Although it lasted only twenty-three years (1933-1956) and enrolled fewer than 1,200 students, Black Mountain College was one of the most fabled experimental institutions in art education and practice. Its art teachers included Josef Albers, Ilya Bolotowsky, Willem de Kooning, Buckminster Fuller, Franz Kline, and Robert Motherwell, and among their students were John Chamberlain, Kenneth Noland, Robert Rauschenberg, Dorothea Rockburne, and Cy Twombly. The performing arts teachers included John Cage, Merce Cunningham, Lou Harrison, Roger Sessions, David Tudor, and Stefan Wolpe, and among the literature teachers and students were Robert Creeley, Fielding Dawson, Ed Dorn, Robert Duncan, Francine du Plessix Gray, Charles Olson, M. C. Richards, and John Wieners. This book, which accompanies an exhibition organized by the Museo Nacional Centro de Arte Reina Sofia in Madrid, contains nearly 500 color and black and white illustrations, many never before published. Most of the images directly support the ideas and evidence presented in the book's four essays, all commissioned for this book. Poet Robert Creeley recounts his first meeting with his mentor and friend Charles Olson. Composer Martin Brody gives a history of the musical world of the 1930s to 1950s, in which Black Mountain played a significant role. Critic Kevin Power looks at the history and content of the experimental literary journal The Black Mountain Review, which was instrumental in the launching of the Black Mountain school of poetry. Curator Vincent Katz discusses the philosophy of the college's founders, the Bauhaus principles followed by art instructor Josef Albers, and the many interactions among the arts in the college's later years. The book also contains detailed histories of the careers of sixty-five Black Mountain artists, drawing on new interviews with John Chamberlain, Robert Creeley, Merce Cunningham, Fielding Dawson, Joseph Fiore, Richard Lippold, Kenneth Noland, Pat Passlof, Arthur Penn, Dan Rice, Dorothea Rockburne, Gerald van de Wiele, Susan Weil, and John Wieners.

Black Mountain College: Experiment in Art

Arts & Photography

Power, Kevin

CREELEY, Robert

Museo Nacional Centro De Arte Reina Sofía

Brody, Martin

Decorative Arts & Design

Mit Pr

This book includes an introduction of Chaucer's life and times and social and literary assumptions of the age and is followed by W.W. Skeat's text of the poem with a short introduction of each of the major characters. It includes a line-by-line commentary and a glossary of obscure words.

The Prologue to The Canterbury Tales

Literature & Fiction

CHAUCER, GEOFFREY

King, Ronald

British & Irish

Circle Press Publications

From the highly acclaimed author of Bad Day in Blackrock – inspiration for the 2012 award-winning film What Richard Did, directed by Lenny Abrahamson – comes a darkly funny, gripping and profoundly moving novel about a life spinning out of control, a life live without the bedrock of familial love, and the corruption of material wealth that tears at the soul.‘It was my father’s arrest that brought me here, although you could certainly say that I took the scenic route.’ Here is rehab, where Ben – the only son of a rich South Dublin banker – is piecing together the shattered remains of his life. Abruptly cut off, at the age of 27, from a life of heedless privilege, Ben flounders through a world of drugs and dead-end jobs, his self-esteem at rock bottom. Even his once-adoring girlfriend, Clio, is at the end of her tether. Then Ben runs into an old school friend who wants to cut him in on a scam: a shady property deal in the Balkans. The deal will make Ben rich and, at one fell swoop, will deliver him from all his troubles: his addictions, his father’s very public disgrace, and his own self-loathing and regret. Problems solved. But something is amiss. For one thing, the Serbian partners don’t exactly look like fools. (In fact they look like gangsters.) And, for another, Ben is being followed everywhere he goes. Someone is being taken for a ride. But who?Praise for White City:'I can't recommend it enough. It's often hilariously funny but it's also a sharp and smart dissection of contemporary materialism' John Boyne, author of The Heart's Invisible Furies 'An immensely enjoyable and tautly written account of a young man from an affluent family whose life of privilege is turned upside down' Sunday Times 'Spiky, blackly funny novel that offers an incisive study on class, entitlement and masculinity' Independent 'Capacious and comic, luxuriantly written, with an intricate plot and heightened characterisation… both riotous rant and thoughtful coming-of-age tale' Dublin Review of Books 'Outstanding second novel... A brilliantly entertaining novel that is profound in the most unexpected ways. Power is that rarity, a genuinely funny novelist... Yet all the more remarkable is Power's handling of tone: this novel moves effortlessly between humour and sincerity; it is steeped in empathy and raw anger' Literary Review ‘White City is likely to be the most solid, well-rounded novel to come out of Ireland this year… At once a pacy page-turner with a nerve-frazzling plot and a realistic and haunting tale of our interconnected world… White City is an all-round superb book that will stay with you long after the inevitable binge read’ Irish Independent 'White City synthesises familiar forms into a whole: the rogue’s confession, the young man finding his way, the post-Celtic Tiger satire on puffed-up, self-perpetuating bullshit businesses… Power shows his own capacity for comic timing and pithy aperçus' Guardian ' An extremely funny book… Kevin Power shows his chops as a proper heavyweight novelist. Unequivocally one of the most purely enjoyable books, in the classic-novel sense… a zinger on every page' Peter Murphy, Arena (RTE Radio 1) '[A] sprawling social satire of the sort we seldom see in Irish fiction… a tremendously zesty and zeitgeisty piece of writing' Sunday Times (Ireland) ‘[T]his dark caper evolves to ask searching moral questions… with its 11th-hour twist, this ambitious, attention-grabbing novel seems ripe for cinematic adaptation’ Daily Mail ‘Kevin Power’s Bad Day in Blackrock (2008) was one of the most memorable Irish novels of the new century… White City has passages of striking lyrical subtlety and the different storylines are managed with great dexterity. Much has changed in Ireland since Bad Day in Blackrock was published, but as Power’s adept and absorbing new novel reminds us, much has not. White City demands to be read’ Irish Times ‘A fast-paced and wickedly funny novel. Hugely entertaining. White City grabbed me from the op

