The Basic Edition Self-Study Bible is where your Bible, notes, comments, thoughts and ideas all dwell together. Finally, you can put all of your resources together in between two covers! The Basic Edition is the simplest of the Self-Study Bible series to use. Yet, it is still like its counterparts, because how it is used is entirely up to you!

Changes at the global, federal, state, and municipal level are pushing forward the reparations movement for people of African descent. The distinguished editors of this volume have gathered works that chronicle the historical movement for reparations both in the United States and around the world. Sharing a focus on reparations as an issue of justice, the contributors provide a historical primer of the movement; introduce the philosophical, political, economic, legal and ethical issues surrounding reparations; explain why government, corporations, universities, and other institutions must take steps to rehabilitate, compensate, and commemorate African Americans; call for the restoration of Black people’s human and civil rights and material and psychological well-being; lay out specific ideas about how reparations can and should be paid; and advance cutting-edge interpretations of the complex long-lasting effects that enslavement, police and vigilante actions, economic discrimination, and other behaviors have had on people of African descent. Groundbreaking and innovative, Reparations and Reparatory Justice offers a multifaceted resource to anyone wishing to explore a defining moral issue of our time. Contributors: Dedrick Asante-Muhammad, Hilary McDonald Beckles, Mary Frances Berry, Sundiata Keita Cha-Jua, Chuck Collins, Ron Daniels, V. P. Franklin, Danny Glover, Adom Gretachew, Charles Henry, Kamm Howard, Earl Ofari Hutchinson, Jesse Jackson, Sr., Brian Jones, Sheila Jackson Lee, James B. Stewart, the Movement 4 Black Lives, the National African American Reparations Commission, the National Coalition Black Reparations of Blacks for Reparations in America, the New Afrikan Peoples Organization/Malcolm X Grassroots Movement

During the 1960s and 1970s, the Russian conceptual artist Ilya Kabakov was a galvanizing figure in Moscow's underground art community, ultimately gaining international prominence as the “leader” of a band of artists known as the Moscow Conceptual Circle. Throughout this time, he created texts that he would distribute among his friends, and by the late 1990s his written production amounted to hundreds of pages. Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists. This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume and there exists no equivalent work in any language.

Art & Language Uncompleted. The Philippe Meaille Collection provides a detailed and revealing view of one of the most complex aesthetic identities of the second half of the twentieth century. The overwhelming literary and writerly personality of Art & Language, evident in the huge number of yellowed documents and papers which form a significant part of The Philippe Meaille Collection, challenges the power of the institution to deal with artistic research. What we discover is something as discursive and various as the artistic life of a collaboration which has evolved relentlessly since the sixties.

"The Francis Effect was about proposing something completely absurd, as absurd as borders are. If Immigrant Movement was for the thousands of people who went there, The The Francis Effect was just for one person, the pope. But the more people that participated, the more personal it became." -Tania Bruguera Stemming from a performance that originated at the Guggenheim Museum, The Francis Effect explores Tania Bruguera's work as an artist, activist, and Cuban immigrant to the US engaging the tension between art's pragmatic, activist, and aesthetic possibilities. The performance of The Francis Effect follows the guise of a political campaign, aiming to request that the Pope grant Vatican City citizenship to all immigrants and refugees. As a conversational, collaborative project, the resulting book mirrors Bruguera's artistic practice with essays and conversations from the the curators and Bruguera. In addition, the book-project is embiggened by socially-engaged commissioned essays from art historian Our Literal Speed, sociologist Saskia Sassen, and historian Nicolas Terpstra. A groundbreaking interdisciplinary discussion of borders, Pangaea, sociology, and religious studies, The Francis effect offers art as a vehicle for social change, placing this work in the context of its creative and critical reception.

A survey of the literature of the Tenth Cavalry revealed there was no history of the unit whi1e serving as a service detachment at Fort Leavenworth, Kansas, between 1931-1941. This paper is an effort to establish the records of the unit's social activities for continuity of unit history especially those of black soldiers, serving in segregated units. The information for this study centered around material obtained from questionnaires and interviews with former members of the unit. Also, extensive use was made of the Leavenworth Times and the Armored Cavalry Journal. An effort was also made to set the scene by providing a brief overview of the black soldier's contribution to America's war efforts and a chronological history of the Tenth Cavalry from its inception in July 1866 to 1931. Between 1931-1941 while at Fort Leavenworth, the black troopers were either barred or discouraged from using many of the exchange and recreational facilities on post. Even so, they were loyal troopers who performed creditable service and were proud to be members of the Tenth Cavalry. The citizens of Leavenworth displayed a positive attitude toward the troopers which resulted in amenable relations during the occasional contact between the two societies. The unit was returned to combat status in 1941 and subsequently moved to Fort Riley, Kansas. Even though it has been many years since the troopers of the Tenth Cavalry departed, their memory still remains. The pride Fort Leavenworth still has in the Buffalo Soldiers was displayed in recent ceremonies where one of the streets on post was named for the famed Tenth Cavalry.

A compelling study of unofficial postwar Soviet art, The Experimental Group takes as its point of departure a subject of strange fascination: the life and work of renowned professional illustrator and conceptual artist Ilya Kabakov. Kabakov's art-iconoclastic installations, paintings, illustrations, and texts-delicately experiments with such issues as history, mortality, and disappearance, and here exemplifies a much larger narrative about the work of the artists who rose to prominence just as the Soviet Union began to disintegrate. By placing Kabakov and his conceptualist peers in line with our own contemporary perspective, Matthew Jesse Jackson suggests that the art that emerged in the wake of Stalin belongs neither entirely to its lost communist past nor to a future free from socialist nostalgia. Instead, these artists and their work produced a critical and controversial chapter in the as yet unwritten history of global contemporary art.

Ilya Kabakov (*1933) is one of the former Soviet Union's most important and influential international artists today. After the two-volume catalogue raisonne of paintings (2008) and 2017's catalogue raisonne of installations, we are now publishing a complete overview of Kabakov's recent paintings. Different ideas, phases, and styles unfold across the 350 works of art, but the artist's inimitable signature can always be recognised. Visual themes include, for example, the colour white, the relationship between complete and incomplete, and the combination of either various styles or of painting and photography. Still, all of the pieces have one thing in common: they all pursue a conceptual approach and make references to art history.