Short chapters can be read in any order, with new vocabulary defined on the page as it occurs. Eight “Gateways to Art” images (from around the world and all eras) support the common course goal of learning to interpret art in multiple ways and help students build on what they already know. The text is balanced and global, with over 1,000 illustrations—from around the world, and from everyday life.

    Tracing the color line of the Anthropocene, A Billion Black Anthropocenes or None examines how the grammar of geology is foundational to establishing the extractive economies of subjective life and the earth under colonialism and slavery. Yusoff initiates a transdisciplinary conversation between black feminist theory, geography, and the earth sciences, addressing the politics of the Anthropocene within the context of race, materiality, deep time, and the afterlives of geology.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    He discusses the fate of virtue, the legacy of racism, the moral issues implicated in the war on terrorism, and the objectivity of ethical norms. Against those who see no place for religious reasoning in the democratic arena, Stout champions a space for religious voices. But against increasingly vocal antiliberal thinkers, he argues that modern democracy can provide a moral vision and has made possible such moral achievements as civil rights precisely because it allows a multitude of claims to be heard.Stout's distinctive pragmatism reconfigures the disputed area where religious thought, political theory, and philosophy meet. Charting a path beyond the current impasse between secular liberalism and the new traditionalism, Democracy and Tradition asks whether we have the moral strength to continue as a democratic people as it invigorates us to retrieve our democratic virtues from very real threats to their practice.

    A guide to the Nikon D3100 camera provides information on the camera's scene modes, composition, focus, lighting, and composition to take successful portraits and sports and landscape photographs.

    Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

    Over 450 photographs, drawings, and diagrams reveal in exquisite detail the hows, whys, and how-to's of the traditional craft of guitarmaking, all accompanied by fascinating historical and technical notes. A comprehensive bibliography; a list of tools, materials, and supply sources; and a full index complete this uniquely authoritative reference -- and essential acquisition -- for guitar and craft enthusiasts, woodworkers, and students of instrument making everywhere.

    This Boston-based alternative pop/German-like cabaret duo hand-designed this book which includes art, photos, commentary and 11 songs from their 2004 release. Songs included are: Bad Habit * Coin Operated Boy * Girl Anachronism * Good Day * Gravity * Half Jack * The Jeep Song * Missed Me *Perfect Fit * Slide * Truce.

    Lippard is one of America’s most influential writers on contemporary art, a pioneer in the fields of cultural geography, conceptualism, and feminist art. Hailed for "the breadth of her reading and the comprehensiveness with which she considers the things that define place" (The New York Times), Lippard now turns her keen eye to the politics of land use and art in an evolving New West.Working from her own lived experience in a New Mexico village and inspired by gravel pits in the landscape, Lippard weaves a number of fascinating themes—among them fracking, mining, land art, adobe buildings, ruins, Indian land rights, the Old West, tourism, photography, and water—into a tapestry that illuminates the relationship between culture and the land. From threatened Native American sacred sites to the history of uranium mining, she offers a skeptical examination of the "subterranean economy."Featuring more than two hundred gorgeous color images, Undermining is a must-read for anyone eager to explore a new way of understanding the relationship between art and place in a rapidly shifting society.

    Packed with full-color illustrations and case studies, this new edition offers a cutting-edge presentation of criminalistics and related laboratory subjects, including new chapters on forensic nursing and forensic entomology/botany. Written by highly respected experts, the book covers the very latest theories and practices in areas such as DNA testing, crime reconstruction, toxicology, chemistry of explosives and arson, and vehicle reconstruction. Also included are an instructor's manual and laboratory exercise manual.

    Born in Los Angeles, she is taken to Mexico to live with her extended family until the age of three. Olivia then returns to L.A. to live with her mother, Carmen, the live-in maid to a wealthy family. Mother and daughter sleep in the maid’s room, just off the kitchen. Olivia is raised alongside the other children of the family. She goes to school with them, eats meals with them, and is taken shopping for clothes with them. She is like a member of the family. Except she is not. Based on over twenty years of research, Mary Romero brings Olivia’s remarkable story to life. We watch as she grows up among the children of privilege, struggles through adolescence, declares her independence and eventually goes off to college and becomes a successful professional. Much of this extraordinary story is told in Olivia’s voice and we hear of both her triumphs and setbacks. We come to understand the painful realization of wanting to claim a Mexican heritage that is in many ways not her own and of her constant struggle to come to terms with the great contradictions in her life.

