According to Didi-Huberman, visual representation has an "underside" in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the "science of iconology."To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud's concept of the "dreamwork," not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer's Lacemaker.

    Akeley started small by stuffing a canary, but by the end of his life he had created the astonishing Akeley Hall of African Mammals at The American Museum of Natural History. What Akeley strove for and what fascinates Madden is the attempt by the taxidermist to replicate the authentic animal, looking as though it's still alive. To get a first-hand glimpse at this world, Madden travels to the World Taxidermy Championships, the garage workplaces of people who mount freeze-dried pets for bereaved owners, and the classrooms of a taxidermy academy where students stretch deer pelts over foam bases. On his travels, he looks at the many forms taxidermy takes--hunting trophies, museum dioramas, roadside novelties, pet memorials--and considers what taxidermy has to tell us about human-animal relationships. "The Authentic Animal "is an entertaining and thought-provoking blend of history, biology, and philosophy that will make readers think twice the next time they scoff at a moose head hung lovingly on a wall.

    He laments that many children and adults are losing touch with the material objects that have nurtured human development for thousands of years. The objects are still here, but we seem to care less and know less about them. In his presentations to groups, he often asks an audience member what he or she knows about the chair the person is sitting in. Few people know much more than whether it's made of wood, plastic, or metal. If we know little about how things are made, it's hard to remain connected to the world around us.Fewer, Better Things explores the history of craft in its many forms, explaining how raw materials, tools, design, and technique come together to produce beauty and utility in handmade or manufactured items. Whether describing the implements used in a traditional Japanese tea ceremony, the use of woodworking tools, or the use of new fabrication technologies, Adamson writes expertly and lovingly about the aesthetics of objects, and the care and attention that goes into producing them. Reading this wise and elegant book is a truly transformative experience.

    From them emerged the first major modern art dealer. It was 1947, and the art world would never be the same. From the early days on 57th Street, to the rise of SoHo in the 60s, to the emergence of Chelsea as the hotbed of art galleries, we see the meteoric rise and the devastating falls of the most renowned dealers: Larry Gagosian, David Zwirner, Arne Glimcher, and Iwan Wirth. With unparalleled access, the longtime Vanity Fair reporter tells us the story of contemporary art through the people who coddled, supported, and funded the likes of Jeff Koons, and Cy Twombly.It's a story of backstabbing, betrayals, fruitful partnerships, genius, and ever larger sums of money. The world of contemporary art is inextricable from the wild wealth and naked financial opportunism that surrounds it.

    Ben longs for the father he has never known. Rose dreams of a mysterious actress whose life she chronicles in a scrapbook. When Ben discovers a puzzling clue in his mother's room and Rose reads an enticing headline in the newspaper, both children set out alone on desperate quests to find what they are missing.Set fifty years apart, these two independent stories - Ben's told in words, Rose's in pictures - weave back and forth in symmetry.

    Since publication, the museum has expanded its collection, with major acquisitions of pieces from Europe and Asia. The new edition includes a complete revision of the section on Europe after 1700, plus revisions to the sections on Celtic Europe, Roman Britain, cameos and finger rings.The book explores the varied styles, techniques and materials used to make jewelry in many civilizations throughout the world and across the millennia. Egyptian necklaces, Celtic torcs, South American gold masks, Renaissance pendants and Art Nouveau buckles are examples of the range of the masterpieces described and illustrated with 400 superb photographs.7000 Years of Jewelry takes readers on an impressive tour that includes, among other times and places:The Middle East: 5000-2000 BC Egypt: 1500-900 BC Phoenician, Greek, Etruscan and Persian Lands: 850-325 BC China, Celtic Europe, Mexico and Peru: 600 BC-AD 600 The Mediterranean, India, Egypt, Roman Britain and Byzantium: 325 BC-AD 600 Europe, China, Korea and Japan: AD 300-1000 Mayan Central America: AD 600-1000 Central and South America: AD 500-1500 Europe, Islam, China, Korea and Java: AD 1000-1500 China, India, Tibet and Mongolia: AD 1500-1850 West Africa: AD 1500-1800 Europe: AD 1500-1950. More comprehensive than before, this reference remains the finest and most beautifully illustrated history of jewelry ever published.

