Sunday, 19 January 2014

[V475.Ebook] PDF Ebook Little Heathens: Hard Times and High Spirits on an Iowa Farm During the Great Depression, by Mildred Armstrong Kalish

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Little Heathens: Hard Times and High Spirits on an Iowa Farm During the Great Depression, by Mildred Armstrong Kalish



Little Heathens: Hard Times and High Spirits on an Iowa Farm During the Great Depression, by Mildred Armstrong Kalish

PDF Ebook Little Heathens: Hard Times and High Spirits on an Iowa Farm During the Great Depression, by Mildred Armstrong Kalish

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Little Heathens: Hard Times and High Spirits on an Iowa Farm During the Great Depression, by Mildred Armstrong Kalish

I tell of a time, a place, and a way of life long gone. For many years I have had the urge to describe that treasure trove, lest it vanish forever. So, partly in response to the basic human instinct to share feelings and experiences, and partly for the sheer joy and excitement of it all, I report on my early life. It was quite a romp.

So begins Mildred Kalish’s story of growing up on her grandparents’ Iowa farm during the depths of the Great Depression. With her father banished from the household for mysterious transgressions, five-year-old Mildred and her family could easily have been overwhelmed by the challenge of simply trying to survive. This, however, is not a tale of suffering.

Kalish counts herself among the lucky of that era. She had caring grandparents who possessed—and valiantly tried to impose—all the pioneer virtues of their forebears, teachers who inspired and befriended her, and a barnyard full of animals ready to be tamed and loved. She and her siblings and their cousins from the farm across the way played as hard as they worked, running barefoot through the fields, as free and wild as they dared.

Filled with recipes and how-tos for everything from catching and skinning a rabbit to preparing homemade skin and hair beautifiers, apple cream pie, and the world’s best head cheese (start by scrubbing the head of the pig until it is pink and clean), Little Heathens portrays a world of hardship and hard work tempered by simple rewards. There was the unsurpassed flavor of tender new dandelion greens harvested as soon as the snow melted; the taste of crystal clear marble-sized balls of honey robbed from a bumblebee nest; the sweet smell from the body of a lamb sleeping on sun-warmed grass; and the magical quality of oat shocking under the light of a full harvest moon.

Little Heathens offers a loving but realistic portrait of a “hearty-handshake Methodist” family that gave its members a remarkable legacy of kinship, kindness, and remembered pleasures. Recounted in a luminous narrative filled with tenderness and humor, Kalish’s memoir of her childhood shows how the right stuff can make even the bleakest of times seem like “quite a romp.”


From the Hardcover edition.

  • Sales Rank: #104659 in Books
  • Brand: Brand: Bantam
  • Published on: 2008-04-29
  • Released on: 2008-04-29
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.26" h x .67" w x 5.51" l, .73 pounds
  • Binding: Paperback
  • 292 pages
Features
  • Great product!

From Publishers Weekly
Kalish's memoir of her Iowa childhood, set against the backdrop of the Depression, captures a vanished way of traditional living and a specific moment in American history in a story both illuminating and memorable. Kalish lived with her siblings, mother and grandparents-seven in all-both in a town home and, in warmer weather, out on a farm. The lifestyle was frugal in the extreme: "The only things my grandparents spent money on were tea, coffee, sugar, salt, white flour, cloth and kerosene." But in spite of the austere conditions, Kalish's memories are mostly happy ones: keeping the farm and home going, caring for animals, cooking elaborate multi-course meals and washing the large family's laundry once a week, by hand. Here, too, are stories of gossiping in the kitchen, digging a hole to China with the "Big Kids" and making head cheese at butchering time. Kalish skillfully rises above bitterness and sentiment, giving her memoir a clear-eyed narrative voice that puts to fine use a lifetime of careful observation: "Observing the abundance of life around us was just so naturally a part of our days on the farm that it became a habit." Simple, detailed and honest, this is a refreshing and informative read for anyone interested in the struggles of average Americans in the thick of the Great Depression.
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
One of the most endearing qualities of octogenarian Mildred Armstrong Kalish’s Little Heathens is that it runs counter to what the memoir, sadly, has too frequently become—self-indulgent, self-promoting gossip. Despite circumstances that could easily have left her embittered, Kalish, a retired English professor, recalls her formative years fondly. Through simple, honest prose punctuated with "her old pagan rhythms" (New York Times Book Review) and a host of memorable examples, Kalish performs her greatest feat, which is to make some of us under 80 just the slightest bit envious—crazy to say, but such is human nature—that we never experienced the Depression-era challenges and triumphs so lovingly recounted.
Copyright � 2004 Phillips & Nelson Media, Inc.

