The University of Massachusetts Amherst boasts over a century of both intercollegiate and intramural athletics. The story begins with the early recreational activities of a New England agricultural college and ends with a highly competitive Division I athletic schedule. From playing ice hockey on the campus pond in 1908 or dribbling basketballs in the Curry Hicks cage in 1931 to the construction of the state-of-the-art Mullins Center in 1993, the University of Massachusetts Amherst has produced some of the best athletes in American sports history. These stars include hockey great Jerry McCarthy, a 1924 Olympic silver medalist; softball pitcher Danielle Henderson, a 2000 Olympic gold medalist; and Julius Erving, legendary NBA star.

A deep dive into the life and work of sculptor Louise Nevelson recontextualizes her art in light of social movements, travel, and her experiences in dance and theater   Known for her monumental wooden wall pieces and outdoor sculptures, Louise Nevelson (1899–1988) was a towering figure in twentieth-century American art. A more nuanced picture of Nevelson emerges in The World Outside: Louise Nevelson at Midcentury. Discussions about Nevelson’s early involvement with modern dance and subsequent immersion in avant-garde theater bring new understandings of her drawings and sculptures. A reframing of her travels to Mexico and Guatemala in the early 1950s demonstrates, for the first time, how colonial archaeology haunted her visual language for decades.   Other little-known facets of Nevelson’s life—her interest in folk art, architecture, and period furniture—open up a conversation about the artist’s approach to America’s past material culture. A pioneering examination of Nevelson’s printmaking experiences at Tamarind Lithography Workshop reveals how the artist created alternative modes of viewing through unconventional methods and materials. The book also reconsiders Nevelson’s work in the context of the environmental movement. Additionally, three contemporary artists relate Nevelson’s role in their careers and lives, a local expert describes her roots and relationship to Maine, and the artist’s granddaughter shares thoughts on Nevelson’s spirituality.   Distributed for the Amon Carter Museum of American Art Exhibition Schedule Amon Carter Museum of American Art, Fort Worth, TX (August 27, 2023–January 7, 2024) Colby College Museum of Art, Waterville, ME (February 6–June 9, 2024)

Sculptural Materiality in the Age of Conceptualism is structured around four distinct but interrelated projects initially realized in Italy between 1966 and 1972: Yayoi Kusama's Narcissus Garden, Michelangelo Pistoletto's Newspaper Sphere (Sfera di giornali), Robert Smithson's Asphalt Rundown, and Joseph Beuys's Arena. These works all utilized non-traditional materials, collaborative patronage models, and alternative modes of display to create a spatially and temporally dispersed arena of matter and action, with photography serving as a connective, material thread within the sculpture it reflects. While created by major artists of the postwar period, these particular projects have yet to receive substantive art historical analysis, especially from a sculptural perspective. Here, they anchor a transnational narrative in which sculpture emerged as a node, a center of transaction comprising multiple material phenomenon, including objects, images, and actors. When seen as entangled, polymorphous entities, these works suggest that the charge of sculpture in the late postwar period came from its concurrent existence as both three-dimensional phenomena and photographic image, in the interchanges among the materials that continue to activate and alter the constitution of sculpture within the contemporary sphere.

Creativity, Technology, and Learning provides a comprehensive introduction to theories and research on creativity in education and, in particular, to the role of digital-learning technologies in enabling creativity across classroom learning environments. Topical coverage includes play, constructionism, multimodal learning and project-/problem-based learning. Creativity is uniquely positioned throughout the book as an integral component of the educational process and also as a foundational aspect of self-actualization, thriving communities, and humane societies. Through in-depth, empirically based discussions of the philosophical, curricular and pedagogical elements of creativity, Sullivan demonstrates how creativity can be fostered across the curriculum through the use of digital-learning technologies in design, personal expression and problem-solving activities.

Sculptural Materiality in the Age of Conceptualism is structured around four distinct but interrelated projects initially realized in Italy between 1966 and 1972: Yayoi Kusama's Narcissus Garden, Michelangelo Pistoletto's Newspaper Sphere (Sfera di giornali), Robert Smithson's Asphalt Rundown, and Joseph Beuys's Arena. These works all utilized non-traditional materials, collaborative patronage models, and alternative modes of display to create a spatially and temporally dispersed arena of matter and action, with photography serving as a connective, material thread within the sculpture it reflects. While created by major artists of the postwar period, these particular projects have yet to receive substantive art historical analysis, especially from a sculptural perspective. Here, they anchor a transnational narrative in which sculpture emerged as a node, a center of transaction comprising multiple material phenomenon, including objects, images, and actors. When seen as entangled, polymorphous entities, these works suggest that the charge of sculpture in the late postwar period came from its concurrent existence as both three-dimensional phenomena and photographic image, in the interchanges among the materials that continue to activate and alter the constitution of sculpture within the contemporary sphere.

