The Moore family were early settlers from Ireland, who eventually made their home in Virginia. A branch of the family discovered Abb’s Valley; a remote settlement, isolated but idyllic, and which had once belonged to Cherokee and Shawnee natives. After many years of happiness, forming a successful and religiously-devoted community, the Moore family was brutally attacked. The Shawnees ruthlessly killed the majority of the family, taking the survivors prisoner, including Mary Moore, James Moore Brown’s mother. Mary found herself sold into slavery, and thus began a long and arduous journey to gain back her freedom and return to the home of youth. With unwavering faith in God and a belief that following His path would set her free, Mary was eventually rescued. This remarkable book, long suppressed because of the politically incorrect facts it contains about early frontier life and the interactions between white settlers and Indians, provides a dramatic insight into the sufferings of the early European pioneers in America. Indians regularly captured whites for use as slaves — although those were the lucky ones. The less fortunate were tortured and killed, often for sport. Written with a strong focus on Presbyterianism, the book’s value lies in its dispassionate detailing of the everyday life and dangers for families on the frontier. Born in Rockbridge, Virginia, USA on 1799 to Samuel Brown and Mary Moore (one of the captives of Abb’s Valley), James Moore Brown married Mary Ann Bell and had 6 children. He passed away on 1866 in Virginia, USA. His only book, The Captives of Abb’s Valley was first published in 1854.

    Introducing art in its international context, this accessible book explores core issues about how art is made, interpreted, and displayed, without any of the unnecessary terminology. Divided into themes, A Short Book About Art presents new ways of thinking about the relationship between artists and their work, as well as fresh comparisons between works of art from different periods and places. Thought-provoking and stimulating, it is the ideal companion for anyone who wants to learn about art without a dictionary in their hands.

    It shows us the entire world, one story at a time . . .Brandon Stanton’s Humans – his most moving and compelling book to date – shows us the world. After five years of traveling the globe, the creator of Humans of New York brings people from all parts of the world into a conversation with readers. He ignores borders, chronicles lives and shows us the faces of the world as he saw them. His travels took him from London, Paris and Rome to Iraq, Dubai, Ukraine, Pakistan, Jordan, Uganda, Vietnam, Israel and every other place in between. His interviews go deeper than before. His chronicling of peoples’ lives shows the experience of a writer who has traveled widely and thought deeply about the state of our world.Including hundreds of photos and stories of the people he met and talked with in over forty countries, Humans is classic Brandon Stanton – a fully color illustrated book that includes many photos and stories never seen before. For the first time for a HONY title, Humans will contain several of the essays Brandon’s posted online which have been read, loved and enthusiastically shared by his followers.

    The Architecture of Happiness starts from the idea that where we are heavily influences who we can be, and it argues that it is architecture's task to stand as an eloquent reminder of our full potential.Whereas many architects are wary of openly discussing the word beauty, this book has at its center the large and naïve question: What is a beautiful building? It is a tour through the philosophy and psychology of architecture that aims to change the way we think about our homes, our streets and ourselves.

    This best-selling text has guided tens of thousands of art students through the writing process. Students are shown how to analyze pictures (drawings, paintings, photographs), sculptures and architecture, and are prepared with the tools they need to present their ideas through effective writing.

    A hotbed for hip hop, underground culture, and unmatched creative energy, it spawned some of the most significant art of the 20th century. It was where Jean-Michel Basquiat became an avant-garde street artist and painter, swiftly achieving worldwide fame. During the years before his death at the age of 27, he shared his life with his lover and muse, Suzanne Mallouk. A runaway from an unhappy home in Canada, Suzanne first met Jean-Michel in a bar on the Lower East Side in 1980. Thus began a tumultuous and passionate relationship that deeply influenced one of the most exceptional artists of our time. In emotionally resonant prose, award-winning author Jennifer Clement tells the story of the passion that swept Suzanne and Jean-Michel into a short-lived, unforgettable affair. A poetic interpretation like no other, Widow Basquiat is an expression of the unrelenting power of addiction, obsession and love.

