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Frederick Kiesler
The material for this book has been taken from the 2006 thesis, Frederick Kiesler’s Art of This Century in New York, (1942-1947), in the Context of the Twentieth Century Art Museum. The prime objective was to establish why so few people remember Art of This Century, which Kiesler designed for Peggy Guggenheim in 1942, and she ruthlessly closed in 1947. A second aim was to investigate why there has been so research carried out on the Gallery, when it was acknowledged as a work of art in its own right at the time of opening. Indeed, in 2004 Thomas Krens, the Guggenheim Foundation’s director expressed concern that due to the lack of research it might slip into oblivion. Such a statement rai...
The Living Church
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Education Directory
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Quest for Power
Retired Colonel Ronald Haines, the patriarch of a three-generation military family and Medal of Honor recipient, is a successful designer and manufacturer of military radar technology. When his grandson's young wife, an NSA analyst, is murdered in their suburban DC home, the crime is reported as a random burglary gone violent. When the FBI stalls the investigation, the skeptical Colonel orders his brash, adventurous Director of Security, Jack Vavak, to investigate. Teamed up with a group of Colonel Haines' former military associates and the victim's beautiful twin sister, the investigation leads to a shocking web of political and international intrigue. Fighting a personal vendetta from a ho...
Reclaiming and Redefining American Exhibitions of Russian Art
This book examines the history of American exhibitions of Russian art in the twentieth century in the context of the Cold War. Because this history reflects changes in museological theory and the role of governments in facilitating or preventing intercultural cooperation, it uncovers a story that is far more complex than a chronological listing of exhibition names and art works. Roann Barris considers questions of stylistic appropriations and influences and the role of museum exhibitions in promoting international and artistic exchanges. Barris reveals that Soviet and American exchanges in the world of art were extensive and persistent despite political disagreements before, during, and after the Cold War. It also reveals that these early exhibitions communicated contradictory and historically invalid pictures of the Russian or Soviet avant-garde. The book will be of interest to scholars working in art history, museum studies, and Russian studies.
