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Your words are amazing! This book is about your heart. The little
bit inside of you that makes you, you! A very timely book about the
power of words - and how we use them. Told through the eyes of Pip
and Cat, this book beautifully demonstrates the importance of what
we say - both positive and negative. Thoughtful, warm-hearted and
completely non-preachy, this is a book that has already resonated
with large numbers of children, whose teachers report a sea of
change in the culture of their classroom after reading it. A
universal message, for a world that always needs a little more
kindness. 'A beautiful book that tells a strong story that spans
all generations' - Donna J 'Truly beautiful and effective' - Jo E
'Possibly the most beautiful present I have ever received' - Lisa W
The objective of this book is to present a number of related
chapters on the subject of gender issues in the workplace of the
aviation industry. More specifically, the chapters address the
continuing shortfall in the number of women pilots in both civilian
and military aviation. Considerable research has been carried out
on gender issues in the workplace and, for example, women represent
about 10% of employees in engineering. This example is often used
to show that the consequences of gender discrimination are embedded
and difficult to overcome in masculine-dominated occupations.
However, women represent only 5-6% of the profession of pilot.
Clearly there are many factors which mitigate women seeking to
become pilots. The chapters within this volume raise both
theoretical and practical issues, endeavouring to address the
imbalance of women pilots in this occupation. Absent Aviators
consolidates a diverse range of issues from a number of authors
from Australia, Austria, the United States, Canada, South Africa
and the United Kingdom. Each of the chapters is research-based and
aims to present a broad picture of gender issues in aviation,
gendered workplaces and sociology, underpinned by sound theoretical
perspectives and methodologies. One chapter additionally raises
issues on the historical exclusion of race from an airline. The
book will prove to be a valuable contribution to the debates on
women in masculine-oriented occupations and a practical guide for
the aviation industry to help overcome the looming shortfall of
pilots. It is also hoped it will directly encourage young women to
identify and overcome the barriers to becoming a civilian or
military pilot.
The objective of this book is to present a number of related
chapters on the subject of gender issues in the workplace of the
aviation industry. More specifically, the chapters address the
continuing shortfall in the number of women pilots in both civilian
and military aviation. Considerable research has been carried out
on gender issues in the workplace and, for example, women represent
about 10% of employees in engineering. This example is often used
to show that the consequences of gender discrimination are embedded
and difficult to overcome in masculine-dominated occupations.
However, women represent only 5-6% of the profession of pilot.
Clearly there are many factors which mitigate women seeking to
become pilots. The chapters within this volume raise both
theoretical and practical issues, endeavouring to address the
imbalance of women pilots in this occupation. Absent Aviators
consolidates a diverse range of issues from a number of authors
from Australia, Austria, the United States, Canada, South Africa
and the United Kingdom. Each of the chapters is research-based and
aims to present a broad picture of gender issues in aviation,
gendered workplaces and sociology, underpinned by sound theoretical
perspectives and methodologies. One chapter additionally raises
issues on the historical exclusion of race from an airline. The
book will prove to be a valuable contribution to the debates on
women in masculine-oriented occupations and a practical guide for
the aviation industry to help overcome the looming shortfall of
pilots. It is also hoped it will directly encourage young women to
identify and overcome the barriers to becoming a civilian or
military pilot.
Matters of Life and Death is a limited-edition publication
documenting the remarkable new and recent paintings of celebrated
Dallas-based British artist Richard Patterson (b.1963). An engaging
introduction by Paul Moorhouse, Senior Curator at the National
Portrait Gallery, London, discusses the dynamic and complex
relationship between figuration and abstraction in Patterson's
oeuvre. Moorhouse observes: 'Visual ambiguity defines Patterson's
art, and its most conspicuous feature is the interaction between
figurative painting, abstraction and photography that his recent
work continues. From the outset he moved between these disparate
visual languages, combining them in ways that seemed deliberately
oppositional and subversive.' Patterson's latest works are as
provocative as ever, and as he enters mid-career, have become
increasingly accomplished, cryptic and, at times, haunting. In his
illuminating essay, art historian James Cahill explores the
subjects of portraiture and personae within the artist's works,
asserting that 'his strategy of distancing his figures - whether
through a broken veil (or enclosing frame) of abstract paint, or
the gauze-like intercession of a photographic source - throws into
relief the idea that selfhood is ultimately a succession of masks.'