    Examining visual art from 1980 to the present, it takes an intriguing and accessible approach that motivates students and other readers to think actively about and discuss contemporary art--what it means and how it means what it does. The opening chapter provides a concise overview of the period, analyzing how four key changes (the rise of new media, a growing awareness of diversity, the influence of theory, and interactions with everyday visual culture) have resulted in an art world with dramatically expanded boundaries. Reflecting the paradigm shift from a formalist way of teaching studio art to more varied and open-ended concepts, the remaining six chapters each deal with a key theme--time, place, the body, language, identity, and spirituality. Each chapter features an introduction to the thematic topic; a brief look at historical precedents and influences; a detailed analysis of how contemporary artists have responded to and embodied aspects of the theme in specific works; and an in-depth and fascinating profile of an artist who has extensively explored aspects of the theme in his or her work. Themes of Contemporary Art: Visual Art after 1980 shows how art can be interpreted from several different angles: techniques and materials, historical circumstances, aesthetic qualities, theoretical issues, and an artist's ideas and intentions. Writing in a lucid and engaging style, the authors skillfully reveal the multiple levels of meaning in artworks, drawing connections between contemporary art, art of the past, and everyday existence. The volume is enhanced by 87 illustrations--19 in full color--that demonstrate an immense variety of materials, subjects, and styles. These well-chosen examples will help readers learn to critically describe, interpret, and evaluate contemporary visual art. A bibliography and a timeline that situates contemporary art in the context of major events in world history, art, and popular culture are also included. An ideal core text for courses in contemporary art history, Themes of Contemporary Art: Visual Art after 1980 can also be used as a supplement in modern art, art appreciation, art criticism/theory, and studio art courses.

    Back in print in a newly designed edition, this influential cultural, architectural, and social history of New York is even more popular, selling out its first printing on publication. Rem Koolhaas's celebration and analysis of New York depicts the city as a metaphor for the incredible variety of human behavior. At the end of the nineteenth century, population, information, and technology explosions made Manhattan a laboratory for the invention and testing of a metropolitan lifestyle -- "the culture of congestion" -- and its architecture. "Manhattan," he writes, "is the 20th century's Rosetta Stone . . . occupied by architectural mutations (Central Park, the Skyscraper), utopian fragments (Rockefeller Center, the U.N. Building), and irrational phenomena (Radio City Music Hall)." Koolhaas interprets and reinterprets the dynamic relationship between architecture and culture in a number of telling episodes of New York's history, including the imposition of the Manhattan grid, the creation of Coney Island, and the development of the skyscraper. Delirious New York is also packed with intriguing and fun facts and illustrated with witty watercolors and quirky archival drawings, photographs, postcards, and maps. The spirit of this visionary investigation of Manhattan equals the energy of the city itself.

