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The Body That I Am In
Rosemary Watson is a 16-year-old half Dominican and half African American female, spunky, impulsive dreamer, whose fierce deviation to her mother is threatened by Rosemary now living with her father and his live-in girlfriend. Rosemary’s world is surrounded with family lies and secrets, and the fact that her mother is in a mental hospital. Rosemary’s siblings have long accepted their mother's placement in the mental hospital and their current living situation. The fact that Rosemary’s mother could come home at any time leads to Rosemary’s dream that one day her mother can walk through the door and rescue them all. Determined to keep the hope alive of her one day reuniting with her mother, Rosemary schemes up “operation lies and secrets”, a sure-fire plan to expose the people who put her mother in the mental hospital. Just as Rosemary succeeds with step one of her plans, some secrets are revealed and suddenly everything in Rosemary’s world is in question.
Bachelors
These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" Since the 1970s Rosalind Krauss has been exploring the art of painters, sculptors, and photographers, examining the intersection of these artists concerns with the major currents of postwar visual culture: the question of the commodity, the status of the subject, issues of representation and abstraction, and the viability of individual media. These essays on nine women artists are framed by the question, born of feminism, "What evaluative criteria can be applied to women's art?" In the case of surrealism, in particular, some have claimed that surrealist w...
Remembering Morven and the Old 660Th District
Co. E was part of Symons Regiment, 1st Regiment, and commanded by Angus Morrison, recently Ordinary of our county. They went by rail from Thomasville to the sand walled artillery fort on the Great Ogeechee, protecting a vital railroad bridge, just upriver, from federal gunboats. Under the higher command of Gen. Lafayette McLaws and the post command of Major Anderson of nearby Lebanon Plantation, they faced Shermans huge well armed forces who needed to punch through to obtain supplies from the federal fleet. Co. E had 47 men on duty when Shermans much larger force attacked late on Dec. 13, 1864.
Crewel Creatures
Beautiful bird and animal designs, inspired by the African world, in crewel and Jacobean embroidery. Following the success of Crewel Intentions and Crewel Twists, which introduced embroiderers to using needle-lace and loom-weaving techniques, comes Crewel Creatures, the third title in this series by renowned embroiderer Hazel Blomkamp. Animals and birds are popular subjects in crewel embroidery, and here Hazel introduces needleworkers to the beautiful, exotic creatures found in the African wild. Following the Jacobean embroidery style for which Hazel is well known, and incorporating the subtle influence of the fractal designs found in zentangle art, Hazel brings beads and other three-dimensi...
Telephone Directory
Each issue includes a classified section on the organization of the Dept.
The Optical Unconscious
The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons ...
One Place after Another
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of s...
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