Italian-born American artist Harry Bertoia (1915-1978) was one of the most prolific, innovative artists of the post-war period. Trained at the Cranbrook Academy of Art, where he met future colleagues and collaborators Charles and Ray Eames, Florence Knoll, and Eero Saarinen, he went on to make one-of-a kind jewellery, design iconic chairs, create thousands of unique sculptures including large-scale commissions for significant buildings, and advance the use of sound as sculptural material. His work speaks to the confluence of numerous fields of endeavour, but is united throughout by a sculptural approach to making and an experimental embrace of metal. Harry Bertoia: Sculpting Mid-Century Modern Life accompanies the first U.S. museum retrospective of the artist's career to examine the full scope of his broad, interdisciplinary practice, and feature important examples of his furniture, jewellery, monotypes, and diverse sculptural output. Lavishly illustrated, the book offers new scholarly essays as well as a catalogue of the artists numerous large-scale commissions. It questions how and why we distinguish between a chair, a necklace, a screen, and a freestanding sculpture and what Bertoia's sculptural things, when taken together, say about the fluidity of visual language across culture, both at mid-century and now.

Written for a broad audience and grounded in cutting-edge, contemporary scholarship, this volume addresses some of the key questions asked about pornography today. What is it? For whom is it produced? What sorts of sexualities does it help produce? Why should we study it, and what should be the most urgent issues when we do? What does it mean when we talk about pornography as violence? What could it mean if we discussed pornography through frameworks of consent, self-determination and performance? This book places the arguments from conservative and radical anti-porn activists against the challenges coming from a new generation of feminist and queer porn performers and educators. Combining sensitive and detailed discussion of case studies with careful attention to the voices of those working in pornography, it provides scholars, activists and those hoping to find new ways of understanding sexuality with the first overview of the histories and futures of pornography.

Formally titled "General of the Army," the five-star general is the highest possible rank awarded in the U.S. Army in modern times and has been awarded to only five men in the nation's history: George C. Marshall, Douglas MacArthur, Dwight D. Eisenhower, Henry H. Arnold, and Omar N. Bradley. In addition to their rank, these distinguished soldiers all shared the experience of serving or studying at Fort Leavenworth, Kansas, where they gained the knowledge that would prepare them for command during World War II and the Korean War. In Generals of the Army, James H. Willbanks assembles top military historians to examine the connection between the institution and the success of these exceptional men. Historically known as the "intellectual center of the Army," Fort Leavenworth is the oldest active Army post west of Washington, D.C., and one of the most important military installations in the United States. Though there are many biographies of the five-star generals, this innovative study offers a fresh perspective by illuminating the ways in which these legendary figures influenced and were influenced by Leavenworth. Coinciding with the U.S. Mint's release of a series of special commemorative coins honoring these soldiers and the fort where they were based, this concise volume offers an intriguing look at the lives of these remarkable men and the contributions they made to the defense of the nation.

This book focuses on children and the impact of neurotoxins on the developing brain to guide the practice of psychologists working with children in clinical and school settings. Each chapter covers a distinct neurotoxin or group of neurotoxins, with particular emphasis on the impact of the neurotoxin exposure on the developing brain and long-term cognitive and psychosocial outcomes. This is more complex than studying neurotoxins with adults because of the rapid development occurring in the child's brain. Further, children are more susceptible than adults to the effects of neurotoxins due to their developmental status. Many of the effects discussed in this volume occur in utero, thus setting the stage for an altered developmental trajectory.

Creativity, Technology, and Learning provides a comprehensive introduction to theories and research on creativity in education and, in particular, to the role of digital-learning technologies in enabling creativity across classroom learning environments. Topical coverage includes play, constructionism, multimodal learning and project-/problem-based learning. Creativity is uniquely positioned throughout the book as an integral component of the educational process and also as a foundational aspect of self-actualization, thriving communities, and humane societies. Through in-depth, empirically based discussions of the philosophical, curricular and pedagogical elements of creativity, Sullivan demonstrates how creativity can be fostered across the curriculum through the use of digital-learning technologies in design, personal expression and problem-solving activities.

This book focuses on children and the impact of neurotoxins on the developing brain to guide the practice of psychologists working with children in clinical and school settings. Each chapter covers a distinct neurotoxin or group of neurotoxins, with particular emphasis on the impact of the neurotoxin exposure on the developing brain and long-term cognitive and psychosocial outcomes. This is more complex than studying neurotoxins with adults because of the rapid development occurring in the child's brain. Further, children are more susceptible than adults to the effects of neurotoxins due to their developmental status. Many of the effects discussed in this volume occur in utero, thus setting the stage for an altered developmental trajectory.

