Since its establishment in 1965, Business Economics has been an essential resource for those who use economics in the workplace. Its consistent intent has been to distinguish itself from academic journals by focusing on what is useful to practitioners of economics in their everyday work, and it has risen to become the leading forum for debating solutions to critical business problems, analyzing key business and economic issues, and sharing of best-practice models, tools, and hands-on techniques. In celebration of the journal's anniversary, The Best of "Business Economics" brings together forty of the best articles from half a century of publication: those that pushed boundaries, challenged conventional wisdom, and redefined the way practitioners and academics approached their work. Much of the insight afforded in this collection on the uses and limitations of economics are as fresh and useful today as when they were published. Featuring award-winning articles and the world's premier economists, this collection is an essential addition to any economics library.

We're losing the war on drugsbut the fight isn't over yet Federal Narcotics Laws and the War on Drugs examines our current anti-drug programs and policies, explains why they have failed, and presents a plan to fix them. Author Thomas C. Rowe, who has been educating college students on recreational drug use for nearly 30 years, exposes the truth about anti-drug programs he believes were conceived in ignorance of the drugs themselves and motivated by racial/cultural bias. This powerful book advocates a shift in federal spending to move funds away from the failed elements of the war on drugs toward policies with a more realistic chance to succeedthe drug courts, education, and effective treatment. Common myths and misconceptions about drugs have produced anti-drug programs that don't work, won't work, and waste millions of dollars. Federal Narcotics Laws and the War on Drugs looks at howand whythis has happened and what can be done to correct it. The book is divided into How did we get into this mess? which details the history of anti-narcotic legislation, how drug agencies evolved, and the role played by Harry Anslinger, Commissioner of the United States Bureau of Narcotics from 1930 to 1962; What works and what doesn't work, which looks at the failure of interdiction efforts and the negative consequences that have resulted with a particular focus on the problems of prisons balanced against the drug court system; and a third section that serves as an overview of various recreational drugs, considers arguments for and against drug legalization, and offers suggestions for more effective methods than our current system allows. Federal Narcotics Laws and the War on Drugs also examines: the creation of the Federal Bureau of Narcotics current regulations and structures current federal sentencing guidelines current state of the courts and the prison system mandatory sentencing and what judges think interdiction for heroin, cocaine and crack cocaine, and marijuana early education efforts the DARE program drug use trends drug treatment models the debate over legalization Federal Narcotics Laws and the War on Drugs also includes several appendices of federal budget figures, cocaine and heroin purity and price, and federal bureau of prisons statistics. This unique book is required reading for anyone concerned about the drug problem in the United States and what isand isn'tbeing done to correct it.

A fascinating view of the career of Bridget Riley, one of the most significant living artists, through her personal archive of her own works on paper Devoted exclusively to the artist's works on paper, Bridget Riley Drawings: From the Artist's Studio explores the importance of these works not only as a means of visual experimentation but as works of art in their own right. Throughout her working life, Riley has preserved works of particular significance, creating an archive that records her constant artistic inquiry and development. The studies presented in the book are drawn entirely from this personal collection, with Riley's own input. They demonstrate the artist's progression from early figurative works, through the monochrome geometry of the 1960s, to the examination of color that has characterized the second half of her long career. The choice of work explores the themes that have absorbed Riley in different periods and highlights key influences: the importance of life drawing to her and the significance of artists such as Seurat and Mondrian. The book illustrates-literally and figuratively-the story of a productive and constantly experimental career, underpinned by drawing. Distributed for Modern Art Press Exhibition Schedule: The Art Institute of Chicago (September 17, 2022-January 16, 2023) Hammer Museum, Los Angeles (January 29-May 7, 2023) The Morgan Library & Museum, New York (June 16-October 22, 2023)