    Starting on the streets of New York with simple fly-posters, she has gone on to disseminate her truisms, slogans, memorials and poems through a variety of media. They are enunciated by an unstable register of personae, be it ad-man, stand-up comedian, torturer, victim or evangelist. The sites for her work range from T-shirts and golf balls to dazzling electronic signboards at baseball stadiums.Her work uses language to investigate the nature of ideologies as conscious and unconscious formations about identity and experience. Her complex and poetic texts can be shocking, humorous and intriguing in content. At the same time she draws on Minimalism's use of industrial materials and deploys scale, movement and light to create art of great formal power and beauty.In the Survey, art critic and academic David Joselit surveys Holzer's changing oeuvre, from the first appearance of the streetwise Truisms in the late 1970 to her large-scale installations in museums worldwide. Joan Simon, curator of Holzer's first solo US museum exhibition, discusses with the artist her use of language and its relationship to visual form. In the Focus, Slovenian cultural theorist and philosopher Renata Salecl takes an in-depth look at Holzer's Lustmord series, which was precipitated by the events in the former Yugoslavia and boldly addresses the atrocities committed in war. For the Artist's Choice, the artist's fragmented, unexpected language is mirrored in Samuel Beckett's Ill Seen Ill Said, which the artist has chosen alongside extracts from Crowds and Power by Elias Canetti. A text by the artist on her literary influences accompanies a selection of her signature texts in the Artist's Writings section.

     Working alongside skilled photographers, Rockwell acted as director, carefully orchestrating models, selecting props, and choosing locations for the photographs -- works of art in their own right -- that served as the basis of his iconic images. Readers will be surprised to find that many of his most memorable characters -- the girl at the mirror, the young couple on prom night, the family on vacation -- were friends and neighbors who served as his amateur models. In this groundbreaking book, author and historian Ron Schick delves into the archive of nearly 20,000 photographs housed at the Norman Rockwell Museum. Featuring reproductions of Rockwell's black-and-white photographs and related full-color artworks, along with an incisive narrative and quotes from Rockwell models and family members, this book will intrigue anyone interested in photography, art, and Americana.

    They are bold, brazen, fierce—and sexy. They aren’t known for following rules, they are known for doing—and wearing—whatever they want. Tomboy captures the tomboy’s style, her je ne sais quoi, her wardrobe, and most importantly, her spirit. Throughout the twentieth century, the mass marketing of gender stereotypes meant tomboys cropped up against the odds, trends, and ads. As menswear-inspired fashions for women have exploded into the mainstream under the helm of designers and stylists ranging from J.Crew to Rag & Bone to Boy by Band of Outsiders, acceptance of both the word tomboy and the women associated with its edge has been set into play. But a tomboy is not just about style—tomboys are measured in equal parts wardrobe and spirit.A visual history that chronicles the past eighty years of women who blur the line between masculinity and femininity, Tomboy explores the evolution of the style and its icons. Vivid commentary illuminates the tomboy’s history and captures a diversity of women who are bound together by their inherent ability to seamlessly blend a rugged sensibility with classic, understated elegance.

    Miriam Ticktin focuses on France and its humanitarian immigration practices to argue that a politics based on care and protection can lead the state to view issues of immigration and asylum through a medical lens. Examining two “regimes of care”—humanitarianism and the movement to stop violence against women—Ticktin asks what it means to permit the sick and sexually violated to cross borders while the impoverished cannot? She demonstrates how in an inhospitable immigration climate, unusual pathologies can become the means to residency papers, making conditions like HIV, cancer, and select experiences of sexual violence into distinct advantages for would-be migrants. Ticktin’s analysis also indicts the inequalities forged by global capitalism that drive people to migrate, and the state practices that criminalize the majority of undocumented migrants at the expense of care for the exceptional few.