This book is for anyone who wishes to illustrate their mathematical ideas, which in our experience means everyone. It is organized by material, rather than by subject area, and purposefully emphasizes the process of creating things, including discussions of failures that occurred along the way. As a result, the reader can learn from the experiences of those who came before, and will be inspired to create their own illustrations. Topics illustrated within include prime numbers, fractals, the Klein bottle, Borromean rings, tilings, space-filling curves, knot theory, billiards, complex dynamics, algebraic surfaces, groups and prime ideals, the Riemann zeta function, quadratic fields, hyperbolic space, and hyperbolic 3-manifolds. Everyone who opens this book should find a type of mathematics with which they identify. Each contributor explains the mathematics behind their illustration at an accessible level, so that all readers can appreciate the beauty of both the object itself and the mathematics behind it.

This powerful collection-which captures the energy, humour and humanity of the ground-breaking protests that surrounded the Stonewall Riots-celebrates the diversity of the LGBT rights movement, both in the subjects of the photos and by presenting Kay Tobin Lahusen and Diana Davies' distinctive work and perspectives in conversation with each other. A preface, captions and part introductions from curator Jason Baumann provide illuminating historical context. And an introduction from best-selling author Roxane Gay speaks to the continued importance of these iconic photos of resistance.

In this volume, Diana Davis demonstrates how London dealers invented a new and visually splendid decorative style that combined the contrasting tastes of two nations. Departing from the conventional narrative that depicts dealers as purveyors of antiquarianism, Davis repositions them as innovators who were key to transforming old art objects from 'ancien re gime' France into cherished "antiques" and, equally, as creators of new and modified French-inspired furniture, bronze work, and porcelain. The resulting old, new, and reconfigured objects merged aristocratic French eighteenth-century taste with nineteenth-century British preference, and they were prized by collectors, who displayed them side by side in palatial interiors of the period. 'The Tastemakers' analyzes dealer-made furnishings from the nineteenth-century patron's perspective and in the context of the interiors for which they were created, contending that early dealers deliberately formulated a new aesthetic with its own objects, language, and value. Davis examines a wide variety of documents to piece together the shadowy world of these dealers, who emerge center stage as a traders, makers, and tastemakers.