Curator and critic Jane Neal deftly navigates ideas of gender and
sexuality in Patterson's practice, taking us into the realms of
fetish and the male gaze, proposing that his painting overtly
'points towards the patriarchal and often misogynistic attitude to
women's bodies still prevalent in magazines, films and social
media, even in the twenty-first century. Patterson sets us up to
confront the darkness that often underlies the male gaze, even
affording it physical form.' Featuring a selection of works
executed between 2013 and 2016, many of which are published here
for the first time, the cloth-covered book is presented in a
specially printed hard slipcase and has been published in an
edition of just 500 copies. Born in the UK in 1963, Patterson
graduated from Goldsmiths College in 1986. He was included in
Damien Hirst's renowned Freeze, Surrey Docks, London (1988); as
well as Sensation: Young British Artists from the Saatchi
Collection, Royal Academy of Arts, London, UK; Hamburger Bahnhof -
Museum fur Gegenwart, Berlin, Germany; Brooklyn Museum of Art, New
York, USA (1997-00). Other notable exhibitions include The Rowan
Collection: Contemporary British & Irish Art, Irish Museum of
Modern Art, Dublin, Ireland (2002); Painting Pictures, Kunstmuseum
Wolfsburg, Germany (2003); Nexus Texas, Contemporary Arts Museum
Houston, Texas, USA (2007) and Attention to Detail, curated by
Chuck Close, the FLAG Art Foundation, New York, USA. Patterson has
had solo exhibitions at Anthony d'Offay Gallery, London (1997);
James Cohan Gallery, New York, USA (1999 and 2002); Dallas Museum
of Art, Dallas, Texas, USA (2000), Timothy Taylor Gallery, London
(2005, 2008 and 2013); the Goss-Michael Foundation, Dallas, USA
(2009); and the FLAG Art Foundation, New York (2014). In February
2017 he will present new and recent works at Timothy Taylor 16x34,
New York.
In this publication, British artist Anna Freeman Bentley presents a
series of new paintings and works on paper documenting her journey
into the exclusive realm of private members clubs. Having started
out in her home city of London, her research took her to
California, and in particular to some of the most desirable clubs
of Los Angeles, where through friends, professional networks and a
number of courteous emails, doors were temporarily opened to her.
In places where photography is often strictly forbidden, Freeman
Bentley was authorized to document some of the many luxurious
lounges, well-stocked bars, and high-end restaurants that are
second homes to the members who pay considerable fees to use them.
Whether celebrities, self-made business people or those born into
lavish lifestyles, members clubs are synonymous with wealth and
success, where people can relax, socialize or do deals in a smart
and protected environment free from fans, paparazzi or the general
public. It is a world of affluence and glamour tailor-made for the
jet-set, a meeting place where artists and art collectors fly in
and drink cocktails, where high-net worth individuals and media
moguls hang out with the great and the good from Hollywood or the
music industry, and where social media stars can switch their
phones to flight mode for a while and chat freely with friends.
Freeman Bentley uses the photographs she takes of these interior
and exterior spaces out of hours as the starting point for
unpeopled drawings, collages and painted sketches, transforming her
studies of members clubs into complex paintings that hover between
reality and invention. Freeman Bentley is known for her paintings
of architecture and interiors, not only exploring the physical
attributes of the built environment, but also raising questions
about how and why they are used, and how this is reflected in the
ambiance and dynamics of a given space. At a time of heightened
awareness of wealth inequality, through her painterly works Freeman
Bentley gives us a glimpse inside the spaces of the social milieu
of the financially successful, the movers and shakers, the leaders
and trend setters, inviting us to respond as viewers in whatever
ways we choose. For some, it may be a matter of curiosity or of
desire and aspiration; for others the very idea of members clubs
might be elitist or snobbish. Yet for others it might be an
occasional treat, or simply an everyday occurrence, the norm. With
her characteristic combination of matter-of-fact observation,
critical reflection, and atmospheric perception, Freeman Bentley
presents us with a body of work that is as enigmatic as it is
intriguing, asking us not only about issues of individuality and
communality, private and public life, exclusivity and inclusivity,
but also about how we each fit into such dialectics, and what this
says about our inner and outer lives. 'Exclusive' has been
co-published by Pinatubo Press, Inc., and Anomie Publishing, and
released to coincide with an exhibition of the same name at the
Ahmanson Gallery, Irvine, California, in spring 2018. This hardback
publication showcases images of approximately twenty paintings and
as many works on paper, alongside a foreword from collector and
patron Roberta Ahmanson, an introduction by the exhibition curator
John Silvis, and a specially commissioned essay from critic Jane
Neal. Anna Freeman Bentley (b.1982) is an artist based in London.
She studied painting at Chelsea College of Art and Design before
graduating with an MA from the Royal College of Art in 2010. She
has had solo exhibitions at venues including Wolfson College,
Oxford (2017), Husk Project Space, London (2015), Workshop Gallery,
Venice (2012), and Galerie Kollaborativ, Berlin (2007). Selected
group exhibitions include 'London Now' at Space K, Seoul, South
Korea (2017), 'Der Kuhle Glanz' at 68projects, Berlin (2017), the
East London Painting Prize (2015 and 2014), the Prague Biennale 5
(2011), and Bloomberg New Contemporaries (2009). Freeman Bentley
has been the recipient of numerous awards and residencies,
including Breathing SPACE Residency, London (2015-16), the ERDF New
Creative Markets Programme, London (2013-14); Artist in Restaurant
at Pied a Terre, London (2012); The Florence Trust Artists
Residency, London (2010-11) and The Chelsea Arts Club Trust Award,
London (2009).