From Booklist
This unpretentious yet deeply intelligent memoir of growing up on a central Iowa farm in the throes of the Great Depression radiates the joy of a vanished way of life as Kalish recounts what appear to contemporary eyes as unendurable deprivations. Those who share Kalish's midwestern farm background will immediately identify with her recollections of winter nights spent under layers of quilts in unheated bedrooms. Others for whom agrarian life is uncharted territory will learn both the harsh rigors of days governed by unforgiving work cycles and the irreproducible sensual pleasure of savoring a just-picked, sun-drenched, ripe strawberry or tomato. In prose that never yields to mawkish sentimentality, Kalish details the roles of family, religion, thrift, and education in her upbringing. The complexities of wash-day chores will bring up short those who know only today's appliances. Kalish's disquisition on outhouse etiquette will simply amaze those accustomed to their own bathrooms. Mark Knoblauch
Copyright � American Library Association. All rights reserved

Most helpful customer reviews

119 of 125 people found the following review helpful.
This book is a winner
By Schmerguls
This is an entrancing memoir of days now long gone, but vivid in the minds of those who lived them. While I lived on an Iowa farm in western Iowa rather than eastern Iowa, and was a boy, and was about six years younger than the author, this book recalled so much of what it was like that reading it was sn unmitigated delight. The author recognizes "the all-too-human tendency to gloss over the bad and glorify, or at least magnify, the good" when recalling one's childhood, but it sure makes greater reading to read of one's appreciated childhood than it does to read of one who looks back thereon in bitterness. Thus this book beats, e.g., Angela's Ashes by a mile in enjoyable reading.

84 of 87 people found the following review helpful.
Depression Modern
By Peter Passell
Little Heathens, the memoir of an Iowa farm childhood, is a marvelously vivid encounter with an iconic way of life that has largely gone the way of the elm tree. The author Mildred Kalish, valedictorian of her high school class back in 1940, turns a sharp, remarkably objective eye on those descendents of the pioneers, "more 19th century than 20th," who raised her to live off the land through Iowa's "fierce blizzards" and some of America's worst times.

But this is not Little-House-on-the-Prairie. Yes, Kalish can rustle up the poignant details of honey gathering and head-cheese making. She can tell you how to domesticate raccoons and explain the proper use of beets to draw boils. What's unique here, though, is Kalish's portrait of an austere people whose Puritan tradition frowned on joy, prohibited affection in word or touch, "built character" with an open bible and homilies that dotted their days.

Fortunately, while Kalish grew up hearing that "whistling girls and crowing hens will always come to some bad end," such warnings never dampened the spirits of the "little heathens" -- as her grandmother called the farm's children. Eight decades later she has brought those stern sepia-toned faces back to full color through their words (from "Oh my soul" to "shit from shinola"), their ideals ("better to wear out than rust out"), and their deepest pleasures ("the kinship of souls that is created when everyone gathers in the kitchen to prepare a meal"). Reading Little Heathens, you become part of that lovely kinship for a while.

2 of 2 people found the following review helpful.
Great Read and Great for Giving
By H. Burns
Wow, I read this book because my mom always called us kids "little heathens" and we are from rural Iowa, so had to check out this book. If nothing else but to completely clarify what a heathen is when used in an endearing context.

First, I read it on my kindle, then bought a copy for my mom (she loved it), she then recommended it to her sisters, who bought copies, then I bought a copy for my cousin for Christmas when I got that copy i looked through it and the pics are so great it is a shame I read it first on Kindle.

Furthermore, during Thanksgiving my mom told my 8 brothers and sisters how great it was, and on, and on... Let's just say everyone who has read this book feels a closer connection to our older relatives who lived through the depression, we even understand some traditions better, why we cook the way we do, and where we get the saying, "He is just a half bubble off plumb."

I also believe that each of us has come away feeling better about where we come from, who we are, and like Dolly Parton says, I wouldn't give up those experiences for any amount of money, and I wouldn't live through it again for any amount of money. (paraphrase)

This review is based on the Hardcover Edition and the Kindle Edition

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Sunday, 12 January 2014

[U216.Ebook] Fee Download How Does It Feel to Be a Problem?: Being Young and Arab in America, by Moustafa Bayoumi

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How Does It Feel to Be a Problem?: Being Young and Arab in America, by Moustafa Bayoumi

How Does It Feel to Be a Problem?: Being Young and Arab in America, by Moustafa Bayoumi



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How Does It Feel to Be a Problem?: Being Young and Arab in America, by Moustafa Bayoumi

An eye-opening look at how young Arab- and Muslim- Americans are forging lives for themselves in a country that often mistakes them for the enemy

Just over a century ago , W.E.B. Du Bois posed a probing question in his classic The Souls of Black Folk: How does it feel to be a problem? Now, Moustafa Bayoumi asks the same about America's new "problem"-Arab- and Muslim-Americans. Bayoumi takes readers into the lives of seven twenty-somethings living in Brooklyn, home to the largest Arab-American population in the United States. He moves beyond stereotypes and clich�s to reveal their often unseen struggles, from being subjected to government surveillance to the indignities of workplace discrimination. Through it all, these young men and women persevere through triumphs and setbacks as they help weave the tapestry of a new society that is, at its heart, purely American.