An investigation of the outsized influence of the Mod subculture on key figures of the 1960s London art scene Bonding over matters of taste and style, the 'Mods' of late 1950s London recognised in one another shared affinities for Italian-style suits, tidy haircuts, espresso bars, Vespa scooters and the latest American jazz. In this groundbreaking book, leading art historian Thomas Crow argues that the figure of the Mod exerted an influence beyond its assumed social boundaries by exemplifying the postwar metropolis in all of its excitement and complexity. Crow examines the works of key figures in the London art scene of the 1960s, including Robyn Denny, David Hockney, Pauline Boty, Bridget Riley and Bruce McLean, who shared and heightened aspects of this new and youthful urbanity. The triumphant arrival of the international counterculture forced both young Mods and established artists to reassess and regroup in novel, revealing formations. Understanding the London Mod brings with it a needed, up-to-date reckoning with the legacies of Situationism, Social Art History and Cultural Studies. Distributed for the Paul Mellon Centre for Studies in British Art

How California's counterculture of the 1960s to 1980s profoundly shaped-and was shaped by-West Coast artists The 1960s exert a special fascination in modern art. But most accounts miss the defining impact of the period's youth culture, largely incubated in California, on artists who came of age in that decade. As their prime exemplar, Bruce Conner, reminisced, "I did everything that everybody did in 1967 in the Haight-Ashbury. . . . I would take peyote and walk out in the streets." And he vividly channeled those experiences into his art, while making his mark on every facet of the psychedelic movement-from the mountains of Mexico with Timothy Leary to the rock ballrooms of San Francisco to the gilded excesses of the New Hollywood. In The Artist in the Counterculture, Thomas Crow tells the story of California art from the 1960s to the 1980s-some of the strongest being made anywhere at the time-and why it cannot be understood apart from the new possibilities of thinking and feeling unleashed by the rebels of the counterculture. Crow reevaluates Conner and other key figures-from Catholic activist Corita Kent to Black Panther Emory Douglas to ecological witness Bonnie Ora Sherk-as part of a generational cohort galvanized by resistance to war, racial oppression, and environmental degradation. Younger practitioners of performance and installation carried the mindset of rebellion into the 1970s and 1980s, as previously excluded artists of color moved to the forefront in Los Angeles. Mike Kelley, their contemporary, remained unwaveringly true to the late countercultural flowering he had witnessed at the dawn of his career. The result is a major new account of the counterculture's enduring influence on modern art.

The discipline of landscape ecology has matured rapidly over the past few decades, generating a wealth of knowledge that can be used to enhance forest policy development and management. However, much of this knowledge has yet to be applied in practice.

Forest Landscape Ecology: Transferring Knowledge to Practice is the first book to introduce landscape ecologists to the discipline of knowledge transfer. The book considers knowledge transfer in general, critically examines aspects of transfer that are unique to forest landscape ecology, and reviews several case studies of successful applications for policy developers and forest managers in North America. Readers are encouraged to recognize the value of sharing their knowledge, and to understand their role in active knowledge transfer. The intent is to connect, as seamlessly and effectively as possible, ecological principles to policy and practice.

This book is written for researchers, academics and students in landscape ecology and related fields, as well as policymakers and land and resource managers who are interested in landscape-level approaches.

About the Editors:

Ajith H. Perera is a research scientist and leads the Forest Landscape Ecology Program at the Ontario Forest Research Institute. Lisa J. Buse is a forest biologist who coordinates technology transfer for the Ontario Forest Research Institute. Thomas R. Crow is national program leader for ecological research and environmental sciences with the USDA Forest Service.

Since its establishment in 1965, Business Economics has been an essential resource for those who use economics in the workplace. Its consistent intent has been to distinguish itself from academic journals by focusing on what is useful to practitioners of economics in their everyday work, and it has risen to become the leading forum for debating solutions to critical business problems, analyzing key business and economic issues, and sharing of best-practice models, tools, and hands-on techniques. In celebration of the journal's anniversary, The Best of "Business Economics" brings together forty of the best articles from half a century of publication: those that pushed boundaries, challenged conventional wisdom, and redefined the way practitioners and academics approached their work. Much of the insight afforded in this collection on the uses and limitations of economics are as fresh and useful today as when they were published. Featuring award-winning articles and the world's premier economists, this collection is an essential addition to any economics library.