White City

Humor & Entertainment

Humor

Scribner UK

Bad Day In Blackrock

Contemporary

The Lilliput Press

The Written World: Essays & Reviews

History & Criticism

The Lilliput Press Ltd

Untitled Bk 2

Scribner

On a late August night a young man is kicked to death outside a Dublin nightclub and celebration turns to devastation. The reverberations of that event, its genesis and aftermath, are the subject of this extraordinary story, stripping away the veneer of a generation of Celtic cubs, whose social and sexual mores are chronicled and dissected in this tract for our times. The victim, Conor Harris, his killers - three of them are charged with manslaughter - and the trial judge share common childhoods and schooling in the privileged echelons of south Dublin suburbia. The intertwining of these lives leaves their afflicted families in moral free fall as public exposure merges with private anguish and imploded futures.

Bad Day in Blackrock

Simon Schuster(uk)

Alex Katz: IVAM Centre Julio González, 29 octubre-12 enero 1997 (Spanish Edition)

(Katz, Alex). Bonet, Juan Manuel

IVAM Centre Julio Gonzalez

José Bedia: Trabajos 1978-2006 (Arte y Fotografía) (Spanish Edition)

Hernández, Orlando

Medina, Cuauthémoc

TURNER PUBLICACIONES S.L.

This is the first monograph of the renowned Cuban artist Josª Bedia, whose art is as fresh as wet graffiti and as ancient as cave paintings. The Cuban-born artist resolves the distance of millennia in spare line drawings rooted at once in an appreciation for comic art and an abiding belief in the shared characteristics of indigenous faiths. A priest of Palo Monte, a rural religion closely tied to nature, Bedia has studied with Lakota Indians, the Yoruba of West Africa, and adherents of the pan-Caribbean Santer'a religion. From a personal cosmography born of his immersion in diverse cultures, Bedia's drawings are populated by godlike animistic figures with extenuated limbs that reach out over great distances, perhaps alluding to the artist's desire to bring diverse cultures into synchronic unison. Sentences written in elegant script often suggest didactic messages, as in one circular canvas in which a rabbit-eared figure growing from a mountain holds in its fist a wide-winged bird straining to reach the horizon. No puedo retenerte ms is the inscribed legend--I can no longer hold you. It is a sentiment familiar to anyone who has tried in vain to restrain something that must be freed--a child, a lover, a secret--or conversely felt trapped by loving constraints. Though accessible on the surface, Bedia's art inevitably withholds layers that remain ambiguous. Why are such intimate sentiments set against astrological renderings of the night sky? Why are offerings left at certain drawings and installations? Even for the uninitiated, Bedia is a great teacher, using his tremendous graphic skill to engage viewers in a personal spiritual voyage.

Jose Bedia: Works, 1978-2006

Turner/Ramis Barquet

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Books by Power, Kevin