Ergebnis gesprochen von "Dana Brewer Harris" in Alle Kategorien

In this lively, accessible, and provocative collection, Aph and Syl Ko provide new theoretical frameworks on race, advocacy for nonhuman animals, and feminism. Using popular culture as a point of reference for their critiques, the Ko sisters engage in groundbreaking analysis of the compartmentalized nature of contemporary social movements, present new ways of understanding interconnected oppressions, and offer conceptual ways of moving forward, expressive of Afrofuturism and Black veganism.

Aftershock is about the real war against terror - the struggle for a world in which nobody lives in fear of atrocities perpetrated by human beings. Every day, people who push against violence and injustice or pull for peace and freedom must face their own fears. Many activists also must struggle with "aftershock," the physical and emotional reverberations of frightening, horrifying, or otherwise traumatizing experiences endured in the course of their activism.

Interview with painter Anthea Holmes, recorded in April 1988 at her Whitechapel Studio. She describes her training at Kingston University and at The Pratt Institute New York; with the development of an intricate play between figure, ground and light in an intimate process of accumulation and elision of elements.

Artist Louise Sheridan interviewed at her exhibition at The Cafe Gallery Southwark in 1993. She describes her travels in Nepal and Thailand, and the works produced from a fellowship in Barcelona, Spain. She focuses on "The Envelope Series", votive objects made with wax and encaustic, and works made with Nepalese bark paper.

Renowned artist Thérèse Oulton describes her series, Territory, detailed aerial views in small-scale paintings, exhibited at Marlborough Fine Art London. She considers their source and her excursions in London and elsewhere, and their bearing on her work.

Scottish painter June Redfern interviewed by Livvy Anson for CV Journal in March 1990. The artist discusses her methods and approach, with sources of inspiration for her work.

Sharon Kivland describes strands of influence in her work, which draws on French and Russian literature of the 18th and 19th centuries, in particular concerning the changing roles of women in domestic, social, and political life.

Presents a collection of essays by Nicholas James on classic and contemporary art: "The Trinity" by Masaccio at Santa Maria Novella, Florence; Vermeer's "The Maid" and "Woman Weighing Pearls"; Cezanne and Salvador Dali, Francis Bacon portraits, and reviews of over 70 exhibitions in public and private galleries held between 1993 and 2010.

Animal rights. Diane Beers demonstrates how the cause has shaped and reshaped itself as it has evolved within the broader social context of the shift from an industrial to a postindustrial society. For the Prevention of Cruelty tells an intriguing and important story that reveals society's often changing relationship with animals through the lens of those who struggled to shepherd the public toward a greater compassion.

What did 19th-century cities smell like? And how did odors matter in the formation of a modern environmental consciousness? Smell Detectives follows the 19th-century Americans who used their noses to make sense of the sanitary challenges caused by rapid urban and industrial growth.

Alice Liddell, sweetly dignified, the inspiration for the heroine of Alice in Wonderland, is posed and identified as Pomona, goddess of abundance, in a marvelous 1872 photograph by the irrepressible Julia Margaret Cameron; appropriately she is the cover girl for this lavish standalone publication, which also acted as the catalogue accompanying the recent exhibition of the same title at the National Gallery of Art, Washington, (October 31 2010-January 30 2011), and the Museé d'Orsay Paris, March 6 - May 29, 2011).

In a 1968 photograph a US Marine pauses for thought, inadvertently echoing those renaissance paintings of meditating scholars, holding his helmet rather than a book - but this is a quiet moment in the battle for Hue. It is McCullin's photographs which helped to define the savage war in Vietnam for Britain, and beyond. Some is unbearably sad: a young North Vietnamese soldier, a casualty of Hue, stares sightlessly at the photographer, his hands outstretched to the detritus of his pockets, scattered on the earth beside the body.

This ample exhibition - 150 or so photographs, and a small complementary display of well chosen magazines, showing a succinct number in published form - by Man Ray (1890-1976) is described as the first to concentrate exclusively on his portraits. He was born in Philadelphia as Michael Emmanuel Radnitzky, the eldest child of Russian Jewish immigrants (the father's classic occupation for someone of his ethnicity and class that of a tailor); the family moved to Brooklyn in 1897, the first of Man Ray's advantageous geographical relocations.

The dazzling exhibition of Horst at the Victoria and Albert is particularly apt: classically trained in avant garde design and architecture, Horst was involved as a precociously successful photographer for Condé Nast publications, not only with the leading fashion houses, but the social and artistic élite. And he took sustained inspiration from the isms of art - past and present. In the thirties he photographed costumes by Dali and used props from Giacometti furniture. Dali designed a set for a photograph for Horst to take for American Vogue, with dresses by Hattie Carnegie.

It is an enthralling and unexpected selection, and the anthology resonates beyond this showing. It is from the Eric and Louise Franck collection, which has been donated to the Tate, and is part of the process by which the gallery has very belatedly, but with almost overwhelming enthusiasm, entered into collecting and showing photography as a medium in in its own right, with a very active patrons group supporting acquisitions. One of the benefits of Tate joining the fray is evident in the installation of this show.

Several hundred photographs of varying scales, and most of them newly printed gelatin silver prints, in superb tones of greys, blacks, and whites, take us into a world that has been subliminally familiar to us for nearly 50 years. Stardust is the title given to this self-selected retrospective, three years in the making, the photographer his own curator, and the word neatly encapsulates the fascinating conundrum of photography itself. As Bailey himself puts it, "It's not the camera that takes the picture, it's the person," and these photographs are as much about Bailey as his subject.

Reviews events in the London Festival of the Cultural Olympiad. Writer Alexandra James visits a variety of exhibitions, music, and performances, staged through July 2012, witnessing a range of creative voices drawn from the international arena.

Sistah Vegan is a series of narratives, critical essays, poems, and reflections from a diverse community of North American Black-identified vegans. Collectively, these activists are de-colonizing their bodies and minds via whole-foods veganism.

Education, employment, and home ownership have long been considered stepping stones to the middle class. But in Abandoned Families, social policy expert Kristin Seefeldt shows how many working families have access only to a separate but unequal set of poor-quality jobs, low-performing schools, and declining housing markets, which offer few chances for upward mobility. Through in-depth interviews over a six-year period with women in Detroit, Seefeldt charts the increasing social isolation of many low-income workers.