  • Sales Rank: #648765 in Books
  • Brand: Brand: Penguin Press HC, The
  • Published on: 2008-08-14
  • Released on: 2008-08-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.32" h x 1.19" w x 6.26" l, 1.06 pounds
  • Binding: Hardcover
  • 304 pages
Features
  • Used Book in Good Condition

Review
“As Moustafa Bayoumi argues in his provocative investigation, young Arab-Americans are still struggling to define their identities in a hostile environment and to cope with the governments distrust…despite what they have suffered and continue to endure, Bayoumi and his interview subjects still hope that America is a place where they can live in peace—and find justice, fairness, and freedom.”
—Francine Prose,�O�Magazine

“In�How Does It Feel to Be a Problem?�Bayoumi…gives twenty-something Arab-Americans the chance to talk about their victories and defeats.”
—The Wall Street Journal�

“These are great stories about people who might be your neighbors, and Bayoumi delivers them with urgency, compassion, wryness and hints of poetry. You may walk away from the book with a much greater understanding of Arab-American life, but you'll feel that's simply because you've hung out with Bayoumi and friends, snarfing down Dunkin' Donuts or puffing on hookahs, talking about vital issues.”
—Salon.com�

“Bayoumi's book fascinates.”
—Deborah Douglas,�Chicago Sun-Times�

“Moustafa Bayoumi's�How Does It Feel to Be a Problem?�has an intimate feel, as the author listens closely to the dreams and realities of seven young Arabs living in post-9/11 America.”
—Dallas Morning News�

“an indispensable guide…a well-written book on a subject that is often overlooked or treated as a side note to bigger problems, like the occupation of Iraq, Israeli aggression and civil liberties.”
—The Arab American News�

“Bayoumi succeeds in presenting the reader with more than just a glimpse into these lives. One is right there with Rasha, a Palestinian-American teenager, who was detained along with the rest of her family without reason following 9/11. This first story is the most chilling as one can sense the frustration and dread emanating from Rasha’s story. I have heard about things like this happening but to actually read about 19-year-old Rasha and what she and her entire family had to endure is something else. Bayoumi’s decision to talk to Arabs from Brooklyn was a wise one as these stories are reflections from a group of people that not only have bared the brunt of discrimination, but call New York City their home and therefore, 9/11 affected them as it did most New Yorkers. By providing a book accessible to the masses, Bayoumi gives the Arab problem a very human face that other Americans can empathize with.”
—MediaandIslam.com�

“Bayoumi offers a revealing portrait of life for people who are often scrutinized but seldom heard from.”
—Booklist(starred review)�

“In many ways, [Bayoumi’s] absorbing and affectionate book is a quintessentially American picture of 21st century citizens ‘absorbing and refracting all the ethnicities and histories surrounding [them].’ However, the testimonies from these young adults—summary seizures from their homes, harassment from strangers, being fired for having an Arab or Muslim name—have a weight and a sorrow that is ‘often invisible to the general public.’”
—Publishers Weekly�(starred review)�

"The book’s title derives from a question posed by W.E.B. Du Bois in�The Souls of Black Folk, and given the burgeoning of anti-Arab, anti-Muslim sentiments since 9/11, the author’s appropriation of it seems apt. [Bayoumi] poignantly portrays young people coming of age at a time when “informants and spies are regular topics of conversation…friendships are tested, trust disappears.””
—Kirkus Reviews�

"Wholly intelligent and sensitively-drawn,�How Does It Feel to Be a Problem?�is an important investigation into the hearts and minds of young Arab-Americans. This significant and eminently readable work breaks through preconceptions and delivers a fresh take on a unique and vital community. Moustafa Bayoumi's voice is refreshingly frank, personable, and true."
—Diana Abu-Jaber, author of�Origin, Crescent, and�The Language of Baklava�

“In relating the gripping personal stories of seven young Arab and Muslim Americans from Brooklyn in�How Does it Feel to be a Problem, Moustafa Bayoumi reveals the feelings and frustrations of the current era's scapegoats, who can be demonized, profiled, and reviled without fear of sanction. His book shows both the dimensions of this new problem for American society, and the hopeful signs that this problem too can be overcome.”
—Rashid Khalidi, Edward Said Professor of Arab Studies, Columbia University and author of�The Iron Cage�

