Immersing the audience in sound and light Nikita Gale's END OF SUBJECT subverts understandings of viewership by prompting spectators to question their subjecthood within 52 Walker's site-specific installation. Creating an aurally and visually rich environment, Gale engages with the architecture of the surrounding space, stimulating all senses through site-specific installation and muses on the boundaries of performance art. Considering and fracturing the physical space of the installation, the artist employs abolitionist ideology and institutional critique to simultaneously rupture and rebuild facets of the art institution. With an introduction by Ebony L. Haynes and a suite of poems by Harmony Holiday, this publication considers Gale's multidisciplinary approach to address historical hierarchies of visibility. A text by the esteemed artist Andrea Fraser offers reflections on the various interventions at play during a gathering held in the exhibition.

As an invitation to interrogate the secular modality of art, the book unsettles both the categories of 'art' and 'secular' in their theoretical and historical implications It questions the temporal, spatial, and cultural binaries between the 'sacred' and the 'secular' that have shaped art historical scholarship as well as artistic practice. Thinking from the south, all the essays here are anchored in a conception of a region – one fissured by histories of partition, state formations, and religious nationalisms but still offering a collective site from which to speak to the disciplines of art and the knowledge worlds in which they are embedded. The book asks: How do we complicate the religious designations of pre-modern art and architecture and the new forms of their resurgence in contemporary iconographies and monuments? How do we re-conceptualize the public and the political, as fiery contestations and new curatorial practices reconfigure the meaning of art in the proliferating spaces of museums, galleries, biennales and festivals? How do we understand South Asian art's deep entanglements with the politics of the present?

This three-staged memory game invites you to observe masterpieces closely. Historically, a masterpiece was a work of a very high standard, produced in order to obtain membership of a guild or academy. Since the author never went to art school, her untrained eye wondered: "How should I look at art in order to fully appreciate it?" Trying to answer this question, she decided to design a system of observation based on different steps: games and activities following a set scheme that triggers the player to look at a masterpiece on a different scale. Pixel-Art Game allows you to zoom into these Dutch Masterpieces. Match the original image with its pixelated copies by zooming into Vermeer's famous The Milkmaid. The painter's colour and use of light are emphasised through the pixels of the digitalised image, taking art into our contemporary digital language. With light packaging, perfect to take along with you, the Pixel-Art Game offers several games in one set. Each of these 3 games is a step towards understanding the artwork better, and they can be played with multiple players.

Like other filmmakers in post-WWII Hollywood, John Ford (already a three-time Best Directing Oscar winner), longed for the freedom and independence to make his own films, away from the dictates of studio executives. Then, in 1946, Ford and producer Merian C. Cooper (King Kong) decided to form their own production company, Argosy Productions. But their first venture was a financial flop, burdening the new company with heavy debt. Ford turned to the Western genre to help his flagging company, adapting James Warner Bellah’s short story, “Massacre.� Fort Apache, released in 1948, starring John Wayne, Henry Fonda and Shirley Temple, was popular at the box office and with film critics. The following year, She Wore a Yellow Ribbon, was released to a positive critical reception a brisk business at the box office. This film was the only one in the cavalry trilogy shot in Technicolor, going on to win the Academy Award for Best Cinematography. Rio Grande (1950), the final film in the triad, was produced by Republic Pictures (the first of a three-picture deal with Argosy Productions) and marked the first pairing of John Wayne and Maureen O’Hara. Because of the film’s box office success, Republic Pictures greenlit Ford’s dream project, The Quiet Man (1952). John Ford’s cavalry trilogy is considered some of his finest work, although Ford always claimed he never intended to make a trilogy. The reality is the first two films were produced to financially help his company, while the final one served as a means to getting his dream project produced. John Ford’s Cavalry Trilogy illuminates how each film was made, from pre-production to its theatrical release. Along the way, readers learn why Ford loved his favorite location (Monument Valley), how various stunts were achieved, and how Ford used his unique style in various scenes (called a “Fordian touch� by film critics and scholars). In addition, each film includes an analysis of Ford’s scene construction and character development. Illustrated with numerous behind-the-scenes photographs, many which have never been published before, and screen captures from the cutting room floor, this book is the ultimate gift for John Ford fans and readers who love to discover the grit and glamour of Hollywood’s Golden Age.

Philip Guston always had eminent artist friends. Tireless in his quest for the unknown, the still undiscovered, Guston engaged poets and literati in intense dialogues that, starting in the sixties, led to fruitful collaborations - including the creation of numerous illustrations and cover images for works by poets such as William Corbett, Bill Berkson, and Clark Coolidge. In his "poempictures," Guston ultimately turned to producing interactions of text and drawings - as responses to poems by his writer friends or as independent works that incorporated selected lines of poetry.

