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I Hope So: Sane Wadu (Hardcover)
Mukami Kuria; Interview of Sane Wadu, Rosie Olang’ Odhiambo; Contributions by Nairobi Contemporary Art Institute (NCAI)
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I Hope So: Sane Wadu follows the expansion and development of
Wadu’s conceptual preoccupations, beginning with an early
interest in bucolic scenes of pastoral life which has evolved into
incisive social commentary, a complex exploration of the
intersection of faith and politics, and an ongoing critique of
societal contradictions. An illuminating essay by Mukami Kuria and
an interview with Rosie Olang’ Odhiambo offer readers multiple
entry points into Wadu’s penetrating vision. This catalogue is
published on the occasion of Sane Wadu’s first retrospective
exhibition at the Nairobi Contemporary Art Institute in 2022.
First published in 2013. How can we define working class culture?
Since the late 1950s, the term has become more complex, because of
both social changes and intense debates about the meaning of
'culture'. Through this collection of original case studies and
theoretical essays, the authors explore some central problems in
the field. The first part of the book provides a unique critical
review of existing literature, focusing on two main traditions of
writing about the working class. Examining the empirical sociology
tradition, the authors analyse a group of books from the post-war
debate about affluence and its immediate aftermath. In looking at
the related tradition of working class historiography, they examine
the origins of social and labour history from the 1880s up to the
1960s, and conclude by discussing some of the dilemmas of history
writing in the 1970s. Part two is a series of case studies which
span the whole period that a working class has existed, with
emphasis on the late nineteenth and twentieth centuries, and which
examine the most important spheres of working class life: politics,
education, youth, recreation, waged and domestic labour. Part three
returns to some of the problems raised in part one, considering
three main ways in which working class culture can be understood,
through the problematics of 'consciousness', 'culture' or
'ideology', and examining the strengths and weaknesses of each
approach. The authors argue for a more fruitful and developed way
of thinking about working class culture, and suggest some
guidelines for a history of the post-war working class.
First published in 2007. Routledge is an imprint of Taylor &
Francis, an informa company.
Students improve their Tier 2 academic vocabulary using
Contemporary's Words to Learn By!
Mwili, Akili Na Roho: Ten Figurative Painters from East Africa
features the work of ten artists from Kenya, Uganda, and Tanzania,
including Sam Ntiro, Elimo Njau, Asaph Ng’ethe Macua, Jak
Katarikawe, Theresa Musoke, Sane Wadu, Peter Mulindwa, Chelenge van
Rampelberg, John Njenga, and Meek Gichugu. The personal histories,
thematic concerns, and formal strategies of this multigenerational
group of artists present an opportunity to engage more deeply in
the genealogies of artistic creation in the region, while
considering the enduring influence of certain ideas and
institutions in the creation, dissemination, and reception of art
in and from East Africa. This catalogue is published to coincide
with an expanded version of Mwili, Akili Na Roho at the Nairobi
Contemporary Art Institute in 2022, following earlier iterations at
Haus Der Kunst in Munich (2020) and the Royal Academy of Arts in
London (2021).
Film Studies in China 2 is a collection of selected articles chosen
from issues of the journal Contemporary Cinema published throughout
the year and translated for an English-speaking audience. As one of
the most prestigious academic film studies journals in China,
Contemporary Cinema has been active not only in publishing Chinese
scholarship for Chinese readers but also in reaching out to
academics from across the globe. This anthology hopes to encourage
a cross-cultural academic conversation on the fields of Chinese
cinema and media studies. Following the successful release of the
first volume this is the second collection to be released in the
Film Studies in China series.
First Published in 1982. Routledge is an imprint of Taylor &
Francis, an informa company.
First Published in 1982. Routledge is an imprint of Taylor &
Francis, an informa company.
Common Core Achieve is a groundbreaking blended test-prep program
that helps adult learners prepare for high school equivalency exams
more quickly and retain more of what they learn. It is aligned to
College and Career Readiness Standards for Adult Education and
built upon the new standards and assessment targets for the 2014
GED (R) Test, TASC (TM) test, and HiSET (TM) Exam. Contextualized
skill instruction engages learners while preparing them for test
success, postsecondary credentials or certification programs, and
family-sustaining careers. Includes 1 copy of the Common Core
Achieve GED Science Exercise Book.