“Suspenseful storytelling and rich detail make�How Does It Feel to Be a Problem?�required reading for Americans yearning for knowledge about Islam and their Muslim neighbors in the United States. In a series of fascinating narratives about the horrors and conflicts young Muslim-Americans faced after 9/11, Moustafa Bayoumi has written a work that is passionate, yet measured, humorous, and above all enlightening.”
—Geneive Abdo, author of�Mecca�and�Main Street: Muslim Life in America After 9/11�

"With deft prose, acute insight and extensive reporting, Moustafa Bayoumi has produced truly engrossing portraits of young Muslim Americans about whom we usually hear only empty polemics. With a light touch, he gives voice to people who are referred to often and heard from rarely. The result is a sense of the tentative resistance of a besieged generation, as well as their determination to force America to be true to its promise even if it means confronting prejudice in its practice."�
—Gary Younge, author of�Stranger in a Strange Land: Encounters in the Disunited States�and�No Place Like Home

About the Author
Moustafa Bayoumi was born in Zurich, Switzerland, and raised in Canada. He earned his Ph.D. at Columbia University and is an associate professor of English at Brooklyn College, the City University of New York. He is coeditor of The Edward Said Reader, and his essays have appeared in The Best Music Writing 2006, The Nation, The London Review of Books, The Village Voice, and other publications. He is also the author of This Muslim American Life: Dispatches from the War on Terror.�He lives in Brooklyn, New York.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Important book to get a conversation about a racism and profiling
By K. Sue
I came across this book in an article in the local Sunday paper as the author will be appearing at Millersville University. First off, kudos to MU for making this book required reading for all its incoming freshman. They want to spotlight the Middle East and the experiences of Arabs in the US post 9/11. Second of all, as the American-born mother of three Arab American teens, who have been confronted with their Arab identity, I was very interested to know what else might they face and how others have dealt with it.

First of the writing is superb. It's intelligent but easily accessible. There's no dumbing down or superficial smarting up. It's a book that can be used in a university course as well as read but the average person who wants to educate themselves. There's no political agenda. The goal of the book is simply to inform.

The book contains the stories of 7 Arab American young people who live in Brooklyn. Some were born there. Others came at a young age. All are American citizens. Some are not easily recognized on the street as Arabs. Some wear traditional Muslim dress. Some are Christian. Some are Muslim. All have dealt with their Arab and American identities but in different ways. For someone, like me, who is well aware of the problems Arab Americans have faced, I can't say anything shocked me or surprised me. What impressed me was the profiles in courage that are presented. I really love that strong Arab women are presented fighting for their rights and not pictured as oppressed. I really respect and admire Yasmin for not giving up in her struggle and her father who supported her even when he wasn't always sure that what she wanted was in her best interest.

This book would be a great high school, college or book group selection to start a conversation about racism and profiling. The study questions at the end really help put yourself in the Arab shoes and make you consider how you would react in these situations.

0 of 0 people found the following review helpful.
We all have the same struggles, hopes, and dreams.....
By L. Hall
Raw, honest, thought-provoking. Would love to know what these young men and women are up to today, 9 years after the book was published.

0 of 0 people found the following review helpful.
Five Stars
By Mary Frances
everyone should read this book.

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Tuesday, 7 January 2014

[F149.Ebook] PDF Download Rage and Glory - The Volatile Life and Career of George C. ScottFrom Hal Leonard

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Rage and Glory - The Volatile Life and Career of George C. ScottFrom Hal Leonard

  • Sales Rank: #10265324 in Books
  • Brand: Hal Leonard
  • Binding: Sheet music
Features
  • The First Complete Biography of this Great Star
  • Interviews with Numerous Colleagues
  • Hardcover
  • 430 Pages

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Monday, 30 December 2013

[F818.Ebook] Free Ebook History of Modern Art, by H. H. H Arnason, Peter Kalb

Free Ebook History of Modern Art, by H. H. H Arnason, Peter Kalb

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History of Modern Art, by H. H. H Arnason, Peter Kalb



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History of Modern Art, by H. H. H Arnason, Peter Kalb

For undergraduate course in Modern Art, Origins of Modernism, Art Since 1945, Contemporary Art and other courses focusing on art in the 20th century. Long considered the survey of modern art, this engrossing and liberally illustrated text traces the development of trends and influences in painting, sculpture, photography and architecture from the mid-nineteenth century to the present day. Retaining its comprehensive nature and chronological approach, it now comes thoroughly reworked by Michael Bird, an experienced art history editor and writer, with refreshing new analyses, a considerably expanded picture program, and a more absorbing and unified narrative.