'Heart-breaking and uplifting, I defy anyone to read this memoir and not be affected by O'Callaghan's honesty and humanity' Irish Times In 2018, after receiving a life-changing diagnosis, broadcaster Gareth O'Callaghan retired from full-time work and gave up the career that he had loved for decades. In this deeply personal and inspiring memoir he tells that story, from the moments after his doctor uttered the words Multiple System Atrophy - a progressive and incurable neurological disease that ultimately carries a fatal prognosis - to his struggle to come to terms with a life unplanned. Recounted with insight and searing honesty, What Matters Now reveals how, regardless of circumstance, we can choose how we live, to the fullest. A stunning and life-affirming account of the power of the human spirit, and the potential for hope even in the darkest times. "For me, this is not a choice. It's all I want, namely a full and loving life that I strive to choose every day over everything else - considering that maybe the big odds are heavily stacked against that. But I don't care what the odds might be; I'll keep defying them for as long as I can keep fighting and living."

Model of a Summer Camp is an intriguing object with a range of stories to tell. Originating in the Sakha (Yakutia) region of far northeastern Russia, it depicts a yhyakh celebration – a festival of huge cultural importance to the region. This concise book takes a detailed look at the object, revealing the intricacies of the yhyakh and the model’s fascinating journey from Siberia to the British Museum. The recent resurgence of interest around the model is also explored, where creative responses and research have enriched our understanding of its stories.

This book gives readers the opportunity to learn about a unique object in the British Museum’s Collection and the rich heritage of Sakha (Yakutia).

This is a wonderful overview of the remarkable range of dog portraits--there are no human sitters--produced over the last 250 years. It features well-known works such as Rosa Bonheur's Brizo, (one of the best-loved portraits in The Wallace Collection), George Stubbs' Turk, Thomas Gainsborough's portrait of his two dogs Tristram and Fox, Lucian Freud's oil painting of Pluto, his pet whippet, and David Hockney's dachshunds Stanley and Boodgie.Over 50 works, arranged by theme, are drawn from major British collections, including the Royal Collection, the V & A, Tate Britain, the British Museum, and a wealth of regional museums and private collections. In addition memorabilia and souvenirs-bronzes, photos, brooches, and Faberge works, many relating to the British royals, especially Queen Victoria and her children- all evoke the sense of a cabinet of curiosities. This is a must-have for dog lovers.

*WITH A FOREWORD FROM REESE WITHERSPOON* A collection of deeply personal conversations from award-winning actress and activist Laura Dern and the woman she admires most, her mother-legendary actress Diane Ladd. What happens when we are brave enough to speak our truths to the ones we love the most? Laura Dern and Diane Ladd always had a close relationship, but the stakes were raised when Diane developed a sudden life-threatening illness. Diane's doctor prescribed long walks to build back her lung capacity. The exertion was challenging, and Laura soon learned the best way to distract her mom was to get her talking and telling stories. Their conversations along the way began to break down the traditional barriers between mothers and daughters. They discussed the most personal topics: love, sex, marriage, divorce, art, ambition, and legacy. In Honey, Baby, Mine, Laura and Diane share these conversations, as well as reflections and anecdotes, taking readers on an intimate tour of their lives. Complementing these candid exchanges, they have included photos, family recipes, and other mementos. The result is a celebration of the power of leaving nothing unsaid that will make you want to call the people you love the most and start talking.

*THE INSTANT SUNDAY TIMES & NEW YORK TIMES BESTSELLER* 'A real gem of a book for comedy fans... honest, irreverent and fascinating' Matt Lucas 'This book is a love letter to all his comedy heroes, full of warmth, heart and wit' Georgia Pritchett In this hilarious, heartfelt memoir, the star of Mr. Show and Breaking Bad spin off Better Call Saul opens up about the highs and lows of showbiz, his cult status as a comedy writer, and what it's like to reinvent himself at age fifty as an action-film ass-kicker. Featuring humorous tangents, never-before-seen photos, wild characters, and Bob's trademark unflinching drive and humour, Comedy Comedy Comedy Drama is a classic showbiz tale told by a determined idiot. 'I can't think of another entertainer who has improbably morphed so many times and all through real genius and determination' Conan O'Brien

This book explores the experience and value of dancing for people living with the neurodegenerative disorder Parkinson's disease. Linking aesthetic values to wellbeing, Sara Houston articulates the importance of the dancing experience for those with Parkinson's, and argues that the benefits of participatory dance are best understood through the experiences, lives, needs and challenges of people living with Parkinson's who have chosen to dance. Presenting personal narratives from a study that investigates the experience of people with Parkinson's who dance, intertwined with the social and political contexts in which the dancers live, this volume examines the personal and systemic issues as well as the attitudes and identities that shape people's relationship to dance. Taking this new primary research as a starting point, Dancing with Parkinson's builds an argument for how dance becomes a way of helping people live well with Parkinson's.

