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Andy Patton
None
Love's Seasons & Blossoms, Love's Fall & Leaves
Within these pages are nothing more than my true experiences of love, chases, pursuits, crushes, and fallings. A small little pinch of poems and romantic sayings, ramblings, texts, and notes given, unappreciated, and innocent from a guy who is still currently looking for true love. Love blossoms so beautifully, the seasons the two of you share pass, and memories, trust and feelings should be invested upon, bonded and adhered, but sometimes those seasons pass and some new strange cold winds blow, sweeping whatever love you had...away. Love makes you fall for someone, like a leaf hewing down in slices, sure the swipes can keep it in the air, light and happy, but eventually, sometimes, that leaf hits the ground, and it leaves, love leaves sometimes.
Capital Culture
An anthology of contemporary art theory from a Canadian perspective.
Petrushkin!
In Petrushkin! Ron Charach walks a circus tightrope between the absurd and the absurdly real, the extraordinary and the quotidian. Petrushkin! features a parade of figures from the Human Comedy, both benevolent and malign, that grace and haunt our daily lives.
Chants D'expérience
None
Favorite Hymns to Play for Piano
New arrangements of ten classic hymns presented in a progressive and percussive style that will challenge and inspire the pianist, soloist and drummer. the piano, melody, and drums are charted so when you download the music from Mel Bay's website, you can use it as a playalong for piano, violin and drums. Whether performed at a church service or at home, there is something for every player. Contains haunting and percussive versions of At the Cross, Amazing Grace and It Is Well with My Soul, along with upbeat and progressive versions of Blessed Assurance and Once to Every Man and Nation plus beautiful arrangements of for the Beauty of the Earth, Holy, Holy, Holy and Just As I Am. Hours of entertainment is certain to be achieved with these great old hymns. Free audio downloads are available for use with this title.
"Artwriting, Nation, and Cosmopolitanism in Britain "
Arguing in favour of renewed critical attention to the 'nation' as a category in art history, this study examines the intertwining of art theory, national identity and art production in Britain from the early eighteenth century to the present day. The book provides the first sustained account of artwriting in the British context over the full extent of its development and includes new analyses of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed Araeen. Mark A. Cheetham also explores how the 'Englishing' of art theory-which came about despite the longstanding occlusion of the intellectual and theoretical in British cu...
Continuations
"The strength of this book is in its quick-change artistry, the sensation of flux that is continuous, and capable at any moment of erupting into epiphany or surprise." Roo Borson Across great distances and a panorama shaped by words, poets Douglas Barbour and Sheila Murphy began writing in collaboration. Tapped to technology's dance across paper, with thoughts like bright colours coursing across screens, Continuations emerged as the product of a new creator, a "third individual," who writes differently from either poet. Words shapeshifted and poets transformed, Continuations is an intriguing addition to the growing field of collaborative poetry in North American literature.
Chinese Ways of Seeing and Open-Air Painting
"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, a...