  • Sales Rank: #421571 in Books
  • Published on: 2003-09-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.40" h x 1.74" w x 8.58" l,
  • Binding: Paperback
  • 848 pages

From the Back Cover

Comprehensive, authoritative, and insightful, Arnason's History of Modern Art remains the definitive source of information on the art of the modern era from Modernism's mid-nineteenth-century European beginnings to today's divergent art trends.

Now full color throughout, this Fifth Edition has been completely redesigned to make it even more elegant and easy-to-use. New headings, subheadings, and. a glossary have been added to help the reader navigate the material and quickly identify areas of interest. The entire text has been carefully edited for greater clarity, narrative coherence, and scholarly currency. Of particular interest is Chapter 27, now entitled "Resistance and Resolution" (known as the "Epilogue" in the previous edition), which has been completely rewritten by art historian Peter Kalb to consider the latest' scholarship and emerging trends in contemporary art.

The late H.H. Arnason was a distinguished art historian, educator, and museum administrator who for many years was Vice President for Art Administration of the Solomon Guggenheim Museum in New York. He . began his professional life in academe, teaching at Northwestern University, University of Chicago, and University of Hawaii. From 1947 to 1961, Arnason was Professor and Chairman of the Department of Art at the University of Minnesota.

Excerpt. � Reprinted by permission. All rights reserved.

At the start of the twenty-first century, the term "modern art" already has something of a venerable ring to it. It has joined other capacious art historical categories, such as "Renaissance" or "Romanticism," which, though they may usefully serve to give shape to broad contours of art history, become less clear in meaning and more open to dispute the closer you get to detailed discussion of specific works of art. The only difference between these and "modern art" is that modern art as a temporal category is still open-ended: it is, by one definition, simply the art of the present day. But it also includes the early paintings of Matisse and Malevich, Braque's Cubist collages, and the first building designs by Frank Lloyd Wright—products of a world that now feels very distant indeed, separated from us by two world wars, the atomic bomb, and the Internet. The words "modern art" have soaked up so much history that they can never again mean what they once meant (or at least, not with the same heady conviction): shockingly new, bewilderingly progressive, utterly of the present moment, unprecedented-though they still encompass that.

A Short History of History of Modern Art

Just as "modern" is a many-layered term, this book, now in its fifth edition, has a history of its own. As the term "modern art" has broadened and been reinterpreted over time, successive scholars, editors, and specialist contributors have amended and added to Harvey H. Arnason's original text, which Arnason himself fully revised some years after the book was first published in 1969. This has been a process not only of fine-tuning and updating information but also of revisiting much of Arnason's material in the context of a scholarly and educational environment that has changed significantly from the one in which he wrote. There are parallels to this process in other cultural arenas, for example in the reorganization and reinterpretation of museum and gallery displays. The core of the collection remains the same, the objects have the same indelible presence and fascination, but, juxtaposed with new acquisitions and displayed under different lighting conditions, they lead viewers to look at them in different (sometimes very different) ways.

In this sense, while this new edition of History of Modern Art contains much added material, it is still essentially Arnason's creation. This Preface offers a brief investigation into the marathon staying-power of his original endeavor, even through successive revisions have seen the book evolve over the years to take account of new directions in art and art history. After more than three decades and four new editions, Arnason's vision remains the core of this standard work of art historical reference.

The Art of Looking

Arnason was Professor and Chairman of the University of Minnesota's art department from 1947 to 1961, and he had a long association with New York's Solomon R. Guggenheim Museum as its Vice President for Art Administration. He embarked on History of Modern Art relatively late in life. The project was conceived and intended as a long-term landmark—the first book of its kind—and it drew on the experience of his distinguished career as an art historian. Two deep-rooted convictions underpin Arnason's History: first, that understanding art is a matter of fundamental importance; second, that the way to learn about art is to look for yourself. His Preface unequivocally emphasized his belief in the importance of the individual's face-to-face experience of art—a belief that, as he saw it, gave the book its rationale and its structure:

The thesis of this book, insofar as it has a thesis, is that in the study of art the only primary evidence is the work of art itself. Everything that has been said about it, even by the artist himself, may be important, but it remains secondary evidence. Everything that we can learn about the environment that produced it historically, socially, culturally is important, but again is only secondary or tertiary evidence. It is for this reason that an effort has been made to reproduce most of the works discussed. For the same reason a large part of the text is concerned with a close analysis of these works of art and with detailed descriptions of them as well. This has been done in the conviction that simple description has an effect in forcing the attention of the spectator on the painting, sculpture, or building itself. If, after studying the object, he disagrees with the commentator, all the better, In the process he has learned something about visual perception.

