. With works that range from the 17th century to the close of the 1960s, Women Picturing Women provides a varied set of examples that speak to the unique and frequently underemphasized artistic lens through which women viewed their female peers, with further scholarship on each artist and her work. Artists include: Angelica Kauffman, Berthe Morisot, Jesse Tarbox Beals, Lilly Martin Spencer, Alice Neel, Diane Arbus and Sylvia Sleigh.

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Recent multimedia projects by Simon Starling on hidden histories and unlikely connections Published for British artist Simon Starling’s (born 1967) exhibition at the Rennie Collection in Vancouver, this volume presents a selection of the artist’s multimedia, research-based art from the last decade, contextualized by new essays.

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Brash, brilliant and funny, the Chicago Imagists—from the Hairy Who and Nonplussed Some to False Image and Marriage Chicago Style—receive a full appraisal in this electrifying volume This amply illustrated catalog surveys the work of the group of artists known as the Chicago Imagists, who exhibited together in the late 1960s, and whose influence continues to spread 50 years later. Drawing from a collection of rarely seen works, the book presents work from the 17 artists who comprise the original Imagist exhibition groups—the Hairy Who, Nonplussed Some, False Image and Marriage Chicago Style—as well as a number of independent Chicago artists. These artists and their historic work, which is brash, brilliant and often humorous, have seen increased attention over the last decade. Scholars, collectors and younger artists have been magnetized by the paintings of Jim Nutt, Christina Ramberg, Roger Brown, Gladys Nilsson and Karl Wirsum, but there are few large-scale, high-quality books documenting their work. In addition to a reprint of an important and little-known piece by Dennis Adrian, the book features original essays that provide a big-picture view of the vibrant Chicago art ecosystem and explore the relationship between Imagism and abstraction and between historical Imagist art and its offspring. Also included are an interview with the collectors, biographical “snapshots” of seven key artists and a timeline plotting major works in the collection against important historical events in the art world. With this comprehensive range of material, Private Eye: The Imagist Impulse in Chicago Art adds substantively to the topic’s scholarship.

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This book invites readers to step inside the mesmerizing world of San Francisco-based Iranian fashion designer Lily Samii. From her upbringing in Iran to the runways of Paris, Lily Samii: Fifty Years of Fashion; takes readers on a fascinating journey through Lily Samii's incredible life. We learn about her magnificent life in Iran and her secret obsession with fabrics, nature and movement as a young child; we travel with her across the globe and peek into the glamorous world of Hollywood and costume design where she was trained by Edith Head and James Galanos; and we join Samii as she opens her iconic Bay Area boutique, LYZ, that was the talk of the town for 30 years, recognized by national fashion magazines including Harper's Bazaar;, Vogue; and Women's Wear Daily;. From LYZ, Lily launched her career as a couture designer with gowns and outfits for celebrities and influential women in politics, society, philanthropy and the arts.

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A new edition of an exquisitely crafted homage to the Massachusetts coast In this new edition of Between Land and Sea: The Great Marsh (first published by Braziller in 2007), the award-winning, Ipswich, MA–based landscape photographer Dorothy Kerper Monnelly conveys the surprising, ever-changing drama of the vast tidal wetlands known as the Great Marsh. For over 40 years, Monnelly has come to know this region intimately, one of the last unspoiled wilderness areas in the urban Northeast. Her timeless, visionary photographs are joined in this edition by an essay from acclaimed author Terry Tempest Williams reflecting on our relationship to liminal spaces like the marsh. Although salt marshes are among the most productive ecosystems on earth, these wetlands are threatened throughout the world by human activity and have disappeared from much of the American seacoast. The Great Marsh, despite threats from development, pollution, and now rising seas, is a pristine remnant of this ancient coastal environment.

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Born in Sinaloa, Mexico, Julia Pastrana (1834–1860) was a gifted singer, musician and dancer who could converse in English, Spanish and French. She also suffered from one of the most extreme cases of hypertrichosis terminalis on record and severe gingival hyperplasia: her face and body were covered with thick hair and her jaw was disproportionately large. Pastrana toured North America and Europe billed as “The Ugliest Woman in the World.” After her death, her body was exhibited throughout Europe and the US. Until her recent repatriation to Sinaloa, her body was kept at the University of Oslo, Norway. Pastrana’s story raises issues around beauty, ownership, science and racism, human rights, colonialism, sexism and indigenous rights. Artist Laura Anderson Barbata has brought together scholars and experts from various fields to explore these and other topics as they relate to Pastrana’s extraordinary story.

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Omaskêko Cree artist Duane Linklater explores and reinvents contemporary indigenous values and practices Omaskêko Cree artist Duane Linklater (born 1976) works across a range of mediums, addressing the contradictions of contemporary Indigenous life within and beyond settler systems of knowledge, representation and value. Published for his first major survey exhibition at Frye Art Museum, this catalog offers a timely assessment of the last decade of Linklater’s distinctive art, including site-responsive architectural interventions; digital translations of tribal objects held in institutional collections; sculpture and video works focusing on enduring ancestral practices; and a series of large-scale structures made with tipi poles. The publication includes conversations between Linklater and his elder family members that function as an alternative form of scholarship in parallel with his work, and is interspersed with photographs taken by the artist and his daughter.

