Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.

    Eliot Porter's photographs of the natural world, spanning thirty-five years and five continents -- from an Antarctic ice floe to an American desert to an Icelandic lava field -- reveal in mesmerizing ways what scientists are beginning to see for themselves: the patterns, relations, and interactions present in nature's disorder and wildness. This is the perfect marriage of image and text -- brilliant full-color photographs by the preeminent nature photographer of his generation together with an illuminating essay by the widely praised author of Chaos.

    From Little Britain’s Vicky Pollard to the demonization of Jade Goody, media and politicians alike dismiss as feckless, criminalized and ignorant a vast, underprivileged swathe of society whose members have become stereotyped by one, hate-filled word: chavs. In this groundbreaking investigation, Owen Jones explores how the working class has gone from “salt of the earth” to “scum of the earth.” Exposing the ignorance and prejudice at the heart of the chav caricature, one based on the media’s inexhaustible obsession with an indigent white underclass, he portrays a far more complex reality. Moving through Westminster’s lobbies and working-class communities from Dagenham to Dewsbury Moor, Jones reveals the increasing poverty and desperation of communities made precarious by wrenching social and industrial change, and all but abandoned by the aspirational, society-fragmenting policies of Thatcherism and New Labour. The chav stereotype, he argues, is used by governments as a convenient figleaf to avoid genuine engagement with social and economic problems, and to justify widening inequality. Based on a wealth of original research, and wide-ranging interviews with media figures, political opinion-formers and workers, Chavs is a damning indictment of the media and political establishment, and an illuminating, disturbing portrait of inequality and class hatred in modern Britain.

    When she goes to visit him and takes a tour of Oxford and Rhodes House, she begins questioning her belief in a system she has previously revered, as she learns the truth behind what Virginia Woolf described almost a century earlier as the 'stream of gold and silver' that flows through elite institutions and dictates decisions about who deserves to be educated there. The question that forms in her mind drives the following two years of conversations and investigations: who gets to be smart?Interrogating the adage, 'knowledge is power', and calling institutional prejudice to account, Bri once again dives into her own privilege and presumptions to bring us the stark and confronting results. Far from offering any 'equality of opportunity', Australia's education system exacerbates social stratification. The questions Bri asks of politics and society have their answers laid bare in the response to the Ramsay Centre for Western Civilisation, COVID-19, and the Black Lives Matter protests of 2020.

    In these lectures, Heidegger reviews and makes critical appropriations of the hermeneutic tradition from Plato, Aristotle, and Augustine to Schleiermacher and Dilthey in order to reformulate the question of being on the basis of facticity and the everyday world. Specific themes deal with the history of ontology, the development of phenomenology and its relation to Hegelian dialectic, traditional theological and philosophical concepts of man, the present situation of philosophy, and the influences of Aristotle, Luther, Kierkegaard, and Husserl on Heidegger's own thinking. Students of Heidegger will find initial breakthroughs in his unique elaboration of the meaning of human existence and the "question of being, " which received mature expression in Being and Time.