Encouraging his readers to look at art was Arnason's first objective. But he had a further, more challenging aim in view, which was to get people thinking about what it means to go beyond the realm of words—facts, opinions, descriptions, books (no matter how inspiring or enlightening these may be)—and experience art as a purely visual phenomenon. "The principal emphasis of this book," he wrote,

revolves around the problem of seeing modern art. It is recognized that this involves two not necessarily compatible elements: the visual and the verbal. Any work of art history and/or criticism is inevitably an attempt to translate a visual into a verbal experience. Since the mind is involved in both experiences, there are some points of contact between them. Nevertheless, the two experiences are essentially different and it must always be recognized that the words of the interpreter are at best only an approximation of the visual work of art.

Why does Arnason consider looking at modern art such an important art to master? The valuation that society places on art, and the reasons for that valuation, change with time, and here again, since History of Modern Art first appeared, shifts have occurred in our perception of why art matters.

Experience and Interpretation

The distant roots of Arnason's belief that looking at art is in itself a profoundly worthwhile activity can be traced to the liberal, secular educational ideals of the nineteenth century. These ideals presumed that exposure to the "highest" kind of cultural experiences could make people, whatever their social or ethnic background, better citizens and happier individuals.

More recent generations of scholars and writers have fiercely questioned the foundations of this outlook, but its monuments remain at the center of Western cultural life. The conviction that simply looking at paintings and sculptures, or entering a grandly beautiful building, were necessarily uplifting and "ennobling" experiences was an important factor in the nineteenth-century enthusiasm in Europe and North America for establishing public art collections and opening great private collections to the public. As a scholar working in the orbit of major American collections, Arnason was a direct heir to the tradition of promoting contact with art for the general good. These collections, and later ones founded on their model, still provide the public with their most important point of access to art.

His belief in the power of art to work its own magic in our lives marks Arnason as a man very much of his time and background. Today art has lost none of its cultural glamour, but the role of interpretation is now regarded as not merely helpful for the viewer's own experience but in certain ways essential for it. The idea of art history as a unitary field of knowledge has been replaced by the recognition of diverse art histories, each shaped by a particular interpretative approach. Likewise, the old notion of the canon—a roll-call of indisputable masterpieces that set the standard for all artistic achievement—has given way to a far more inclusive view of what constitute legitimate objects of art historical attention.

These changes have affected the ways in which art is made, viewed, presented, and taught. Textbooks locate art within contemporaneous social, historical, political, and philosophical themes. Museums, too, which at one time were regarded as palaces or temples for the display of self-evidently significant cultural treasures, now see the interpretation of these treasures as an equally important activity, recognizing that any work of art may well mean quite different things to different viewers. To take one obvious example, it is now comfortably accepted, as it would not have been in art history pre-Feminism, that Western art's long preoccupation with the naked female body, in particular the centrality the nude has enjoyed in histories of Western art, does not carry the same messages for women as for men. It is not that we look any more carefully or subtly at art than earlier generations did, only that the range of information regarded as relevant to an understanding (or understandings) of art has been vastly extended.

This new edition, as one would expect, acknowledges interpretative standpoints more openly and, inevitably, more self-consciously that did Arnason's original text. This will be especially evident to the reader in the substantially revised and expanded chapters dealing with art after around 1970, a period during which critical theory and the awareness of multiple interpretations came to inform much art practice.

How Arnason would have interpreted the art of the final quarter of the twentieth century can only be guessed, but he would no doubt have applauded the emphasis on the need for art education to work on a broad front. "It is recognized," he wrote, "that a work of art or architecture cannot exist in a vacuum. It is the product of a total environment—a social and cultural system—with parallels in literature, music, and the other arts, and relations to the philosophy and science of the period." But when he wrote History of Modern Art, you quickly gather, following up these parallels was not his primary concern. The two world wars, the Russian Revolution, the rise of Nazism and the Depression era of the thirt...

Most helpful customer reviews

2 of 2 people found the following review helpful.
Well-written, plenty of pix
By Arthur Comings
I have several big survey-type art books, but this is the best. The pix are great, as you'd expect, but what delights me is how well-written and edited it is. Even though it's a big book, it has to cover a lot of topics, and you can read right along, enjoying the developments, without tripping over the author's use of English. That's getting rare these days.

The only thing I object to is their occasional use of black-and-white photos, especially on pages where they're already printing in color. I guess maybe that saves them a little time when they're proofing the book, but it sure doesn't serve the reader well. With a computer nearby, though it's easy to look up anything they reference, though -- and they mention plenty that they don't have space for, even though the book is almost 2" thick.

This is a fascinating subject, and they present it that way. I had to buy it for a modern-art class, and saved a bunch with a used one.

1 of 1 people found the following review helpful.
Bursting for more knowledge.......
By Motte 1
Oh dear me! I feel I must come to this books rescue. I am not an academic nor am I doing any arts courses.