Euripides' Iphigeneia among the Taurians has been a popular and influential text from antiquity onwards. It is a suspenseful drama set on the Black Sea coast in what is now Crimea, which explores themes of family loyalty, Greeks and barbarians, and the nature of the gods. The plot combines an unrecognised meeting between Iphigeneia, now a priestess of Artemis among the Taurians, and her brother Orestes, who with his friend Pylades has been captured and brought to her for sacrifice, with an exciting escape attempt for all three, ultimately brought about by divine intervention. This edition includes a full Introduction to the literary and production aspects of the play, while the Commentary elucidates problems of language as well as interpretation. These combine to make the play fully accessible to intermediate-level undergraduates and graduate students wishing to read it in the original Greek.

One of our most formidable literary critics explores how nine women artists flourished creatively in their final acts.

In 2008, academic and scholar Susan Gubar was told by a trusted oncologist that she had only a few years left to live. Though she outlived that dire prognosis, this brush with mortality refocused her attention on the boons of a longevity she did not expect to experience. She began to think: In the last years of our lives, can we shape and change our creative capabilities?

The resulting volume, Grand Finales, answers this question with a resounding yes. Despite the losses generally associated with aging, quite a few writers, painters, sculptors, musicians, and dancers have managed to extend and repurpose their creative energies. Gubar spotlights very creative old ladies: writers, painters, sculptors, musicians, and dancers from the past and in our times.

Each of Grand Finales’ nine riveting chapters features women artists―George Eliot, Colette, Georgia O’Keeffe, Isak Dinesen, Marianne Moore, Louise Bourgeois, Mary Lou Williams, Gwendolyn Brooks, and Katherine Dunham―who transformed the last stage of existence into a rousing conclusion. Gubar draws on their late lives and works to suggest that seniority can become a time of reinvention and renewal. With pizzazz, bravado, and geezer machismo, she counters the discrediting of elderly women and clarifies the environments, relationships, activities, and attitudes that sponsor a creative old age.

This is the most definitive survey yet of Alice Faye's unique career in film, recording, broadcasting, and on stage. An annotated bibliography of book, magazine, and newspaper sources covers her life and career from 1933 through 1989. This volume also features a filmography, discography, detailed coverage of Faye's broadcasting and stage career, specialized appendixes, and a general index and song index. a superb work of reference. Classic Images This is the most definitive survey yet of Alice Faye's unique career in film, recording, broadcasting and on stage, a career that began in 1933 and which is still flourishing today as a spokesperson for the elderly on health issues. Even as a child, Alice Faye, born Alice Jean Leppert, was drawn to the stage. On Saturdays Alice and her mother would attend matinees at the Broadway theaters, where Alice would loiter by the stage door pretending she was leaving for her own engagement. Faye's first break came as a dancer for the Chester Hale troupe. Her dancing chores trained her well for when she auditioned successfully for impressario George White. Faye was cast in the eleventh edition of George White's Scandals, which opened on September 14, 1931. Faye was now making $60 a week, in a company that included such young luminaries as Ethel Merman and Ray Bolger. Faye was soon taken under the wing of Rudy Vallee, the renowned radio crooner and recording star of the day. She debuted on his radio program in December of 1932, and became a regular shortly thereafter. Her career in film musicals began a year later when she was signed to do a musical number on a restyled movie edition of George White's Scandals, at Fox Studios in Hollywood. In addition to individual chapters on each facet of her life, the book features an annotated bibliography of book, magazine, and newspaper sources. All undocumented quotes in the introductory biography are from first hand remarks of people contacted by the author. The filmography of feature films is arranged in chronological order, with five other Faye appearances in clips or film shorts listed separately. The discography chapter lists her recordings alphabetically and by category. This section also lists compact disc releases and miscellaneous compilations on tape. The broadcasting chapter covers appearances on radio and television in chronological order. The stage chapter also lists Faye's appearances in chronological order. The annotated bibliography is arranged in alphabetical order by author or by article title if no author is identified. Specialized appendixes and a general index and song index complete the volume. The song index lists songs exclusively featuring Faye (or in accompaniment with others) in her film, broadcasting and stage appearances. This book will be of interest to all Alice Faye fans and to anyone interested in the history of film musicals.

The Handbook of Research and Policy in Art Education marks a milestone in the field of art education. Sponsored by the National Art Education Association and assembled by an internationally known group of art educators, this 36-chapter handbook provides an overview of the remarkable progress that has characterized this field in recent decades. Organized into six sections, it profiles and integrates the following elements of this rapidly emerging field: history, policy, learning, curriculum and instruction, assessment, and competing perspectives. Because the scholarly foundations of art education are relatively new and loosely coupled, this handbook provides researchers, students, and policymakers (both inside and outside the field) an invaluable snapshot of its current boundaries and rapidly growing content. In a nutshell, it provides much needed definition and intellectual respectability to a field that as recently as 1960 was more firmly rooted in the world of arts and crafts than in scholarly research.

This volume shares the fascinating story of the cinematic adaptation of one of the world's most influential novels. An all-encompassing account of the film's production and reception, the account is filled with little-known facts and valuable insight into Solzhenitsyn's complex relationship with filmmaking.