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Has Europe's extraordinary postwar recovery limped to an end? It would seem so. The United Kingdom, Belgium, France, Italy, and former Soviet Bloc countries have experienced ethnic or religious disturbances, sometimes violent. Greece, Ireland, and Spain are menaced by financial crises. And the euro is in trouble. In The End of the West, David Marquand, a former member of the British Parliament, argues that Europe's problems stem from outdated perceptions of global power, and calls for a drastic change in European governance to halt the continent's slide into irrelevance. Taking a searching look at the continent's governing institutions, history, and current challenges, Marquand offers a disturbing diagnosis of Europe's ills to point the way toward a better future. Exploring the baffling contrast between postwar success and current failures, Marquand examines the rebirth of ethnic communities from Catalonia to Flanders, the rise of xenophobic populism, the democratic deficit that stymies EU governance, and the thorny questions of where Europe's borders end and what it means to be European. Marquand contends that as China, India, and other nations rise, Europe must abandon ancient notions of an enlightened West and a backward East. He calls for Europe's leaders and citizens to confront the painful issues of ethnicity, integration, and economic cohesion, and to build a democratic and federal structure. A wake-up call to those who cling to ideas of a triumphalist Europe, The End of the West shows that the continent must draw on all its reserves of intellectual and political creativity to thrive in an increasingly turbulent world, where the very language of "East" and "West" has been emptied of meaning. In a new preface, Marquand analyzes the current Eurozone crisis--arguing that it was inevitable due to the absurdity of combining monetary union with fiscal disunion--and raises some of the questions Europe will have to face in its recovery.

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'To construct a civilization around the nostrum that the public realm is morally, economically and socially inferior to the private realm is to submit to an alien barbarism in which what we hold in common is permanently placed as second best. David Marquand has constructed a masterly and highly readable plea for the idea of the public once again to be celebrated in British life. His re-entry into the national conversation could not be better timed or more important. Let's hope our fellow citizens take arms in the battle he invites us to join.' --Will Hutton, Columnist, Observer Newspaper 'A profound analysis of the decline of the public realm and the growth of unaccountable government in Britain. The summation of a life's work by one of Britain's leading political thinkers.' --John Gray, The London School of Economics The public domain of citizenship, equity and service is crucial for individual fulfilment and social well-being. But it has been under attack for thirty years – first from the market fundamentalists of the New Right, and then from their New Labour imitators. The results are everywhere – resource-starved public services; the marketization of the public sector; the soul-destroying targets and audits that go with it; the denigration of professionalism and the professional ethic; and the erosion of public trust. More damaging still are the hollowing out of citizenship, the manipulative populism that now pervades British government and a slide towards a new version of the 'Old Corruption' that our Victorian ancestors thought they had banished. David Marquand traces the growth of the public domain from Gladstone to Attlee, analyses the forces that began to undermine it in its post-war heyday and exposes the campaign that the Thatcher and Blair governments have waged against it. He ends with a call for a counter-attack, based on a re-statement of the civic ideal in a twenty-first century idiom. This book will appeal to all those who take an interest in current political events as well as those studying politics and social policy.

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We are told that this is a new world, with which old theories cannot cope. But the dynamic driving the current global transformation is not as new as our pundits and politicians pretend. The global market-place of our day may have little in common with the tamed welfare capitalism of the post-war period but it is uncannily reminiscent of the untamed capitalism of 100 years ago. Keynes and Beveridge may be dead, but Marx, Malthus and Ricardo have had a new lease of life. In these timely essays, David Marquand challenges the fashionable amnesia of the 1990s and addresses the crucial questions raised by the capitalist renaissance which has followed the collapse of Communism and the end of the cold war. In this bewildering new world, which is at the same time an all-too-familiar old world, how can the values of social solidarity and democratic citizenship be realized? Granted that socialism is no longer with us, does it have anything to say from beyond the grave? How is socialism's great antagonist, liberalism, faring in this new world, and what are the prospects of an accommodation between the two? Where does the new medievalism of contemporary Europe fit in? How do the special peculiarities of the British state, the identity it embodies and the political economy over which it presides relate to those wider issues? What room for maneuver do they give the British left? These questions make up the agenda for The New Reckoning.

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We are told that this is a new world, with which old theories cannot cope. But the dynamic driving the current global transformation is not as new as our pundits and politicians pretend. The global market-place of our day may have little in common with the tamed welfare capitalism of the post-war period but it is uncannily reminiscent of the untamed capitalism of 100 years ago. Keynes and Beveridge may be dead, but Marx, Malthus and Ricardo have had a new lease of life. In these timely essays, David Marquand challenges the fashionable amnesia of the 1990s and addresses the crucial questions raised by the capitalist renaissance which has followed the collapse of Communism and the end of the cold war. In this bewildering new world, which is at the same time an all-too-familiar old world, how can the values of social solidarity and democratic citizenship be realized? Granted that socialism is no longer with us, does it have anything to say from beyond the grave? How is socialism's great antagonist, liberalism, faring in this new world, and what are the prospects of an accommodation between the two? Where does the new medievalism of contemporary Europe fit in? How do the special peculiarities of the British state, the identity it embodies and the political economy over which it presides relate to those wider issues? What room for maneuver do they give the British left? These questions make up the agenda for The New Reckoning.

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The Bologna Process, initiated in 1999, now includes 47 member countries of the Council of Europe. In 2010, it was renamed ‘the European Higher Education Area’, it was expanded. It now attracts the interest of many countries around the world. Without sanctions, it has transformed the structure of higher education in its member states, to allow comparability of their higher education outcomes and encourage increased mobility between them. Increasingly, it has encouraged the use of learner-centred methods of teaching. It now attempts to further other democratic social objectives as well. Despite growing authoritarianism and populism in some of its member states, it may yet survive because of their strong motivation to pursue economic development through increased technological and innovative capacity. This book sets this extraordinary phenomenon in its historical and political context. After describing the underpinnings and the development of the central Bologna Process itself, four contrasting country case studies - Germany, Russia, England, Wales - illustrate some of the varying responses adopted when faced with a similar framework. The book will appeal to those interested in the social and political contexts in which higher education is set, as well as practitioners and researchers.

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