First published in 2013. How can we define working class culture?
Since the late 1950s, the term has become more complex, because of
both social changes and intense debates about the meaning of
'culture'. Through this collection of original case studies and
theoretical essays, the authors explore some central problems in
the field. The first part of the book provides a unique critical
review of existing literature, focusing on two main traditions of
writing about the working class. Examining the empirical sociology
tradition, the authors analyse a group of books from the post-war
debate about affluence and its immediate aftermath. In looking at
the related tradition of working class historiography, they examine
the origins of social and labour history from the 1880s up to the
1960s, and conclude by discussing some of the dilemmas of history
writing in the 1970s. Part two is a series of case studies which
span the whole period that a working class has existed, with
emphasis on the late nineteenth and twentieth centuries, and which
examine the most important spheres of working class life: politics,
education, youth, recreation, waged and domestic labour. Part three
returns to some of the problems raised in part one, considering
three main ways in which working class culture can be understood,
through the problematics of 'consciousness', 'culture' or
'ideology', and examining the strengths and weaknesses of each
approach. The authors argue for a more fruitful and developed way
of thinking about working class culture, and suggest some
guidelines for a history of the post-war working class.
What turns a random space into a place? What inscribes history into it, or lends it significance? These questions occupy the installation artist Sondra Perry in her current piece, A Terrible Thing, for the Museum of Contemporary Art in Cleveland. On Euclid Street in the heart of Cleveland, Perry carries out a kind of archaeological study of the street’s history using video, pictures found online, and digital methods of representation. In doing so, she relates the changing infrastructure of race representation on the street and its gender-political effect in everyday use to each other in order to negotiate issues of identity―of a city, a society, and of individuals. This work became a prism of times and perspectives that can now be imagined with the help of this publication.
This 1975 bibliography catalogues the holdings of Chinese
newspapers and periodicals in European libraries in the early
1970s. Europe had relatively few individual libraries that matched
the finest collections in the USA and Japan but the richness and
diversity of what is available has been seldom appreciated. Most
scholars are aware of the main collections in Great Britain and
France, but few will know, for example, that in Rome there are
twenty libraries with holdings of sinological material. This
bibliography also includes the range of Soviet and East European
library holdings, in total cataloguing over one hundred libraries
from twelve European countries. The titles are romanised according
to the Pinyin system, and each entry comprises a bibliographical
section followed by lists of holdings of individual libraries.
Designed to facilitate the researches of those already using
European libraries and to stimulate others to make more use of
them, this volume is still of interest today.
The fate of Berlin's Haus der Statistik (HdS) seemed to have been
decided. Built by a collective of architects in the 1960s to house
the former communist German Democratic Republic's (GDR) office of
statistics at Alexanderplatz, the heart of GDR's capital, it was
meant to be demolished to make way for a new commercial structure.
Yet in September 2015, the Berlin Alliance of Artists' Studios
Under Threat initiated an art intervention at HdS, unfolding a
giant banner covering most of the building's main facade, and the
opening of a new public centre for all manner of social, cultural
purposes in the building was publicly announced. The happening was
essentially symbolic as the demolition of HdS had long since been
approved. Yet within only a few years it turned out to be a
self-fulfilling prophecy. Today, the HdS is a unique pioneering
project collectively defined and steered by a broad coalition of
actors in the interests of collaborative urban development.
STATISTA, one of the art projects that has its base at HdS,
explores how a cooperative urban development guided by common
welfare could work on a long-term perspective. This book offers an
insight into STATISTA and the events in and around HdS since 2015,
aiming also to encourage artists and activists to emulate ideas and
start to their own projects elsewhere. Text in English and German.