In 2005 I went to New York, with a friend more knowledgable about art than I, to see the Cezanne and Pissarro exhibition at MoMA. When I arrived back in the UK I was bursting for more knowledge and information about modern art in particular. My husband, who IS an academic, went The Barber Institute Library, Birmingham and brought home half a dozen books for me to decide upon. This book was one of them. I bought several, the above in hardback, it is a physically large book. I have never looked back, it was a joy to read and I did read every word. Nor did I feel it to be a dry, dusty academic book but one written by someone with enthusiasm and a huge amount of knowledge to impart to me. ...."Two deep-rooted convictions underpin Arnason's 'History': first, that understanding art is a matter of fundamental importance; second, that the way to learn about art is to look for yourself....." a quote from the preface to the fifth edition. What I remember most about reading this excellent book was the NEED for all of us to LOOK at art. Then go and look again, and again.

The fifth edition covers painting, sculpture, architecture and photography. So, not only did I learn to LOOK at paintings again I looked anew at sculpture, architecture and photography .... again and again.

I thought this book was exciting and it whetted my appetite for much more!

0 of 0 people found the following review helpful.
Art as the Definitive Indicator of the grand movements of History
By Herbert L Calhoun
Although this review is only of the third edition of this book, it is already a monumental work of artistic scholarship. It covers in a most comprehensive fashion, the history of paintings, sculpture, architecture and for the first time in this edition, has added, photography.

The author's main focus is paintings. His strategy of explanation has been to locate the essence of each new movement, reveal its characteristics to the reader in clear, non-academic prose, and in this he has succeeded beyond the reader's fondest expectation. In each case he attempts to go back to the beginning and then "walks" the reader up through each movement and thus through the ages, covering all of the schools and trends along the way. Although architecture and photography are added on at the end, they nevertheless serve to complete the overall artistic picture.

Beginning with a thorough account of the influential 19th Century academies of art; i.e., the Romantics, the Realists, the Impressionists, and post-impressionists, among others, Arnason provides a detailed analysis of what was accomplished and how the breakthroughs they represented, prepared the way for subsequent innovations such as Fauvism, Cubism, Expressionism, and Futurism. The plates are carefully annotated with background situating them properly in the movement that they apply to. All of the artistic giant's entries are presented in full-color glossy prints.

After the Dada period of WW-I, the new emerging anti-war sentiments, with its counter-cultural tinge, were viewed skeptically as unorthodox and the beginning of a generation-long anti-artistic trend. This shocked the art world into stunned acceptance of a new era of almost completely anti-cultural forms of expression. Surrealism took center stage and the young turks of that era -- led by Pablo Picasso, Salvador Dali, Paul Klee, Henri Matisse, etc., reigned until the renaissance of post-WW-II. Since then we have seen the flowering of the modern and post-modern era. Fortunately for the author (and art critics) the artistic parts all fit together and provide one of the surest indexes of the grand movement of cultural history. Five stars

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[B565.Ebook] PDF Ebook Art of the Deal: Contemporary Art in a Global Financial Market, by Noah Horowitz

PDF Ebook Art of the Deal: Contemporary Art in a Global Financial Market, by Noah Horowitz

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Art of the Deal: Contemporary Art in a Global Financial Market, by Noah Horowitz

Art of the Deal: Contemporary Art in a Global Financial Market, by Noah Horowitz



Art of the Deal: Contemporary Art in a Global Financial Market, by Noah Horowitz

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Art of the Deal: Contemporary Art in a Global Financial Market, by Noah Horowitz

Art today is defined by its relationship to money as never before. Prices have been driven to unprecedented heights, conventional boundaries within the art world have collapsed, and artists think ever more strategically about how to advance their careers. Art is no longer simply made, but packaged, sold, and branded. In Art of the Deal, Noah Horowitz exposes the inner workings of the contemporary art market, explaining how this unique economy came to be, how it works, and where it's headed.

In a new postscript, Horowitz reflects on the evolution of the trade since the book's original release in 2011, shining light on the market's continued ascent as well as its most urgent challenges.

  • Sales Rank: #374944 in Books
  • Brand: Princeton University Press
  • Published on: 2014-08-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.20" h x .90" w x 6.10" l, .0 pounds
  • Binding: Paperback
  • 400 pages
Features
  • Princeton University Press

Review
"Art of the Deal is a crucial book on art and finance."--Blake Gopnik, Daily Beast

"[T]he precision and lucidity with which Mr. Horowitz describes the commercialization of art should garner appeal for his book across a broad swath of market participants. For the rest of us, it is an enjoyable glimpse into the opaque corners of the art community."--Benjamin R. Mandel, Journal of Cultural Economics

"Horowitz has provided readers with a very thorough and wide-ranging analysis of the contemporary art market that brings an unprecedented complexity to this discussion. His synthesis of the literature on the topic is sophisticated yet lucid and the book is exceptionally well researched, supported by countless citations."--John Zarobell, Tabula Quarterly

"I thoroughly enjoyed this critical account of the global contemporary art economy; Noah Horowitz has a real understanding of the inner workings of the market. The fact that he chose to focus on video and experiential art renders his account unique and gives even the seasoned reader interesting insights."--Thaddaeus Ropac, Art Newspaper

"One welcome aspect of the book is that its avoids to a degree but not entirely the usual cast and plot lines because of its focus on the relative undermined areas on 'immaterial' art genres in the first two essays. The book's discussion of video and experiential art is interesting. The discussion of the minutiae of this world of performances, installations, action and social interaction and their ancillary elements, content ownership and the rise of the collector's box will add greatly to the reader's ability to appear learned on a suitable social occasion."--Satyajit Das, naked capitalism

From the Back Cover

"In recent decades, the world of contemporary art has developed into a global business. To fully grasp how this has changed the art world and our relationship to art, we need a thorough analysis of the financial forces involved. The best place to start is this groundbreaking study by Noah Horowitz, which, leaving the common chitchat about art and money to others, takes the discussion to a more fundamental level."--Daniel Birnbaum, director, Moderna Museet, Stockholm, and curator of the 2009 Venice Biennale

"Calmly, trenchantly, Horowitz examines the intricate relationship between the contemporary art market and the value of its objects. This book will prove indispensable to anyone who wants to know how the art market works and what tomorrow's art economy might look like."--Alexander Alberro, Barnard College, Columbia University

"Art of the Deal is cogently argued, thoroughly researched, and richly documented. It is also, to my knowledge, highly original, and not only in its subject matter--giving a textured financial analysis of contemporary art, in all its market manifestations--but in the rigor of its financial analysis. I don't know of another book like it in the field."--James Cuno, president and director, Art Institute of Chicago

"This book is extremely stimulating and thoroughly enjoyable. Horowitz brings deep insight to his analysis, and he weaves in beautiful historical examples. His discussion of front- and backroom business by dealers, loss leaders, and profit makers is telling. Think about the art world using his concepts. Your views will change."--Richard J. Zeckhauser, Frank P. Ramsey Professor of Political Economy, John F. Kennedy School of Government, Harvard University

About the Author
Noah Horowitz holds a PhD in art history from the Courtauld Institute of Art, London. He currently lives in New York, where he is a member of the faculty of the Sotheby's Institute of Art and executive director of The Armory Show.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Realistic outlook at art economy
By A Customer
Refreshing to read a book about the actual dealings and the economy of artworks without pseudo-elevating art theory that usually goes with it.

22 of 26 people found the following review helpful.
Poor
By Yachtmaster
This is not a book as much as it is an incomplete academic research paper. First of all the "book" has only 3 chapters, Video Art, Experimental Art and Investment Funds. More than 1/3 of the entire text(pages 215-361) is simply reference material(i.e. appendix, citations, bibliography etc.)

This book reads like an academic paper and is not very useful or interesting. For a much better read on the insights into Contemporary Art Market I would suggest the The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art by Don Thomson.The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art

1 of 2 people found the following review helpful.
Five Stars
By DM
This book discusses the Deal in Art - great work, and a must-read.

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Saturday, 28 December 2013

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Star by Anderson, Pamela (August 3, 2004) Hardcover, by Pamela Anderson

  • Sales Rank: #8643823 in Books
  • Published on: 1702
  • Binding: Hardcover

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Monday, 23 December 2013

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Urogenital Manipulation, by Jean-Pierre Barral

Explores the osteopathic implications of the dysfunctions of the internal viscera with the focus on the pelvis, particularly of women...includes details on the genito- humeral & complete Lasegue's tests.

  • Sales Rank: #747168 in Books
  • Brand: Brand: Eastland Press
  • Published on: 1993-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.20" h x .80" w x 7.20" l, 1.60 pounds
  • Binding: Hardcover
  • 249 pages
Features
  • Used Book in Good Condition

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0 of 0 people found the following review helpful.
Valuable Information!
By AJB
Great book with clear diagrams. Directed toward those with an understanding of the pelvis already, and bodywork. I would recommend 'Anatomy of the Female Pelvis' for the lay person.

0 of 2 people found the following review helpful.
Five Stars
By njoy
thank you!

13 of 17 people found the following review helpful.
Accurate & well explained procedural information
By A Customer
Urogenital manipulation is a must have text which allows review of procedure by region. i.e. bladder, uterus & vagina, ovaries & uterine tubes. Illustrations are line drawings covering the majority of manipulations discussed. Text also covers topics on patient ethics.

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