You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
'Sometimes I wonder, if I had known that it was going to take me fourteen years to paint this painting of the Crucifixion with Douglas as Jesus, and what it would take for me to paint this painting, would I have been as happy as I was then?' Susan Alison MacLeod, a Glasgow School of Art graduate with a dark sense of humour, first lays eyes on Douglas MacDougal at a party in 1988, and resolves to put him on the cross in the Crucifixion painting she's been sketching out, but her desire to create 'good' art and a powerful, beautiful portrayal means that a final painting doesn't see the light of day for fourteen years. Over the same years, Douglas's ever-more elaborately designed urine-based installations bring him increasing fame, prizes and commissions, while his modelling for Susan Alison, who continues to work pain and suffering on to the canvas, takes place mostly in the shadows. This Good Book is a wickedly funny, brilliantly observed novel that spins the moral compass and plays with notions of creating art.
The party as a model for new forms of togetherness, with examples from communist Hungary and Spain From social get-together to scenes of delirium, this publication aims to unpack the party as a complex, vertiginous construct that provides a dynamic view onto questions of community. If the party functions as an intensification of togetherness, what lessons might it provide in negotiating a given social order? This first volume on the topic considers the house party, and in what ways domestic space is reworked in support of an extension of the family unit. Including a series of interviews with those active in flat events in Budapest during the communist regime and today, essays on hospitality, the politics of rest, and erotic knowledge, and documentation on Sala 603, an informal house-theater in Curitiba. The publication is the first in a new Errant Bodies series developed in parallel to a set of party-workshops initiated by the artist Brandon LaBelle held in different locations in Madrid, each of which performatively investigates states of partying, posing the party as a scene of study.
This is a book of failure and mistakes; it begins with what is stolen from us and proposes only an invitation to imagine. In these playful written experiments, Lola Olufemi navigates the space between what is and what could be. Weaving together fragmentary reflections in prose and poetry, this is an exploration of the possibility of living differently, grounded in black feminist scholarship and political organising. Olufemi shows that the horizon is not an immaterial state we gesture toward. Instead, propelled by the motion of thinking against and beyond, we must invent the future now and never let go of the otherwise.
We praise those people who do things for others. But the symbolic power of giving means individuals can take advantage of the glow of 'goodness' that charity provides. This book analyses the reality of how charity operates in the social world; how the personal benefits of giving and volunteering are vital for getting charitable acts to happen; how the altruism associated with gifts isn't always what it seems; how charity misbehaviour or bad management gets overlooked; and how charity symbols are weaponised against those who don't participate. Drawing on original data and a novel application of the sociology of Bourdieu, this book examines a wide range of examples from culture, politics and society to provide an entertaining critique of how contemporary charity works.
Capitalism could not exist without the coins, banknotes, documents, information graphics, interfaces, branding, and advertisements made by graphic designers. Even anti-consumerist strategies such as social design and speculative design are appropriated to serve economic growth. It seems design is locked in a cycle of exploitation and extraction, furthering inequality and environmental collapse. CAPS LOCK uses clear language and visual examples to show how graphic design and capitalism are inextricably linked. The book features designed objects and also examines how the study, work, and professional practice of designers support the market economy. Six radical design cooperatives are featured that resist capitalist thinking in their own way, hoping to inspire a more socially aware graphic design.
At last a major anthology of New Narrative, the movement fueled by punk, pop, porn, French theory, and social struggle to change writing forever.
None
In the summer of 2005, Pennsylvania state government revealed its seedy underbelly when the General Assembly gave itself and others an unconstitutional middle-of-the-night pay raise.In response, the people of the Commonwealth awoke from a long slumber and rose up in defiance of the Political Class. They made history - and the reverberations are still being felt. Things may never be the same again in the Keystone State.Beneath the battles of right versus left, liberal versus conservative and Republican versus Democrat, the Establishment strained to maintain power and continuity. Traditional political ideologies took a back seat as the very fabric of the Political Class was torn apart.In 2005-2006, Pennsylvanians got a taste of what happens when the ivory-towered crowd is running scared. But what we read in the papers and see on television is never the whole story. Follow the journey of one individual who just happened to get caught in the middle of it all and observed it from a unique perspective?
"The Value of Money" by Benjamin M. Anderson. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
None