How social upheavals after the collapse of the French Empire shaped the lives and work of artists in early nineteenth-century Europe As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers-Rome, Paris, London, Madrid, Brussels, and Vienna-with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Theodore Gericault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters Francois-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old. Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David's art and influence during exile, Gericault's odyssey through outcast Rome, Ingres's drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time. Beautifully illustrated, Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists' lives and careers with far-reaching consequences. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

How the Vietnam War changed American art By the late 1960s, the United States was in a pitched conflict in Vietnam, against a foreign enemy, and at home-between Americans for and against the war and the status quo. This powerful book showcases how American artists responded to the war, spanning the period from Lyndon B. Johnson's fateful decision to deploy U.S. Marines to South Vietnam in 1965 to the fall of Saigon ten years later. Artists Respond brings together works by many of the most visionary and provocative artists of the period, including Asco, Chris Burden, Judy Chicago, Corita Kent, Leon Golub, David Hammons, Yoko Ono, and Nancy Spero. It explores how the moral urgency of the Vietnam War galvanized American artists in unprecedented ways, challenging them to reimagine the purpose and uses of art and compelling them to become politically engaged on other fronts, such as feminism and civil rights. The book presents an era in which artists struggled to synthesize the turbulent times and participated in a process of free and open questioning inherent to American civic life. Beautifully illustrated, Artists Respond features a broad range of art, including painting, sculpture, printmaking, performance and body art, installation, documentary cinema and photography, and conceptualism. Published in association with the Smithsonian American Art Museum Exhibition Schedule Smithsonian American Art Museum, Washington, DC March 15-August 18, 2019 Minneapolis Institute of Art September 28, 2019-January 5, 2020

"I am interested only in expressing basic human emotions - tragedy, ecstasy, doom," - Mark Rothko (1903 - 1970) said of his paintings. "If you are moved only by their colour relationships, then you miss the point." Throughout his career, Rothko was concerned with what other people experienced when they looked at his canvases. As his work shifted from figurative imagery to luminous fields of colour, his concern expanded to the setting in which his paintings were exhibited. In a series of analytic, personal, and even poetic essays by contemporary scholars, this volume explains how Rothko's most compelling creations elicit such profound and varied responses. This volume also reproduces, for the first time, Rothko's "Scribble Book," in which he jotted down his ideas on teaching art to children, and a sketchbook, both dating to the early years of the artist's career. "Seeing Rothko" includes essays by David Antin, Dore Ashton, Thomas Crow, John Elderfield, Briony Fer, Charles Harrison, Miguel Lopez-Remiro, Sarah Rich, and Jeffrey Weiss, an introduction by Glenn Phillips, and a bibliography of Rothko's own writings.

The discipline of landscape ecology has matured rapidly over the past few decades, generating a wealth of knowledge that can be used to enhance forest policy development and management. However, much of this knowledge has yet to be applied in practice.

Forest Landscape Ecology: Transferring Knowledge to Practice is the first book to introduce landscape ecologists to the discipline of knowledge transfer. The book considers knowledge transfer in general, critically examines aspects of transfer that are unique to forest landscape ecology, and reviews several case studies of successful applications for policy developers and forest managers in North America. Readers are encouraged to recognize the value of sharing their knowledge, and to understand their role in active knowledge transfer. The intent is to connect, as seamlessly and effectively as possible, ecological principles to policy and practice.

This book is written for researchers, academics and students in landscape ecology and related fields, as well as policymakers and land and resource managers who are interested in landscape-level approaches.

About the Editors:

Ajith H. Perera is a research scientist and leads the Forest Landscape Ecology Program at the Ontario Forest Research Institute. Lisa J. Buse is a forest biologist who coordinates technology transfer for the Ontario Forest Research Institute. Thomas R. Crow is national program leader for ecological research and environmental sciences with the USDA Forest Service.