    Luminous, in-the-moment, and full of wonder, The Museum of Everything inspires readers to slow down and appreciate the world. For fans of What Do You Do with an Idea?, The Most Magnificent Thing, and classics such as Time of Wonder and A Hole Is to Dig. A spectacular picture book illustrated with dioramas, collages, and three-dimensional paintings.When a young girl feels that the world is too big and loud and busy and distracting, she pretends that she’s in a museum. It’s quiet there, and she can wonder about everything: Is a rock in a puddle an island? Is a dry spot on the ground on a rainy day the shadow of a car that’s just driven off? There’s a museum for everything—for islands and shadows and clouds and trees, and so much more.Newbery Medalist and acclaimed picture book creator Lynne Rae Perkins balances imagination and creativity with curiosity and facts. She has created the extraordinary artwork in three dimensions—as if each page is an exhibit or installation in a museum. A transcendent and timely picture book, The Museum of Everything encourages young readers to wonder, dream, and explore—and to learn more about the world around them.

    Written by two authors who have won millions of dollars in grants -- and updated to include vital information and advice accumulated since The Only Grant-Writing Book You'll Ever Need first appeared -- this new edition provides a comprehensive, step-by-step guide for grant writers, demystifying the process while offering indispensable advice from funders and grant recipients. It includes the following. Guidance on developing a realistic, cost-effective, collaborative program Concrete suggestions (with practice exercises and examples) for approaching each section of a grant so that the proposal is absolutely clear to the funder A glossary of terms with any word, phrase, or concept a grant writer may need, plus fifty tips for writing a winning proposal Funders roundtables put you inside the minds of the people who award grants

    This middle-grade adaptation of an adult nonfiction book tells the story of the shipwreck and a harrowing Coast Guard rescue when four men in a tiny lifeboat overcame insurmountable odds and saved more than 30 stranded sailors. This is a fast-paced, uplifting story that puts young readers in the middle of the action. It's a gripping story of heroism and survival with the same intensity as the bestselling book and movie The Perfect Storm.

    In Storytelling for Grantseekers, consultant and trainer Cheryl A. Clarke helps fundraisers overcome these hurdles by presenting an organic approach to proposal writing. Grantseekers who have used this unique process discover that telling the organization's story in narrative form (complete with settings, characters, antagonists, and resolutions), can help them connect with grantmakers and ultimately have greater success with funders. This fresh and creative guide contains the resources needed to help you craft a persuasive synopsis, package a compelling story, and create a short story approach to the inquiry and cover letters that support the larger proposal. Clarke walks grantseekers through all the phases of developing an effective proposal and highlights the creative elements that link components to each other and unify the entire proposal. Clarke also stresses the need to see proposal writing as part of a larger grantseeking effort, one that emphasizes preparation, working with the entire development staff, and maintaining good relations with funders. Using the suggestions outlined in Storytelling for Grantseekers, new and seasoned grantseekers will discover how to channel their passion to tell their organization's tale and create winning proposals.

    Custom Edition for Community College of Philadelphia, 1,182 pages.

    Original.

    They're spies, after all. But when her beloved Aunt Gertie is arrested for leading a smuggling ring, then her obnoxious Uncle Frank and Aunt Stella show up, demanding to be let into the family's private museum things begin to look fishy. Especially since Mabel hasn't heard from her parents in days. Tackling a mystery like this one is what she has been training for her whole, short life. Using her self-authored spy handbook, will Mabel be able to find her parents and unmask the real criminal before it's too late?

    Are desperate measures justified to save the bones of our fathers? Will Dirty Rob live up to his reputation? Do museum curators really do it meticulously?Answers must be found for the sake of Mal’s future, his happiness and his heart.79000 words.

    Now they celebrate the "victory"--a key foundation of China's rising nationalism.For most of its history, the People's Republic of China limited public discussion of the war against Japan. It was an experience of victimization--and one that saw Mao Zedong and Chiang Kai-shek fighting for the same goals. But now, as China grows more powerful, the meaning of the war is changing. Rana Mitter argues that China's reassessment of the World War II years is central to its newfound confidence abroad and to mounting nationalism at home.China's Good War begins with the academics who shepherded the once-taboo subject into wider discourse. Encouraged by reforms under Deng Xiaoping, they researched the Guomindang war effort, collaboration with the Japanese, and China's role in forming the post-1945 global order. But interest in the war would not stay confined to scholarly journals. Today public sites of memory--including museums, movies and television shows, street art, popular writing, and social media--define the war as a founding myth for an ascendant China. Wartime China emerges as victor rather than victim.The shifting story has nurtured a number of new views. One rehabilitates Chiang Kai-shek's war efforts, minimizing the bloody conflicts between him and Mao and aiming to heal the wounds of the Cultural Revolution. Another narrative positions Beijing as creator and protector of the international order that emerged from the war--an order, China argues, under threat today largely from the United States. China's radical reassessment of its collective memory of the war has created a new foundation for a people destined to shape the world.