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.

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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.

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.

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.

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.

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.

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.

Shuvinai Ashoona (born 1961) is a third-generation Inuit artist based in Kinngait, Nunavut, Canada. Best known for her highly personal and imaginative iconography, Shuvinai's imagery ranges from closely observed naturalistic scenes of her Arctic home to monstrous and fantastical visions. Her drawings imagine the past and present fused into a prophetic future. Existing somewhere between dystopic and utopic, Shuvinai's brightly coloured drawings teem with life. Her earthly and extraterrestrial worlds exist within a kind intergalactic future. The book provides insight into Shuvinai's practice, with essays from Canadian and international authors, reflections on specific drawings, a select exhibition history and large-format illustrations, including installation images from The Power Plant Contemporary Art Gallery, Toronto, Canada.