A new look at the interrelationship of architecture and sculpture during one of the richest periods of American modern design Alloys looks at a unique period of synergy and exchange in the postwar United States, when sculpture profoundly shaped architecture, and vice versa. Leading architects such as Gordon Bunshaft and Eero Saarinen turned to sculptors including Harry Bertoia, Alexander Calder, Richard Lippold, and Isamu Noguchi to produce site-determined, large-scale sculptures tailored for their buildings' highly visible and well-traversed threshold spaces. The parameters of these spaces-atriums, lobbies, plazas, and entryways-led to various designs like sculptural walls, ceilings, and screens that not only embraced new industrial materials and processes, but also demonstrated art's ability to merge with lived architectural spaces. Marin Sullivan argues that these sculptural commissions represent an alternate history of midcentury American art. Rather than singular masterworks by lone geniuses, some of the era's most notable spaces-Philip Johnson's Four Seasons Restaurant in Mies van der Rohe's Seagram Building, Max Abramovitz's Philharmonic Hall at Lincoln Center, and Pietro Belluschi and Walter Gropius's Pan Am Building-would be diminished without the collaborative efforts of architects and artists. At the same time, the artistic creations within these spaces could not exist anywhere else. Sullivan shows that the principle of synergy provides an ideal framework to assess this pronounced relationship between sculpture and architecture. She also explores the afterlives of these postwar commissions in the decades since their construction. A fresh consideration of sculpture's relationship to architectural design and functionality following World War II, Alloys highlights the affinities between the two fields and the ways their connections remain with us today.

The Chinese Communist Party, as the political leader of the world's largest country and second largest economy, plays an undeniably important role in global politics. Founded in a boarding school in Shanghai in 1921, the Chinese Communist Party is one of the oldest ruling parties in the world since its takeover of mainland China in 1949 under the leadership of Chairman Mao Zedong. Since its inception, the party has survived a civil war with the Kuomintang (1946-1949); the political, cultural, and humanitarian catastrophe of the Great Leap Forward (1958-1960), where upwards of 30 million Chinese civilians died; and the death of the Chinese Communist Party's dominant leader, Mao Zedong, in 1976. In recent years, intellectuals and party members have been given increasing leeway to express their opinions, and Lawrence R. Sullivan takes advantage of this new research to provide a comprehensive history of one of the world's most fascinating political movements. The Historical Dictionary of the Chinese Communist Party contains a chronology, an introductory essay, an appendix, an extensive bibliography, and more than 400 cross-reference dictionary entries on key people, places, and institutions. This book is an excellent access point for students, researchers, and anyone wanting to know more about the Chinese Communist Party.

First book to place the art of British sculptor Lynn Chadwick in its international context. Examines in particular the reception and promotion of Chadwick's sculpture in the United States. Richly illustrated. This is the first book to set the work of British sculptor Lynn Chadwick (1914-2003) in its international context. Chadwick, a leading figure in modern British art and celebrated for his innovative steel and bronze sculptures of abstracted, expressive figures and animals, always felt that his work was better understood abroad than in his native country. In this richly illustrated monograph, distinguished British scholar and writer Michael Bird, and eminent American art historian and curator Marin R. Sullivan chart the different phases of Chadwick's long career. They vividly locate his art within the wider narrative of European and American post-war sculpture. They examine in particular the reception and promotion of Chadwick's sculpture in the United States, and how a collection of some 140 of his works at the Berman Museum in rural Pennsylvania came to be.

Written for a broad audience and grounded in cutting-edge, contemporary scholarship, this volume addresses some of the key questions asked about pornography today. What is it? For whom is it produced? What sorts of sexualities does it help produce? Why should we study it, and what should be the most urgent issues when we do? What does it mean when we talk about pornography as violence? What could it mean if we discussed pornography through frameworks of consent, self-determination and performance? This book places the arguments from conservative and radical anti-porn activists against the challenges coming from a new generation of feminist and queer porn performers and educators. Combining sensitive and detailed discussion of case studies with careful attention to the voices of those working in pornography, it provides scholars, activists and those hoping to find new ways of understanding sexuality with the first overview of the histories and futures of pornography.

Since the end of the Cold War, the United States Army has been reengineered and downsized more thoroughly than any other business. In the early 1990s, General Sullivan, army chief of staff, and Colonel Harper, his key strategic planner, took the post-Cold War army into the Information Age. Faced with a 40 percent reduction in staff and funding, they focused on new peacetime missions, dismantled a cumbersome bureaucracy, reinvented procedures, and set the guidelines for achieving a vast array of new goals.



Hope Is Not a Method explains how they did it and shows how their experience is extremely relevant to today's businesses. From how to stay on top of long-range issues to how to maintain a productive work force during times of change, it offers invaluable lessons in leadership and provides proven tactics any business can implement.