Book & DVD. This is a unique eye-witness documentary record of
life inside Auschwitz at its full operational peak, as recalled,
with impressive lucidity and matter-of-factness by Wilhelm Brasse,
prisoner no. 3444, who, due to his professional skills, escaped
extermination by becoming a photographer whom the
ever-well-organised Nazis obliged to record photographically the
running of the camp, including such detail as Dr Mengele's infamous
experiments. Wilhelm Brasse was born in 1917 in Zywiec of an
Austrian father and a Polish mother. Before the war Brasse worked
in a photographic studio in Katowice. For refusal to join the
Wehrmacht, he was sent to Auschwitz, where from 1941 to 1945 he
worked in the Identity Service as a photographer. He took tens of
thousands of photographs of prisoners, hundreds of portraits of
SS-men and documented some so-called medical experiments. After the
war ended, he returned to Zywiec where he has been living ever
since. In March 2010 Maria Anna Potocka conducted an interview with
Wilhelm Brasse. The outcome is this book and its edited tales of
the prisoner-cum-chief-photographer of Auschwitz, together with a
film with extracts from the interview. There is an introduction by
the historian Teresa Wontor-Cichy, the academic editor at the
Auschwitz-Birkenau State Museum. The book is generously illustrated
with photographs from Wilhelm Brasse's own archives, as well as the
photographic archives of the Auschwitz-Birkenau Museum and Yad
Vashem. The book is published in association with the Museum of
Contemporary Art in Krakow, Poland. The publication has been
supported by the following ministries and organizations: The
Ministry of Culture and National Heritage of the Republic of
Poland.
Life in the digital economy of information and images enriches us
but often induces a sense of being overwhelmed. Sensing the Future:
Moholy-Nagy, Media and the Arts considers the impact of technology
by exploring ways it was addressed in the practice of the Hungarian
poly-math artist László Moholy-Nagy (1895–1946), a prominent
professor at the Bauhaus and a key figure in the history of
Modernism. Moholy-Nagy felt that people needed guidance to cope
with the onslaught of sensory input in an increasingly
technologized, mediatized, hyper-stimulating environment. His ideas
informed media theorists such as Walter Benjamin, John Cage,
Sigfried Giedion and Marshall McLuhan, who anticipated digital
culture as it emerged. Should we then regard Moholy-Nagy as a
pioneer of the digital? His aesthetic engagement with the
technology/body problematic broached the notions of immersion,
interactivity and bodily participation, innately offering a
critique of today’s disembodiment. Was he then both a pioneer and
a proto-critic of the digital? This book is intended to introduce
this seminal figure of post-medial practices to younger generations
and, by including responses to his work by contemporary artists, to
reflect on the ways in which his work is relevant to artistic
practice now. Having been highly praised by experts, this classic
receives a second and slightly revised edition.
Miguel Rio Branco was a freelance photographer and director of
photography for movies when he embarked on documentary photography,
and was soon noticed for the dramatic quality of his colour work.
In 1980 he became an associate of Magnum Photos. Fascinated by
places of strong contrast, the power of tropical colours and light,
he made Brazil his main area of exploration. This volume includes a
special introductory text by Germano Celant and a critical
intervention by Walter Guadagnini. "The work of Miguel Rio Branco
is shaped by his need for the magic of the image, which is the
result of a moment of grace and naturalness in the human condition.
Through his images, he seeks a solution that offers a continuity
between life and photography. Indeed, in his photographs, the
passions of life are not subjected to any purifying cleansing, but
offer the observer the outward fabric of life captured from its
dark side, where all the conflicts of a human and non-human reality
end up. Every form surges into this reality and is reduced to
debris, but also to primitive and pure energy."- Germano Celant
Text in English and Italian.
Pacific Century - E Ho'amau no Moananiakea is a substantial
publication and catalogue published on the occasion of the Hawai'i
Triennial 2022 (HT22), providing key art historical backgrounds and
contemporary discussions on art, expanding the frame of reference
for the Asia-Pacific region. Curatorial essays by the HT22
co-curators lay out the critical approaches that shaped the
framework of the Triennial with the fluid concept of a Pacific
Century, while a selection of previously published seminal texts by
artists and scholars reflect on the expanded field of art history
in the region. Also included is a newly commissioned conversation
with Homi K. Bhabha, illuminating his theoretical criticism that
continues to carve out a new discursive space where the
marginalized find their agency. Each participating Triennial artist
is included in a dedicated section with an original introductory
text, work information, and images. Pacific Century - E Ho'amau no
Moananiakea/i> will be an essential resource for critical
exploration of contemporary art in Asia-Pacific at large.
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