In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a job. The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

    It explores the services that banks and their principal competitors (including savings and loans, credit unions, security and investment firms) offer in an increasingly competitive financial-services marketplace. The ninth edition discusses the major changes and events that are remaking banking and financial services today. Among the key events and unfolding trends covered in the text are: Newest Reforms in the Financial System, including the new Dodd-Frank Financial Reform Law and the Credit Card Accountability, Responsibility, and Disclosure (CARD) Act of 2009. Global Financial Sector coverage of the causes and impact of the latest "great recession." Systemic Risk and the presentation of the challenges posed in the financial system. Exploration of changing views on the "too big to fail" (TBTF) doctrine and how regulators may be forced to deal with TBTF in the future. Controlling Risk Exposure presentation of methods in an increasingly volatile economy

    The reality is that film has never gone away, and in recent years has experienced a surging, renewed popularity-sometimes simply for its retro, analog status, but mostly for film's ability to create a look and feel that many believe digital can still not achieve. If anyone can attest to this, it's Utah photographer Jonathan Canlas, who exclusively shoots with film, and has both an extremely successful wedding photography business as well as a series of popular workshops held numerous times per year around the world. In "Film Is Not Dead: A Digital Photographer's Guide to Shooting Film, " Canlas teams up with co-author Kristen Kalp to open the doors for anyone who wants to begin-or return to-shooting film. Casual, irreverent, fun, inspiring, and beautiful, this unique 10x8 hardcover book teaches the reader the basics of film, cameras, and shooting in this medium. Whether it's discussing the different tone and color characteristics of different films (Kodak, Fuji, etc.), how to load a medium-format camera back, how to create proper exposures, how and where to get film processed, or how Jonathan uses fun, plastic cameras like the Holga in his commercial and personal work, "Film Is Not Dead "appeals to anyone who is searching to finally begin creating that film look, but until now hasn't known where to start.

    Not until the Enlightenment in the eighteenth century did war come to be regarded as an unmitigated evil and one that could be abolished by rational social organization, and only after the massive slaughter of the two world wars did this become the declared objective of civilized states. Nevertheless, war in one form or another continues unabated. In this elegantly written book, a preeminent military historian considers why this is so. Is war in some sense still a necessary element in international order? Are war and peace in fact complementary? Does not peace itself breed the conditions that will ultimately lead to war? And if nuclear weapons have made war ultimately suicidal for mankind, what can be done about it? Having devoted half a century largely to studying these questions, Michael Howard offers us his reflections. Unless they can be answered, he notes, the twenty-first century is unlikely to be any more peaceful than the centuries that preceded it.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    It explores how issues of race, class, nationality and sexuality, enter into debates about feminism, and includes work by feminist critics, artists and activists. Articles are grouped into six thematic sections:* representation* difference* disciplines/strategies* mass culture/media interventions* the body* technology.A valuable reference for students of visual culture and gender studies, this is both a framework within which to understand the shifts in feminist thinking in visual studies and an overview of the most significant feminist theories in this area.

    He presents the ideological innovations and ethnic cleansings that abetted the spread of modern nationalism but also examines recent statesmanship that has allowed national interests to be channeled toward peace.“A work of profound scholarship and considerable importance.”—Timothy Garton Ash, St. Antony’s College, University of Oxford“Timothy Snyder’s style is a welcome reminder that history writing can be—indeed, ought to be—a literary pursuit.”—Charles King, Times Literary Supplement“A brilliant and fascinating analysis of the subtleties, complexities, and paradoxes of the evolution of nations in Eastern Europe. It has major implications for all of us who want to understand the processes of state collapse and nation-building in the world.”—Samuel P. Huntington, Harvard Academy for International and Area Studies“Snyder’s ultimate query in this fresh and stimulating look at the path to nationhood is how the bitter experiences along the way, including the bitterest—ethnic cleansing—are to be overcome.”—Robert Legvold, Foreign Affairs

    The minister was released, but his daughter chose to stay with her captors. Her extraordinary story is one of race, religion, and the conflict between two cultures.

    This is apparent in the many attempts to purge colour from art, literature and architecture, either by making it the property of some "foreign" body - the oriental, the feminine, the infantile the vulgar or the pathological - or by relegating it to the realm of the superficial, the inessential or the cosmetic, which in many cases amounts to the same thing. In Chromophobia, David Batchelor analyzes the history of, and motivations behind, chromophobia, from its beginnings through examples of nineteenth-century literature, twentieth-century architecture and film, to Pop art, minimalism and the art and architecture of the present day. Batchelor suggests how colour fits, or fails to fit, into the cultural imagination of the West, exploring such diverse themes as Melville's "great white whale," Le Corbusier's "journey to the East," Huxley's experiments with mescaline. Dorothy's travels in the Land of Oz and the implication of modern artists' experiments with industrial paints and materials.