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Robert Fry (Hardcover)
Jane Neal; Edited by Anne Langmann, Alfred Kornfeld; MPhil Fry MBBS; Introduction by Mamuka Bliadze
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R938
R734
Discovery Miles 7 340
Save R204 (22%)
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Ships in 12 - 17 working days
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The paintings and etchings of Robert Fry (b. 1980, London) confront
viewers with an engaging exploration of the human form that asks
profound questions about people's physical presence in the universe
and the psychological, emotional and spiritual engagement we have
with the world through our bodies. With a deep sense of
civilisations past, from the prehistoric to the ancient Egyptian,
Medieval and Renaissance to the Enlightenment and beyond, Fry
navigates a complex visual language that bridges the figurative and
the abstract in a way that is evocative of body and mind, matter
and spirit, life and death. Fry's search for universal truths leads
into dark territory, into our subconscious minds and neuroses, our
deepest fears, anxieties and insecurities. Both sacred and profane,
Fry's work masterfully employs colour, mark, line, shape and form
to bring us face to face with our inner and outer selves, with our
humanity and, ultimately, with our own mortality. This beautifully
produced publication features around sixty selected works by the
artist over the course of more than fifteen years, from very early
works to 2013. Following an introduction to the artist's work by
Mamuka Bliadze is an essay by the artist's father, distinguished
Consultant Psychiatrist Anthony Fry, which investigates the themes
of masculinity and maleness in his son's paintings, and in
particular a series of works that refers to the Fry family,
including a portrait of both Anthony and Robert Fry that seeks to
unravel the complexities of the father-son relationship. A wider
consideration of Fry's practice is pursued in an essay by critic
and curator Jane Neal that addresses topics ranging from Saussurean
signification to automatic writing, pagan fertility symbols to
archetypal human forms, twentieth-century British painting to body
builders. London-based Fry has had solo exhibitions in London,
Berlin and Los Angeles, and featured in numerous group exhibitions
including'Newspeak - British Art Now' at The State Hermitage, St.
Petersburg, and 'The Curator's Egg' at Anthony Reynolds Gallery,
London. This, the first monograph on the work of Robert Fry, is
co-published by Galerie Kornfeld, Berlin, and Anomie Publishing,
UK.
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Kate Mccgwire (Hardcover)
Kate MccGwire; Edited by Mark Sanders; Catriona McAra, Jane Neal
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R1,115
Discovery Miles 11 150
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Ships in 12 - 17 working days
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Kate MccGwire is an internationally renowned British sculptor whose
practice revolves around the uncanny. Employing natural materials
and in particular, feathers, MccGwire creates arresting, sensuous,
otherworldly sculptures and site-specific works, exploring ideas
relating to Sigmund Freud's notion of the 'unhomely' and often
rendering the familiar strange and disturbing. This major monograph
features works spanning her career, from the unsettling fabric and
clothing works of the turn of the millennium through to the
fantastical site-specific installation and interventions of her
solo exhibition in 2020 at Harewood House. In her essay for the
publication, independent curator and writer Jane Neal explores
themes of childhood and family, nature and the body, physics and
metaphysics, opening up connections between MccGwire's works and
myths, legends and belief systems across time and cultures. The
second essay, by Dr Catriona McAra, an art historian and Curator at
Leeds Arts University, explores MccGwire's oeuvre in relation to
the history of soft sculpture, abstraction and surrealism. Lavishly
illustrated with around 140 images, the publication has been edited
by independent curator and writer Mark Sanders and designed and
produced by Peter B. Willberg. It is published by Anomie
Publishing, London. Kate MccGwire (b.1964, Norfolk, UK), undertook
a BA in Fine Art at University College for the Creative Arts,
Farnham, before completing an MA in Sculpture at the Royal College
of Art, London. Solo exhibitions include 'Menagerie', Harewood
House, Leeds (2020); 'Dichotomy', The Harley Gallery, Welbeck, UK
(2018); 'Sasse/Sluice', Aldeburgh Festival, UK (2018); 'Secrete',
Galerie Huit, Hong Kong (2016); 'Scissure', La Galerie
Particuliere, Paris (2016); and 'Covert', Musee de la Chasse et de
la Nature, Paris (2014). She has featured in group exhibitions at
venues including the Fondazione Berengo, Murano, Italy;
Gewerbemuseum Winterthur, Switzerland; Guerlain House, Paris;
Centre of Contemporary Art, Torun, Poland; Anton Ulrich Museum,
Braunschweig, Germany; the Museum of Arts & Design, New York;
and the Contemporary Art Society, London. In 2018 she was the
winner of The Royal Academy of Arts, Jack Goldhill Award for
Sculpture.
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