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Jan Albers (b. Wuppertal 1971, grew up in Namibia; lives and works in Dusseldorf) represents a young generation of conceptual artists whose work returns time and again to the language of modernism, scrutinizing it and exploring its expressive dimensions. His objects are neither sculptures nor reliefs; his pictures, neither pure drawing nor painting nor collage. Albers conquers new terrifoty for art, demonstrating that is, even after modernism and post modernism, still possible and necessary to create works of art that are new and unlike anything we have seen before. It is not by accident that his art moves nimbly between Nelson Mandela and Ellsworth Kelly: this unusual tension between political engagement and spiritual yearning is what renders Albers's oeuvreso fascinating and persuasive. His works show that artistic invention and social relevance, far from being mutually exclusive, may in fact sustain each other.
The oeuvre of Jan Albers (b. Wuppertal, 1971, grew up in Namibia; lives and works in D�sseldorf), who studied with Jan Dibbets at the D�sseldorf Academy of Art, is one of the central positions in today's discourse of abstract art. With his large-scale crayon drawings, sculptures, and "built pictures," he creates a startling universe that, at first glance, defies all categories of traditional visual habits: novel pictorial experiences between rigorous order and aesthetic luxuriance.
A lavishly illustrated study of the natural and cultural history of the Vermont landscape. In this book Jan Albers examines the history—natural, environmental, social, and ultimately human—of one of America's most cherished landscapes: Vermont. Albers shows how Vermont has come to stand for the ideal of unspoiled rural community, examining both the basis of the state's pastoral image and the equally real toll taken by the pressure of human hands on the land. She begins with the relatively light touch of Vermont's Native Americans, then shows how European settlers—armed with a conviction that their claim to the land was "a God-given right"—shaped the landscape both to meet economic ne...
The main rationale of the conventions on international transport law is to limit the liability of the carrier. However, an aspect common to these conventions is that in cases of "wilful misconduct" the carrier is liable without any financial limitation. "Wilful misconduct" denoting a high degree of fault is an established term in English law. The Convention for the Unification of Certain Rules relating to International Carriage by Air (Warsaw Convention) of 1929 was the first international convention on transport law where the term was employed. A definition of "wilful misconduct", which can be found in later conventions regarding carriage of goods and passengers as well, was implemented in the Hague Protocol of 1955, amending the Warsaw Convention. However, the question as to exactly which degree of fault constitutes "wilful misconduct" has to date remained controversial and unanswered. This work seeks to answer this question. To this end, the historical background of the term, together with its function and role in marine insurance law, case law and international transport law, are examined from a comparative perspective.
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The Church of England in the 18th century is seen as failing its congregation in the industrialising areas; specific issues are set out. Was the Church of England an ailing or a healthy institution in the eighteenth century? Responding to the slings and arrows of its Victorian critics, ever since the publication in the 1930s of Norman Sykes' Church and State inEngland in the Eighteenth Century, modern scholarship has tended to stress the competence of the Church's leadership at a national and diocesan level and its importance and popularity for the nation at large. Moreover, in recent years, several studies have emerged which argue a strong case for the multi-faceted appeal of the Church of ...
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A penetrating cross-disciplinary study of the cultural constructions of singing.