Fictions of Art History, the most recent addition to the Clark Studies in the Visual Arts series, addresses art history's complex relationships with fiction, poetry, and creative writing. Inspired by a 2010 conference, the volume examines art historians' viewing practices and modes of writing. How, the contributors ask, are we to unravel the supposed facts of history from the fictions constructed in works of art? How do art historians employ or resist devices of fiction, and what are the effects of those choices on the reader? In styles by turns witty, elliptical, and plain-speaking, the essays in Fictions of Art History are fascinating and provocative critical interventions in art history. Distributed for the Sterling and Francine Clark Art Institute

Art History and Emergency assesses art history's role and responsibilities in what has been described as the "humanities crisis"-the perceived decline in the practical applications of the humanities in modern times. This timely collection of critical essays and creative pieces addresses several thought-provoking questions on the subject. For instance, as this so-called crisis is but the latest of many, what part has "crisis" played in the humanities' history? How are artists, art historians, and professionals in related disciplines responding to current pressures to prove their worth? How does one defend the practical value of knowing how to think deeply about objects and images without losing the intellectual intensity that characterizes the best work in the discipline? Does art history as we know it have a future? Distributed for the Clark Art Institute

Richard Brown Baker (1912-2002) began collecting works by emerging artists in the 1940s, becoming one of the first collectors to actively embrace both Abstract Expressionism and Pop Art and eventually amassing more than 1,600 works from the postwar period. Represented among these are groundbreakingAmerican artists such as Jean-Michel Basquiat, Chuck Close, Roy Lichtenstein, Robert Morris, Jackson Pollock, Robert Rauschenberg, and James Rosenquist, as well as European and Asian artists such as Alberto Burri, Jean Dubuffet, Georges Mathieu, Kurt Schwitters, and Jiro Yoshihara. Baker bequeathed the majority of his collection to the Yale University Art Gallery, and the balance to the Museum of Art, Rhode Island School of Design.Highlighting 130 works, this is the first complete history of Baker's important collection. Essays by renowned art historians Thomas Crow, Serge Guilbaut, Robert Storr, and others contextualize each of the five decades of Baker's collecting efforts, while entries on individual artists illustrate the remarkable scope of Baker's holdings. Throughout the publication, firsthand accounts from Baker's extensive personal journals describe his collecting activities within the dynamic New York art scene of the day.

The first collection of essays on Gerhard Richter, who has been called "the greatest modern painter." The contemporary painter Gerhard Richter (born in 1932) has been heralded both as modernity's last painter and as painting's modern savior, seen to represent both the end of painting and its resurrection. Richter works in a dizzying variety of styles, from abstraction to a German cool pop that combines painterly technique and appropriation; his work includes photo paintings, large abstract canvases, and stained glass windows. This collection features writing by prominent critics, including Hal Foster, Gertrud Koch, and Thomas Crow; an essay by Rachel Haidu on Richter's family pictures that is published here for the first time; and an essay and two interviews with the artist by Benjamin H. D. Buchloh, Richter's "longtime sparring partner" (as the curator Robert Storr has called him). These writings examine Richter's work as a whole, from October 18, 1977, his dreamlike series of paintings depicting the dead Baader-Meinhof gang, to his abstract trio Abstract Paintings; from his unsettling portrait of "Uncle Rudi" in Nazi garb to his late series of portraits of his wife and young child. This addition to the October Files series will be an essential handbook to one of the most enigmatic figures in contemporary artContents Gerhard Richter and Benjamin H. D. Buchloh Interview (1986) Gertrud Koch The Richter-Scale of Blur (1992) Thomas Crow Hand-Made Photographs and Homeless Representation (1992) Birgit Pelzer The Tragic Desire (1993) Benjamin H. D. Buchloh Divided Memory and Post-Traditional Identity: Gerhard Richter's Work of Mourning (1996) Peter Osborne Abstract Images: Sign, Image, and Aesthetic in Gerhard Richter's Painting (1998) Hal Foster Semblance According to Gerhard Richter (2003) Johannes Meinhardt Illusionism in Painting and the Punctum of Photography (2005) Rachel Haidu Arrogant Texts: Gerhard Richter's Family Pictures (2007) Gerhard Richter and Benjamin H. D. Buchloh Interview (2004)