    When Bill Bratton was sworn in as New York City's police commissioner in 1994, he made what many considered a bold promise: The NYPD would fight crime in every borough...and win.  It seemed foolhardy; even everybody knows you can't win the war on crime.  But Bratton delivered.  In an extraordinary twenty-seven months, serious crime in New York City went down by 33 percent, the murder rate was cut in half--and Bill Bratton was heralded as the most charismatic  and respected law enforcement official in America..  In this outspoken account of his news-making career, Bratton reveals how his cutting-edge policing strategies brought about the historic reduction in crime.Bratton's success made national news and landed him on the cover of Time.  It also landed him in political hot water.  Bratton earned such positive press that before he'd completed his first week on the job, the administration of New York's media-hungry mayor Rudolph Giuliani, threatened to fire him.  Bratton gives a vivid, behind-the-scenes look at the sizzle and substance, and he pulls no punches describing the personalities who really run the city.Bratton grew up in a working-class Boston neighborhood, always dreaming of being a cop.  As a young officer under Robert di Grazia, Boston's progressive police commissioner, he got a ground-level view of real police reform and also saw what happens when an outspoken, dynamic, reform-minded police commissioner starts to outshine an ambitious mayor.  He was soon in the forefront of the community policing movement and a rising star in the profession.  Bratton had turned around four major police departments when he accepted the number one police job in America.When Bratton arrived at the NYPD, New York's Finest were almost hiding; they had given up on preventing crime and were trying only to respond to it.  Narcotics,  Vice,  Auto Theft, and the Gun Squads all worked banker's hours while the competition--the bad guys--worked around the clock.  Bratton changed that.  He brought talent to the top and instilled pride in the force; he listened to the people in the neighborhoods and to the cops on the street.  Bratton and his "dream team" created Compstat, a combination of computer statistics analysis and an unwavering demand for accountability.  Cops were called on the carpet, and crime began to drop.  With Bratton on the job, New York City was turned around.Today, New York's plummeting crime rate and improved quality of life remain a national success story.  Bratton is directly responsible, and his strategies are being studied and implemented by police forces across the country and around the world.  In Turnaround, Bratton shows how the war on crime can be won once and for all.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    There is no need for the latest gadgets or trips to “exotic” places. Amazing images can be captured everywhere, all the time, and with the simplest equipment. All you need is a camera, an interest in ordinary people doing everyday things, and—of course—this book. In Street Photography, acclaimed photographer Eric Kim shares everything you need to develop your own street photography skills: how to conquer your fear of shooting in public, tips on choosing your gear, and inspiring techniques to discover the beauty in the mundane. You’ll learn how to chase the all-important “decisive moment,” and even how to find your own style. As a bonus, you’ll get insights from renowned street photographers Ludmilla Morais, Blake Andrews, Thomas Leuthard, and Kramer O’Neill. Street photography is all about discovering the wonderful things most of us are too busy to notice. Let this book inspire you to hit the streets—and turn everyday moments into extraordinary photos! About the author Eric Kim is a street photographer whose blog and sold-out workshops have become today’s most popular resources for aspiring “streettogs.” Eric has exhibited at Gulf Photo Plus, the ThinkTank Gallery in Los Angeles, and Leica stores internationally, and has been featured in Popular Photographer, Black+White, VICE, pixelperfect.com, Salon.com, and on the BBC. He can be found at erickimphotography.com, as well as on Facebook, Twitter, Instagram, and YouTube. Eric lives in Berkeley, CA.

    This book, the permanent embodiment of Edward Steichen's monumental exhibition, reproduces all of the 503 images that Steichen described as a mirror of the essential oneness of mankind throughout the world. Photographs made in all parts of the world, of the gamut of life from birth to death. A classic and inspiring work, The Family of Man has been in print for more than 40 years. The New York Times once wrote that it symbolizes the universality of human emotions. First produced by a magazine publisher and sold by the hundreds of thousands on newsstands and in airport shops, The Family of Man has been in more recent years published by the Museum. It has been continuously in print since 1955; the present thirtieth-anniversary edition was prepared from original photographs with all new duotone plates in 1986.

    Rescued, she is taken to a secret valley, safe. The bearded mountain man and his Indian companions grow in her affections until she opens her heart to her big blue-eyed rescuer. Danger and adventure surround them but the most frightening threat is from her one-time fiance and his obsession with Maryan.

    People of all ages were invited to submit a photographic portrait, taken in a six-week period during May and June 2020, focused on three core themes – Helpers and Heroes, Your New Normal and Acts of Kindness. From these, a panel of judges selected 100 portraits, assessing the images on the emotions and experiences they conveyed.Featured here in this publication, the final 100 images present a unique and highly personal record of this extraordinary period in our history of people of all ages from across the nation. From virtual birthday parties, handmade rainbows and community clapping to brave NHS staff, resilient keyworkers and people dealing with illness, isolation and loss. The images convey humour and grief, creativity and kindness, tragedy and hope – expressing and exploring both our shared and individual experiences. Presenting a true portrait of our nation in 2020, this publication includes a foreword by The Duchess of Cambridge, each image is accompanied by the story behind the picture told through the words of the entrants, and further works show the nationwide outdoor exhibition of Hold Still.

    In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs.