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Affiche du document Futurist Files — Futurist Files
Iva Glisic
1h47min15
Littérature & Beaux Arts
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143 pages. Temps de lecture estimé 1h47min.
Futurism was Russia''s first avant-garde movement. Gatecrashing the Russian public sphere in the early twentieth century, the movement called for the destruction of everything old, so that the past could not hinder the creation of a new, modern society. Over the next two decades, the protagonists of Russian Futurism pursued their goal of modernizing human experience through radical art. The success of this mission has long been the subject of scholarly debate. Critics have often characterized Russian Futurism as an expression of utopian daydreaming by young artists who were unrealistic in their visions of Soviet society and naïve in their comprehension of the Bolshevik political agenda. By tracing the political and ideological evolution of Russian Futurism between 1905 and 1930, Iva Glisic challenges this view, demonstrating that Futurism took a calculated and systematic approach to its contemporary socio-political reality. This approach ultimately allowed Russia''s Futurists to devise a unique artistic practice that would later become an integral element of the distinctly Soviet cultural paradigm. Drawing upon a unique combination of archival materials and employing a theoretical framework inspired by the works of philosophers such as Lewis Mumford, Karl Mannheim, Ernst Bloch, Fred Polak, and Slavoj Žižek, The Futurist Files presents Futurists not as blinded idealists, but rather as active and judicious participants in the larger project of building a modern Soviet consciousness. This fascinating study ultimately stands as a reminder that while radical ideas are often dismissed as utopian, and impossible, they did—and can—have a critical role in driving social change. It will be of interest to art historians, cultural historians, and scholars and students of Russian history.

Futurist Files
Iva Glisic
1h47min15
Littérature & Beaux Arts
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143 pages. Temps de lecture estimé 1h47min.
Futurism was Russia''s first avant-garde movement. Gatecrashing the Russian public sphere in the early twentieth century, the movement called for the destruction of everything old, so that the past could not hinder the creation of a new, modern society. Over the next two decades, the protagonists of Russian Futurism pursued their goal of modernizing human experience through radical art. The success of this mission has long been the subject of scholarly debate. Critics have often characterized Russian Futurism as an expression of utopian daydreaming by young artists who were unrealistic in their visions of Soviet society and naïve in their comprehension of the Bolshevik political agenda. By tracing the political and ideological evolution of Russian Futurism between 1905 and 1930, Iva Glisic challenges this view, demonstrating that Futurism took a calculated and systematic approach to its contemporary socio-political reality. This approach ultimately allowed Russia''s Futurists to devise a unique artistic practice that would later become an integral element of the distinctly Soviet cultural paradigm. Drawing upon a unique combination of archival materials and employing a theoretical framework inspired by the works of philosophers such as Lewis Mumford, Karl Mannheim, Ernst Bloch, Fred Polak, and Slavoj Žižek, The Futurist Files presents Futurists not as blinded idealists, but rather as active and judicious participants in the larger project of building a modern Soviet consciousness. This fascinating study ultimately stands as a reminder that while radical ideas are often dismissed as utopian, and impossible, they did—and can—have a critical role in driving social change. It will be of interest to art historians, cultural historians, and scholars and students of Russian history.

Accès libre

Affiche du document La Ville aux fromagers — La Ville aux fromagers
Souleymane Diallo
1h05min15
Architecture et design
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87 pages. Temps de lecture estimé 1h05min.
Dans une approche métaphorique, l’auteur revient sur trente ans d’histoire politique contemporaine de Dagana (1994-2024). Il y présente les dynamiques politiques, les changements sociaux et économiques, les acteurs, leurs implications, leurs stratégies, leurs génies, mais aussi leurs tares qui tous font l’histoire contemporaine de la ville de Dagana.Ce livre a la particularité de montrer la vision politique de son auteur, ses envies, ses projets, sa compréhension des enjeux et des solutions qu’il envisage pour contribuer au développement de sa localité. Le parcours académique et professionnel de son auteur lui confère toute la légitimité pour ouvrir des perspectives.

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Affiche du document Milwaukee in Stone and Clay — Milwaukee in Stone and Clay
Raymond Wiggers
2h00min00
Architecture et design
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160 pages. Temps de lecture estimé 2h00min.
Milwaukee in Stone and Clay follows directly in the footsteps of Raymond Wiggers''s previous award-winning book, Chicago in Stone and Clay. It offers a wide-ranging look at the fascinating geology found in the building materials of Milwaukee County''s architectural landmarks. And it reveals the intriguing and often surprising links between science, art, and engineering. Laid out in two main sections, the book first introduces the reader to the fundamentals of Milwaukee''s geology and its amazing prehuman history, then provides a site-by-site tour guide. Written in an engaging, informal style, this work presents the first in-depth exploration of the interplay among the region''s most architecturally significant sites, the materials they''re made of, and the sediments and bedrock they''re anchored in. Raymond Wiggers crafted Milwaukee in Stone and Clay as an informative and exciting overview of this city. His two decades of experience leading architectural-geology tours have demonstrated the popularity of this approach and the subject matter.

Milwaukee in Stone and Clay
Raymond Wiggers
2h00min00
Architecture et design
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160 pages. Temps de lecture estimé 2h00min.
Milwaukee in Stone and Clay follows directly in the footsteps of Raymond Wiggers''s previous award-winning book, Chicago in Stone and Clay. It offers a wide-ranging look at the fascinating geology found in the building materials of Milwaukee County''s architectural landmarks. And it reveals the intriguing and often surprising links between science, art, and engineering. Laid out in two main sections, the book first introduces the reader to the fundamentals of Milwaukee''s geology and its amazing prehuman history, then provides a site-by-site tour guide. Written in an engaging, informal style, this work presents the first in-depth exploration of the interplay among the region''s most architecturally significant sites, the materials they''re made of, and the sediments and bedrock they''re anchored in. Raymond Wiggers crafted Milwaukee in Stone and Clay as an informative and exciting overview of this city. His two decades of experience leading architectural-geology tours have demonstrated the popularity of this approach and the subject matter.

Accès libre

Affiche du document Byzantine Media Subjects — Byzantine Media Subjects
A. Peers Glenn
2h54min45
Littérature & Beaux Arts
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233 pages. Temps de lecture estimé 2h55min.
Byzantine Media Subjects invites readers into a world replete with images—icons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them, mediating their relationship to time, to nature, to God, and to themselves.

Byzantine Media Subjects
A. Peers Glenn
2h54min45
Littérature & Beaux Arts
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233 pages. Temps de lecture estimé 2h55min.
Byzantine Media Subjects invites readers into a world replete with images—icons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them, mediating their relationship to time, to nature, to God, and to themselves.

Accès libre

Affiche du document Unbelonging — Unbelonging
A. Ramos Ivan
1h43min30
Littérature & Beaux Arts
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138 pages. Temps de lecture estimé 1h43min.
How Latinx artists engage in sonic subcultures to reject neoliberal definitions of belongingWhat is the connection between the British rock star Morrissey and the Latinx culture of transnational “unbelonging”? What is the relevance of “dyke chords” in Chicana feminist punk and lesbian dissolution? In what ways can dissonant sounds challenge systems of dominance?Unbelonging answers these questions and more through an exploration into Mexican and US-based Latinx artists’, writers’, and creators’ use of the discordant sounds of punk, metal, and rock to give voice to the aesthetic of “unbelonging,” a rejection of consumerist and nationalist mentalities. Iván A. Ramos argues that racial identity and belonging have historically required legible forms of performance. Sound has been the primary medium that amplifies and is used to assign cultural citizenship and, for Latinx individuals, legibility is essential to music perceived as traditional and authentic to their national origins. In the context of twentieth-century neoliberal policies, which cemented the concept of “citizen” within logics of consumerism and capitalism, Ramos turns to focus on Latinx artists, writers, and audiences, who produce experimental and often “inauthentic” performances and installations in sonic subcultures to reject new definitions of economic citizenship.Organized around studies of a number of artists, all whom are explored through the methodological frameworks of sound studies, performance studies, and queer theory, Unbelonging unearths how their very different genres of music share a unifying theme of dissonance. With the backdrop of neoliberalism’s attempt to define citizenship in relation to economic and cultural legibility, Unbelonging offers an urgent analysis of how these oft-overlooked queer and feminist performers and fans used sonic illegibility to challenge gender norms, official definitions of citizenship, and narratives of assimilation. Ultimately, these forms of inauthenticity move beyond negation and become ways to imagine alternative realities.

Unbelonging
A. Ramos Ivan
1h43min30
Littérature & Beaux Arts
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138 pages. Temps de lecture estimé 1h43min.
How Latinx artists engage in sonic subcultures to reject neoliberal definitions of belongingWhat is the connection between the British rock star Morrissey and the Latinx culture of transnational “unbelonging”? What is the relevance of “dyke chords” in Chicana feminist punk and lesbian dissolution? In what ways can dissonant sounds challenge systems of dominance?Unbelonging answers these questions and more through an exploration into Mexican and US-based Latinx artists’, writers’, and creators’ use of the discordant sounds of punk, metal, and rock to give voice to the aesthetic of “unbelonging,” a rejection of consumerist and nationalist mentalities. Iván A. Ramos argues that racial identity and belonging have historically required legible forms of performance. Sound has been the primary medium that amplifies and is used to assign cultural citizenship and, for Latinx individuals, legibility is essential to music perceived as traditional and authentic to their national origins. In the context of twentieth-century neoliberal policies, which cemented the concept of “citizen” within logics of consumerism and capitalism, Ramos turns to focus on Latinx artists, writers, and audiences, who produce experimental and often “inauthentic” performances and installations in sonic subcultures to reject new definitions of economic citizenship.Organized around studies of a number of artists, all whom are explored through the methodological frameworks of sound studies, performance studies, and queer theory, Unbelonging unearths how their very different genres of music share a unifying theme of dissonance. With the backdrop of neoliberalism’s attempt to define citizenship in relation to economic and cultural legibility, Unbelonging offers an urgent analysis of how these oft-overlooked queer and feminist performers and fans used sonic illegibility to challenge gender norms, official definitions of citizenship, and narratives of assimilation. Ultimately, these forms of inauthenticity move beyond negation and become ways to imagine alternative realities.

Accès libre

Affiche du document Filming in European Cities — Filming in European Cities
Celik Rappas Ipek A.
52min30
Photographie
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70 pages. Temps de lecture estimé 52min.
Filming in European Cities explores the effort behind creating screen production locations. Ipek A. Celik Rappas accounts the rising demand for original and affordable locations for screen projects due to the growth of streaming platforms. As a result, screen professionals are repeatedly tasked with chores such as transforming a former factory in Istanbul to resemble a war zone in Aleppo, or finding a London street that evokes Barcelona. Celik Rappas highlights the pivotal role crew members play in transforming cities and locations into functional screen settings. Examining five European media capitals—Athens, Belfast, Berlin, Istanbul, and Paris—the book delves into the overlooked aspects of location-related screen labor and its ability to generate production value. Filming in European Cities demonstrates that in its perpetual quest for authentic filming locations, the screen industry extracts value from cities and neighborhoods, their marginalized residents, and screen labor, enriching itself through this triple exploitation.

Filming in European Cities
Celik Rappas Ipek A.
52min30
Photographie
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70 pages. Temps de lecture estimé 52min.
Filming in European Cities explores the effort behind creating screen production locations. Ipek A. Celik Rappas accounts the rising demand for original and affordable locations for screen projects due to the growth of streaming platforms. As a result, screen professionals are repeatedly tasked with chores such as transforming a former factory in Istanbul to resemble a war zone in Aleppo, or finding a London street that evokes Barcelona. Celik Rappas highlights the pivotal role crew members play in transforming cities and locations into functional screen settings. Examining five European media capitals—Athens, Belfast, Berlin, Istanbul, and Paris—the book delves into the overlooked aspects of location-related screen labor and its ability to generate production value. Filming in European Cities demonstrates that in its perpetual quest for authentic filming locations, the screen industry extracts value from cities and neighborhoods, their marginalized residents, and screen labor, enriching itself through this triple exploitation.

Accès libre

Affiche du document Russian Archaism — Russian Archaism
Irina Shevelenko
2h02min15
Littérature & Beaux Arts
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163 pages. Temps de lecture estimé 2h02min.
Russian Archaism considers the aesthetic quest of Russian modernism in relation to the nation-building ideas that spread in the late imperial period. Irina Shevelenko argues that the cultural milieu in Russia, where the modernist movement began as an extension of Western trends at the end of the nineteenth century, soon became captivated by nationalist indoctrination. Members of artistic groups, critics, and theorists advanced new interpretations of the goals of aesthetic experimentation that would allow them to embed the nation-building agenda within the aesthetic one. Shevelenko''s book focuses on the period from the formation of the World of Art group (1898) through the Great War and encompasses visual arts, literature, music, and performance. As Shevelenko shows, it was the rejection of the Russian westernized tradition, informed by the revival of populist sensibilities across the educated class, that played a formative role in the development of Russian modernist agendas, particularly after the 1905 revolution. Russian Archaism reveals the modernist artistic enterprise as a crucial source of insight into Russia''s political and cultural transformation in the early twentieth century and beyond.

Russian Archaism
Irina Shevelenko
2h02min15
Littérature & Beaux Arts
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163 pages. Temps de lecture estimé 2h02min.
Russian Archaism considers the aesthetic quest of Russian modernism in relation to the nation-building ideas that spread in the late imperial period. Irina Shevelenko argues that the cultural milieu in Russia, where the modernist movement began as an extension of Western trends at the end of the nineteenth century, soon became captivated by nationalist indoctrination. Members of artistic groups, critics, and theorists advanced new interpretations of the goals of aesthetic experimentation that would allow them to embed the nation-building agenda within the aesthetic one. Shevelenko''s book focuses on the period from the formation of the World of Art group (1898) through the Great War and encompasses visual arts, literature, music, and performance. As Shevelenko shows, it was the rejection of the Russian westernized tradition, informed by the revival of populist sensibilities across the educated class, that played a formative role in the development of Russian modernist agendas, particularly after the 1905 revolution. Russian Archaism reveals the modernist artistic enterprise as a crucial source of insight into Russia''s political and cultural transformation in the early twentieth century and beyond.

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Affiche du document Our Lady of the World's Fair — Our Lady of the World's Fair
D. Nelson Ruth
2h01min30
Littérature & Beaux Arts
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162 pages. Temps de lecture estimé 2h01min.
Our Lady of the World''s Fair reveals the remarkable story of how two of New York''s most influential leaders persuaded the Vatican to allow one of the world''s greatest works of art to leave Europe for the first and only time. Driven by different motives, Robert Moses and Francis Cardinal Spellman had the same vision: to display Michelangelo''s masterpiece, the Pietà, in the Vatican''s pavilion at the 1964 World''s Fair in New York City.As Ruth D. Nelson gracefully showcases, Moses believed this blockbuster would guarantee the fair''s financial success. At the same time, Spellman, Cardinal of New York and the spiritual leader of Cold War America''s Catholic community, hoped that at a time of domestic strife and global conflict, the Pietà''s presence would have a positive spiritual impact on the nation. Although the fair did not turn out to be the financial bonanza that Moses expected, the Pietà drew record crowds of the faithful, art lovers, and the curious.Nelson''s fascinating uncovering of the intensive planning that went into designing the pavilion, transporting the art piece across the Atlantic, and coordinating Pope Paul VI''s visit to New York in 1965—the first papal visit to the Western Hemisphere—demonstrates the sheer scale and opportunity of the two men''s endeavors. Our Lady of the World''s Fair depicts the skepticism and fierce criticism that faced the two New York power brokers. Rather than letting the negative weigh them down, they united and called on every resource at their disposal to make this unlikely cultural coup possible.

Our Lady of the World's Fair
D. Nelson Ruth
2h01min30
Littérature & Beaux Arts
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162 pages. Temps de lecture estimé 2h01min.
Our Lady of the World''s Fair reveals the remarkable story of how two of New York''s most influential leaders persuaded the Vatican to allow one of the world''s greatest works of art to leave Europe for the first and only time. Driven by different motives, Robert Moses and Francis Cardinal Spellman had the same vision: to display Michelangelo''s masterpiece, the Pietà, in the Vatican''s pavilion at the 1964 World''s Fair in New York City.As Ruth D. Nelson gracefully showcases, Moses believed this blockbuster would guarantee the fair''s financial success. At the same time, Spellman, Cardinal of New York and the spiritual leader of Cold War America''s Catholic community, hoped that at a time of domestic strife and global conflict, the Pietà''s presence would have a positive spiritual impact on the nation. Although the fair did not turn out to be the financial bonanza that Moses expected, the Pietà drew record crowds of the faithful, art lovers, and the curious.Nelson''s fascinating uncovering of the intensive planning that went into designing the pavilion, transporting the art piece across the Atlantic, and coordinating Pope Paul VI''s visit to New York in 1965—the first papal visit to the Western Hemisphere—demonstrates the sheer scale and opportunity of the two men''s endeavors. Our Lady of the World''s Fair depicts the skepticism and fierce criticism that faced the two New York power brokers. Rather than letting the negative weigh them down, they united and called on every resource at their disposal to make this unlikely cultural coup possible.

Accès libre

Affiche du document Stalin's Final Films — Stalin's Final Films
Claire Knight
1h42min00
Cinéma
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136 pages. Temps de lecture estimé 1h42min.
Stalin''s Final Films explores a neglected period in the history of Soviet cinema, breathing new life into a body of films long considered moribund as the pinnacle of Stalinism. While film censorship reached its apogee in this period and fewer films were made, film attendance also peaked as Soviet audiences voted with their seats and distinguished a clearly popular postwar cinema. Claire Knight examines the tensions between official ideology and audience engagement, and between education and entertainment, inherent in these popular films, as well as the financial considerations that shaped and constrained them. She explores how the Soviet regime used films to address the major challenges faced by the USSR after the Great Patriotic War (World War II), showing how war dramas, spy thrillers, Stalin epics, and rural comedies alike were mobilized to consolidate an official narrative of the war, reestablish Stalinist orthodoxy, and dramatize the rebuilding of socialist society. Yet, Knight also highlights how these same films were used by filmmakers more experimentally, exploring a diverse range of responses to the ideological crisis that lay at the heart of Soviet postwar culture, as a victorious people were denied the fruits of their sacrificial labor. After the war, new heroes were demanded by both the regime and Soviet audiences, and filmmakers sought to provide them, with at times surprising results. Stalin''s Final Films mines Soviet cinema as an invaluable resource for understanding the unique character of postwar Stalinism and the cinema of the most repressive era in Soviet history.

Stalin's Final Films
Claire Knight
1h42min00
Cinéma
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136 pages. Temps de lecture estimé 1h42min.
Stalin''s Final Films explores a neglected period in the history of Soviet cinema, breathing new life into a body of films long considered moribund as the pinnacle of Stalinism. While film censorship reached its apogee in this period and fewer films were made, film attendance also peaked as Soviet audiences voted with their seats and distinguished a clearly popular postwar cinema. Claire Knight examines the tensions between official ideology and audience engagement, and between education and entertainment, inherent in these popular films, as well as the financial considerations that shaped and constrained them. She explores how the Soviet regime used films to address the major challenges faced by the USSR after the Great Patriotic War (World War II), showing how war dramas, spy thrillers, Stalin epics, and rural comedies alike were mobilized to consolidate an official narrative of the war, reestablish Stalinist orthodoxy, and dramatize the rebuilding of socialist society. Yet, Knight also highlights how these same films were used by filmmakers more experimentally, exploring a diverse range of responses to the ideological crisis that lay at the heart of Soviet postwar culture, as a victorious people were denied the fruits of their sacrificial labor. After the war, new heroes were demanded by both the regime and Soviet audiences, and filmmakers sought to provide them, with at times surprising results. Stalin''s Final Films mines Soviet cinema as an invaluable resource for understanding the unique character of postwar Stalinism and the cinema of the most repressive era in Soviet history.

Accès libre

Affiche du document Minjian Avant-Garde — Minjian Avant-Garde
Chang Tan
1h38min15
Littérature & Beaux Arts
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131 pages. Temps de lecture estimé 1h38min.
The Minjian Avant-Garde studies how experimental artists in China mixed with, brought changes to, and let themselves be transformed by minjian, the volatile and diverse public of the post-Mao era. Departing from the usual emphasis on art institutions, global markets, or artists'' communities, Chang Tan proposes a new analytical framework in the theories of socially engaged art that stresses the critical agency of participants, the affective functions of objects, and the versatility of the artists in diverse sociopolitical spheres.Drawing from hitherto untapped archival materials and interviews with the artists, Tan challenges the views of Chinese artists as either dissidents or conformists to the regime and sees them as navigators and negotiators among diverse political discourses and interests. She questions the fetishization of marginalized communities among practitioners of progressive art and politics, arguing that the members of minjian are often more complex, defiant, and savvy than the elites would assume. The Minjian Avant-Garde critically assesses the rise of populism in both art and politics and show that minjian could constitute either a democratizing or a coercive force.This book was published with generous support from the George Dewey and Mary J. Krumrine Endowment.

Minjian Avant-Garde
Chang Tan
1h38min15
Littérature & Beaux Arts
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131 pages. Temps de lecture estimé 1h38min.
The Minjian Avant-Garde studies how experimental artists in China mixed with, brought changes to, and let themselves be transformed by minjian, the volatile and diverse public of the post-Mao era. Departing from the usual emphasis on art institutions, global markets, or artists'' communities, Chang Tan proposes a new analytical framework in the theories of socially engaged art that stresses the critical agency of participants, the affective functions of objects, and the versatility of the artists in diverse sociopolitical spheres.Drawing from hitherto untapped archival materials and interviews with the artists, Tan challenges the views of Chinese artists as either dissidents or conformists to the regime and sees them as navigators and negotiators among diverse political discourses and interests. She questions the fetishization of marginalized communities among practitioners of progressive art and politics, arguing that the members of minjian are often more complex, defiant, and savvy than the elites would assume. The Minjian Avant-Garde critically assesses the rise of populism in both art and politics and show that minjian could constitute either a democratizing or a coercive force.This book was published with generous support from the George Dewey and Mary J. Krumrine Endowment.

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Affiche du document Frida Kahlo's Flower Crown — Frida Kahlo's Flower Crown
Nydia Armendia-Sanchez
27min00
Photographie
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36 pages. Temps de lecture estimé 27min.
A lyrical and inspiring picture book about the life of Frida Kahlo—told through the language of flowers—and how she blossomed into a celebrated, beloved artist Like a seed / Frida sprouted /And burst through the earth where / the coyotl once foraged.Coyoacán was the place where Frida grew. Told through the language and imagery of the native Mexican flowers and plants comes the life of acclaimed and beloved artist Frida Kahlo. Like a flower, Frida blossomed, wilted, was crushed, survived, and thrived, growing into one of the most celebrated Indigenous painters. This poetic and empowering picture book, written by Nydia Armendia-Sánchez and illustrated by Pura Belpré Honor awardee Loris Lora, features the very flora Frida grew in her garden, bought at the market in her hometown, painted in her famous portraits, and wore proudly in a crown around her head. Back matter will include a labeled, illustrated guide to all the flowers and plants featured, an author’s note, and an activity for kids to make their own flower crown!

Frida Kahlo's Flower Crown
Nydia Armendia-Sanchez
27min00
Photographie
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36 pages. Temps de lecture estimé 27min.
A lyrical and inspiring picture book about the life of Frida Kahlo—told through the language of flowers—and how she blossomed into a celebrated, beloved artist Like a seed / Frida sprouted /And burst through the earth where / the coyotl once foraged.Coyoacán was the place where Frida grew. Told through the language and imagery of the native Mexican flowers and plants comes the life of acclaimed and beloved artist Frida Kahlo. Like a flower, Frida blossomed, wilted, was crushed, survived, and thrived, growing into one of the most celebrated Indigenous painters. This poetic and empowering picture book, written by Nydia Armendia-Sánchez and illustrated by Pura Belpré Honor awardee Loris Lora, features the very flora Frida grew in her garden, bought at the market in her hometown, painted in her famous portraits, and wore proudly in a crown around her head. Back matter will include a labeled, illustrated guide to all the flowers and plants featured, an author’s note, and an activity for kids to make their own flower crown!

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Affiche du document We Make Each Other Beautiful — We Make Each Other Beautiful
Maya Murray Yxta
1h54min00
Littérature & Beaux Arts
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152 pages. Temps de lecture estimé 1h54min.
We Make Each Other Beautiful focuses on woman of color and queer of color artists and artist collectives who engage in direct political action as a part of their art practice. Defined by public protest, rule-breaking, rebellion, and resistance to governmental and institutional abuse, direct-action "artivism" draws on the aims, radical spirit, and tactics of the civil rights and feminist movements and on the struggles for disability rights, queer rights, and immigrant rights to seek legal and social change. Yxta Maya Murray traces the development of artivism as a practice from the Harlem Renaissance to Yoko Ono, Judy Baca, and Marsha P. Johnson. She also studies its role in transforming law and society. We Make Each Other Beautiful profiles the work and lives of four contemporary artivists —Carrie Mae Weems, Young Joon Kwak, Tanya Aguiñiga, and Imani Jacqueline Brown—and the artivist collective Drawn Together, combining new oral histories with sharp analyses of how their diverse and expansive artistic practices bear important aesthetic and politicolegal meanings that address a wide range of injustices.

We Make Each Other Beautiful
Maya Murray Yxta
1h54min00
Littérature & Beaux Arts
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152 pages. Temps de lecture estimé 1h54min.
We Make Each Other Beautiful focuses on woman of color and queer of color artists and artist collectives who engage in direct political action as a part of their art practice. Defined by public protest, rule-breaking, rebellion, and resistance to governmental and institutional abuse, direct-action "artivism" draws on the aims, radical spirit, and tactics of the civil rights and feminist movements and on the struggles for disability rights, queer rights, and immigrant rights to seek legal and social change. Yxta Maya Murray traces the development of artivism as a practice from the Harlem Renaissance to Yoko Ono, Judy Baca, and Marsha P. Johnson. She also studies its role in transforming law and society. We Make Each Other Beautiful profiles the work and lives of four contemporary artivists —Carrie Mae Weems, Young Joon Kwak, Tanya Aguiñiga, and Imani Jacqueline Brown—and the artivist collective Drawn Together, combining new oral histories with sharp analyses of how their diverse and expansive artistic practices bear important aesthetic and politicolegal meanings that address a wide range of injustices.

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Affiche du document Medieval Song from Aristotle to Opera — Medieval Song from Aristotle to Opera
Sarah Kay
1h47min15
Musique
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143 pages. Temps de lecture estimé 1h47min.
Focusing on songs by the troubadours and trouvères from the twelfth to the fourteenth centuries, Medieval Song from Aristotle to Opera contends that song is not best analyzed as "words plus music" but rather as a distinctive way of sounding words. Rather than situating them in their immediate period, Sarah Kay fruitfully listens for and traces crosscurrents between medieval French and Occitan songs and both earlier poetry and much later opera. Reflecting on a song''s songlike quality—as, for example, the sound of light in the dawn sky, as breathed by beasts, as sirenlike in its perils—Kay reimagines the diversity of songs from this period, which include inset lyrics in medieval French narratives and the works of Guillaume de Machaut, as works that are as much desired and imagined as they are actually sung and heard. Kay understands song in terms of breath, the constellations, the animal soul, and life itself. Her method also draws inspiration from opera, especially those that inventively recreate medieval song, arguing for a perspective on the manuscripts that transmit medieval song as instances of multimedia, quasi-operatic performances. Medieval Song from Aristotle to Opera features a companion website (cornellpress.manifoldapp.org/projects/medieval-song) hosting twenty-four audio or video recordings, realized by professional musicians specializing in early music, of pieces discussed in the book, together with performance scores, performance reflections, and translations of all recorded texts. These audiovisual materials represent an extension in practice of the research aims of the book—to better understand the sung dimension of medieval song.

Medieval Song from Aristotle to Opera
Sarah Kay
1h47min15
Musique
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143 pages. Temps de lecture estimé 1h47min.
Focusing on songs by the troubadours and trouvères from the twelfth to the fourteenth centuries, Medieval Song from Aristotle to Opera contends that song is not best analyzed as "words plus music" but rather as a distinctive way of sounding words. Rather than situating them in their immediate period, Sarah Kay fruitfully listens for and traces crosscurrents between medieval French and Occitan songs and both earlier poetry and much later opera. Reflecting on a song''s songlike quality—as, for example, the sound of light in the dawn sky, as breathed by beasts, as sirenlike in its perils—Kay reimagines the diversity of songs from this period, which include inset lyrics in medieval French narratives and the works of Guillaume de Machaut, as works that are as much desired and imagined as they are actually sung and heard. Kay understands song in terms of breath, the constellations, the animal soul, and life itself. Her method also draws inspiration from opera, especially those that inventively recreate medieval song, arguing for a perspective on the manuscripts that transmit medieval song as instances of multimedia, quasi-operatic performances. Medieval Song from Aristotle to Opera features a companion website (cornellpress.manifoldapp.org/projects/medieval-song) hosting twenty-four audio or video recordings, realized by professional musicians specializing in early music, of pieces discussed in the book, together with performance scores, performance reflections, and translations of all recorded texts. These audiovisual materials represent an extension in practice of the research aims of the book—to better understand the sung dimension of medieval song.

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Affiche du document House of Serenos, Part II — House of Serenos, Part II
Paola Davoli
4h48min45
Architecture et design
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385 pages. Temps de lecture estimé 4h49min.
A comprehensive study of the archaeology of the House of SerenosThe House of Serenos, Part II is the second of four books devoted to publishing the archaeology of the House of Serenos, a richly decorated, late antique villa of a local élite, located in Amheida (ancient Trimithis) in the Dakhla Oasis of Egypt. The House of Serenos, Part II synthesizes the archaeological information presented in detail in other volumes in a comprehensive study of the architectural and archaeological history of the house and its relationship to its natural and built environments, from construction through expansion and renovation to its eventual abandonment around the end of the fourth century. The volume includes discussions of archaeological method, stratigraphy, architecture, and the archaeological assemblages discovered in the House of Serenos—and reveals what all this can tell us about the inhabitants and their experience living in this high-status residence at the edge of the Roman Empire.

House of Serenos, Part II
Paola Davoli
4h48min45
Architecture et design
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385 pages. Temps de lecture estimé 4h49min.
A comprehensive study of the archaeology of the House of SerenosThe House of Serenos, Part II is the second of four books devoted to publishing the archaeology of the House of Serenos, a richly decorated, late antique villa of a local élite, located in Amheida (ancient Trimithis) in the Dakhla Oasis of Egypt. The House of Serenos, Part II synthesizes the archaeological information presented in detail in other volumes in a comprehensive study of the architectural and archaeological history of the house and its relationship to its natural and built environments, from construction through expansion and renovation to its eventual abandonment around the end of the fourth century. The volume includes discussions of archaeological method, stratigraphy, architecture, and the archaeological assemblages discovered in the House of Serenos—and reveals what all this can tell us about the inhabitants and their experience living in this high-status residence at the edge of the Roman Empire.

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Affiche du document Hip Hop Heresies — Hip Hop Heresies
Paradigm Smalls Shante
1h21min45
Musique
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109 pages. Temps de lecture estimé 1h22min.
Winner of the 2022-2023 New York City Book Awards!SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular MusicSHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis InstituteUnearths the queer aesthetic origins of NYC hip hopHip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.To illustrate New York City as a place of experimental aesthetic collaboration, Smalls brings four cultural moments to the forefront: the life and work of the gay Chinese American visual and graffiti artist Martin Wong, who brokered the relationship between New York City graffiti artists and gallery and museum spaces; the Brooklyn-based rapper-singer-writer-producer Jean Grae, one of the most prolific and underrated emcees of the last two decades; the iconic 1980s film The Last Dragon, which exemplifies the experimental and queer Black masculinity possible in early formal hip hop culture; and finally queer- and trans-identified hip hop artists and groups like BQE, Deepdickollective, and Hanifah Walidah, and the documentary Pick Up the Mic.Hip Hop Heresies transforms the landscape of hip hop scholarship, Black studies, and queer studies by bringing together these fields through the hermeneutic of aesthetics. Providing a guidepost for future scholarship on queer, trans, and feminist hip hop studies, Hip Hop Heresies takes seriously the work that New York City hip hop cultural production has done and will do, and advocates a form of hip hop that eschews authenticity in favor of performativity, bricolage, and pastiche.

Hip Hop Heresies
Paradigm Smalls Shante
1h21min45
Musique
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109 pages. Temps de lecture estimé 1h22min.
Winner of the 2022-2023 New York City Book Awards!SPECIAL MENTION, 2023 IASPM Book Prize, given by the International Association for the Study of Popular MusicSHORTLISTED, 2023 Ralph J. Gleason Book Award, given by the Rock N Roll Hall of Fame/Clive Davis InstituteUnearths the queer aesthetic origins of NYC hip hopHip Hop Heresies centers New York City as a space where vibrant queer, Black, and hip hop worlds collide and bond in dance clubs, schools, roller rinks, basketball courts, subways, and movie houses. Using this cultural nexus as the stage, Shanté Paradigm Smalls attends to the ways that hip hop cultural production in New York City from the 1970s through the early twenty-first century produced film, visual art, and music that offer queer articulations of race, gender, and sexuality.To illustrate New York City as a place of experimental aesthetic collaboration, Smalls brings four cultural moments to the forefront: the life and work of the gay Chinese American visual and graffiti artist Martin Wong, who brokered the relationship between New York City graffiti artists and gallery and museum spaces; the Brooklyn-based rapper-singer-writer-producer Jean Grae, one of the most prolific and underrated emcees of the last two decades; the iconic 1980s film The Last Dragon, which exemplifies the experimental and queer Black masculinity possible in early formal hip hop culture; and finally queer- and trans-identified hip hop artists and groups like BQE, Deepdickollective, and Hanifah Walidah, and the documentary Pick Up the Mic.Hip Hop Heresies transforms the landscape of hip hop scholarship, Black studies, and queer studies by bringing together these fields through the hermeneutic of aesthetics. Providing a guidepost for future scholarship on queer, trans, and feminist hip hop studies, Hip Hop Heresies takes seriously the work that New York City hip hop cultural production has done and will do, and advocates a form of hip hop that eschews authenticity in favor of performativity, bricolage, and pastiche.

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Affiche du document Avidly Reads Opera — Avidly Reads Opera
Alison Kinney
42min00
Musique
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56 pages. Temps de lecture estimé 42min.
“Opera is community, comfort, art, voice, breath, life. It’s hope.”All art exists to make life more bearable. For Alison Kinney, it was the wild, fantastical world of opera that transformed her listening and her life. Whether we’re listening for the first time or revisiting the arias that first stole our hearts, Avidly Reads Opera welcomes readers and listeners to a community full of friendship, passion, critique—and, always, beautiful music. In times of delirious, madcap fun and political turmoil, opera fans have expressed their passion by dispatching records into the cosmos, building fairy-tale castles, and singing together through the arduous work of social activism. Avidly Reads Opera is a love letter to the music and those who love it, complete with playlists, a crowdsourced tip sheet from ultra-fans to newbies, and stories of the turbulent, genre-busting, and often hilarious history of opera and its audiences.Across five acts—and the requisite intermission—Alison Kinney takes us everywhere opera’s rich melodies are heard, from the cozy bedrooms of listeners at home, to exclusive music festivals, to protests, and even prisons. Part of the Avidly Reads series, this slim book gives us a new way of looking at culture. With the singular blend of personal reflection and cultural criticism featured in the series, Avidly Reads Opera is an homage to the marvelous, sensational world of opera for the casual viewer.

Avidly Reads Opera
Alison Kinney
42min00
Musique
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56 pages. Temps de lecture estimé 42min.
“Opera is community, comfort, art, voice, breath, life. It’s hope.”All art exists to make life more bearable. For Alison Kinney, it was the wild, fantastical world of opera that transformed her listening and her life. Whether we’re listening for the first time or revisiting the arias that first stole our hearts, Avidly Reads Opera welcomes readers and listeners to a community full of friendship, passion, critique—and, always, beautiful music. In times of delirious, madcap fun and political turmoil, opera fans have expressed their passion by dispatching records into the cosmos, building fairy-tale castles, and singing together through the arduous work of social activism. Avidly Reads Opera is a love letter to the music and those who love it, complete with playlists, a crowdsourced tip sheet from ultra-fans to newbies, and stories of the turbulent, genre-busting, and often hilarious history of opera and its audiences.Across five acts—and the requisite intermission—Alison Kinney takes us everywhere opera’s rich melodies are heard, from the cozy bedrooms of listeners at home, to exclusive music festivals, to protests, and even prisons. Part of the Avidly Reads series, this slim book gives us a new way of looking at culture. With the singular blend of personal reflection and cultural criticism featured in the series, Avidly Reads Opera is an homage to the marvelous, sensational world of opera for the casual viewer.

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Affiche du document Chicago in Stone and Clay — Chicago in Stone and Clay
Raymond Wiggers
3h12min00
Architecture et design
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256 pages. Temps de lecture estimé 3h12min.
Chicago in Stone and Clay explores the interplay between the city''s most architecturally significant sites, the materials they''re made of, and the sediments and bedrock they are anchored in. This unique geologist''s survey of Windy City neighborhoods demonstrates the fascinating and often surprising links between science, art, engineering, and urban history. Drawing on two decades of experience leading popular geology tours in Chicago, Raymond Wiggers crafted this book for readers ranging from the region''s large community of amateur naturalists, "citizen scientists," and architecture buffs to geologists, architects, educators, and other professionals seeking a new perspective on the themes of architecture and urbanism. Unlike most geology and architecture books, Chicago in Stone and Clay is written in the informal, accessible style of a natural history tour guide, humanizing the science for the nonspecialist reader. Providing an exciting new angle on both architecture and natural history, Wiggers uses an integrative approach that incorporates multiple themes and perspectives to demonstrate how the urban environment presents us with a rich geologic and architectural legacy.

Chicago in Stone and Clay
Raymond Wiggers
3h12min00
Architecture et design
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256 pages. Temps de lecture estimé 3h12min.
Chicago in Stone and Clay explores the interplay between the city''s most architecturally significant sites, the materials they''re made of, and the sediments and bedrock they are anchored in. This unique geologist''s survey of Windy City neighborhoods demonstrates the fascinating and often surprising links between science, art, engineering, and urban history. Drawing on two decades of experience leading popular geology tours in Chicago, Raymond Wiggers crafted this book for readers ranging from the region''s large community of amateur naturalists, "citizen scientists," and architecture buffs to geologists, architects, educators, and other professionals seeking a new perspective on the themes of architecture and urbanism. Unlike most geology and architecture books, Chicago in Stone and Clay is written in the informal, accessible style of a natural history tour guide, humanizing the science for the nonspecialist reader. Providing an exciting new angle on both architecture and natural history, Wiggers uses an integrative approach that incorporates multiple themes and perspectives to demonstrate how the urban environment presents us with a rich geologic and architectural legacy.

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Affiche du document Sounding Out the State of Indonesian Music — Sounding Out the State of Indonesian Music
2h45min45
Musique
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221 pages. Temps de lecture estimé 2h46min.
Sounding Out the State of Indonesian Music showcases the breadth and complexity of the music of Indonesia. By bringing together chapters on the merging of Batak musical preferences and popular music aesthetics; the vernacular cosmopolitanism of a Balinese rock band; the burgeoning underground noise scene; the growing interest in kroncong in the United States; and what is included and excluded on Indonesian media, editors Andrew McGraw and Christopher J. Miller expand the scope of Indonesian music studies. Essays analyzing the perception of decline among gamelan musicians in Central Java; changes in performing arts patronage in Bali; how gamelan communities form between Bali and North America; and reflecting on the "refusion" of American mathcore and Balinese gamelan offer new perspectives on more familiar topics.Sounding Out the State of Indonesian Music calls for a new paradigm in popular music studies, grapples with the imperative to decolonialize, and recognizes the field''s grounding in diverse forms of practice.

Sounding Out the State of Indonesian Music
2h45min45
Musique
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221 pages. Temps de lecture estimé 2h46min.
Sounding Out the State of Indonesian Music showcases the breadth and complexity of the music of Indonesia. By bringing together chapters on the merging of Batak musical preferences and popular music aesthetics; the vernacular cosmopolitanism of a Balinese rock band; the burgeoning underground noise scene; the growing interest in kroncong in the United States; and what is included and excluded on Indonesian media, editors Andrew McGraw and Christopher J. Miller expand the scope of Indonesian music studies. Essays analyzing the perception of decline among gamelan musicians in Central Java; changes in performing arts patronage in Bali; how gamelan communities form between Bali and North America; and reflecting on the "refusion" of American mathcore and Balinese gamelan offer new perspectives on more familiar topics.Sounding Out the State of Indonesian Music calls for a new paradigm in popular music studies, grapples with the imperative to decolonialize, and recognizes the field''s grounding in diverse forms of practice.

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Affiche du document Communism's Public Sphere — Communism's Public Sphere
Kyrill Kunakhovich
2h36min00
Littérature & Beaux Arts
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208 pages. Temps de lecture estimé 2h36min.
Communism''s Public Sphere explores the political role of cultural spaces in the Eastern Bloc. Under communist regimes that banned free speech, political discussions shifted to spaces of art: theaters, galleries, concert halls, and youth clubs. Kyrill Kunakhovich shows how these venues turned into sites of dialogue and contestation. While officials used them to spread the communist message, artists and audiences often flouted state policy and championed alternative visions. Cultural spaces therefore came to function as a public sphere, or a rare outlet for discussing public affairs.Focusing on Kraków in Poland and Leipzig in East Germany, Communism''s Public Sphere sheds new light on state-society interactions in the Eastern Bloc. In place of the familiar trope of domination and resistance, it highlights unexpected symbioses like state-sponsored rock and roll, socialist consumerism, and sanctioned dissent. By examining nearly five decades of communist rule, from the Red Army''s arrival in Poland in 1944 to German reunification in 1990, Kunakhovich argues that cultural spaces played a pivotal mediating role. They helped reform and stabilize East European communism but also gave cover to the protest movements that ultimately brought it down.

Communism's Public Sphere
Kyrill Kunakhovich
2h36min00
Littérature & Beaux Arts
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208 pages. Temps de lecture estimé 2h36min.
Communism''s Public Sphere explores the political role of cultural spaces in the Eastern Bloc. Under communist regimes that banned free speech, political discussions shifted to spaces of art: theaters, galleries, concert halls, and youth clubs. Kyrill Kunakhovich shows how these venues turned into sites of dialogue and contestation. While officials used them to spread the communist message, artists and audiences often flouted state policy and championed alternative visions. Cultural spaces therefore came to function as a public sphere, or a rare outlet for discussing public affairs.Focusing on Kraków in Poland and Leipzig in East Germany, Communism''s Public Sphere sheds new light on state-society interactions in the Eastern Bloc. In place of the familiar trope of domination and resistance, it highlights unexpected symbioses like state-sponsored rock and roll, socialist consumerism, and sanctioned dissent. By examining nearly five decades of communist rule, from the Red Army''s arrival in Poland in 1944 to German reunification in 1990, Kunakhovich argues that cultural spaces played a pivotal mediating role. They helped reform and stabilize East European communism but also gave cover to the protest movements that ultimately brought it down.

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Affiche du document Hollywood Jim Crow — Hollywood Jim Crow
Maryann Erigha
1h33min00
Photographie
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124 pages. Temps de lecture estimé 1h33min.
The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.

Hollywood Jim Crow
Maryann Erigha
1h33min00
Photographie
Youscribe plus
124 pages. Temps de lecture estimé 1h33min.
The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.

Accès libre

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