By the time Germany and Costa Rica kicked off the 2006 World Cup in Munich, hundreds of thousands of soccer fans from around the globe had descended on the host nation to cheer on their national sides and soak up the atmosphere. Among them were a group of New York City soccer players celebrating an anniversary of sorts. At the tail end of the 2002 World Cup, inspired by many late nights watching live matches in some of the city’s crowded bars, the group of artists, photographers, and filmmakers began meeting in lower Manhattan’s Chinatown to play soccer a few mornings a week. Only a chain link fence shielded their pitch from the cacophony and traffic of the surrounding urban chaos. As they warmed up in the chill morning air, the smell of garbage from the nearby fish markets wafted over. Their spectators included bums sleeping off hangovers on the benches next to the field and Chinese immigrants finishing up their morning Tai Chi sessions. Some of them were playing for the first time, others rediscovering skills they had honed in high school or college. Still others found an outlet for a passion they had developed in their native countries: in England and Austria, Israel and Brazil. Even in the dead of winter, the love of soccer would get them out of bed at 8 in the morning several times a week to play for an hour or so before heading off to work. It would cost them extra in cable bills at the end of the month, or for pints at the pub to watch European matches at equally trying hours on Saturday mornings. They began calling themselves the Chinatown Soccer Club and by the time the 2006 World Cup rolled around, heading to Germany didn’t just seem like a good idea, it had become a requirement.  This small book of photographs, Home and Away, is a record of that trip. Shot by Gerhard Stochl, Peter Sutherland, and Kevin Trageser, photographers who have all been integral members of the Chinatown Soccer Club since its informal inception, it depicts Berlin at its soccer zenith. Beginning with a city awash in pre-match excitement and anticipation—at backyard cookouts, in father-son kick arounds—the photographs move on to capture the soccer fever visible in stadiums, crowded public viewing areas, and the pained faces of fans awash in the madness. They end, appropriately, with the euphoria’s bittersweet aftermath. This is not a standard documentary of a soccer tournament, but an attempt at transmitting, visually, the influence soccer can have on a place and its people.

Home and Away

Stockl, Gerhard

SUTHERLAND, Peter

Trageser, Kevin

Sports & Outdoors

Throckmorton Press

“The normal response to Peter Sutherland’s photographs of deer would probably be a feeling of sadness, or possibly regret. How is it, one might ask, that nature has become so utterly banal? How depressing that wild animals drink out of storm drains and die beside freeways. Yet deer haven’t exemplified wildness and wonder since the days of Robert Burns: one step above squirrels and raccoons, deer have long been a suburban commonplace. I think there are plenty of natural calamities worth getting riled up about and that photographs might even assist us in doing so; but a deer strapped to the top of a mini-van is not one of them, and to picture this is simply to witness another image from the human comedy. “Indeed, I find Peter Sutherland’s photographs to be quite funny. His deer exude an infectious self-serious absurdity, going about their deer-like business regardless of obstacle or inconvenience. Their incongruity is exaggerated to the point where these ordinary animals seem to be nothing less than visitors from another world, transfixed and radiating a cosmic light, with bright, sci-fi eyes that seem about to blaze right out of their heads. With an almost total absence of humans, in Sutherland’s images the deer have inherited the earth.” —Lawrence R. Rinder Having escaped domestication, deer are on their own, rolling with what comes. They can travel in small packs or they can be alone. They grow long coats when it’s cold; they shed and sit in the shade when it’s hot. They can survive on available food in the woods while the more tame ones will eat Doritos out of your had on the side of the road. Peter Sutherland doesn't hunt but he understands the thrill of the chase. The deer tend to come out at dusk when the light is just right. They sneak around and crossover into suburban lands. The boundaries between man and deer have blurred. They watch us while we watch them. The photographs in Buck Shots, Sutherland’s third powerHouse Book, were taken in Colorado, California, Utah, New York, Pennsylvania, Washington, Vermont and New Zealand between 2002 and 2007.

Buck Shots

Arts & Photography

Individual Artists

powerHouse Books

Simply put, Winter’s Children is a celebration of the pure, naked joy that burns at the heart of snowboarding. Tellingly absent from this unusual series of photographs is the brash consumerism that not merely clutters, but absolutely defines the snowboarding industry today. With an introduction from legendary snowboarder Peter Line, the book serves as both a commentary on the commercial snowboarding industry and a playful hybrid of youth culture and nature photography. During the winter of 2010, photographer, filmmaker, and former sponsored snowboarder, Jim Mangan, left an 11-year career in the business side of snowboarding and lit out for the remote backcountry of Idaho’s Sawtooth Mountains to recharge and redirect. Accompanying him were seven accomplished snowboarders—including his college friend, Peter Sutherland, now a renowned photographer and artist, as well as rising stars of the sport’s next generation, like Laura Hadar and Alex Andrews. Away from the corporate sponsors, the perfectly manicured terrain parks and halfpipes, and the ever-present audience, the riders literally stripped away all artifice—along with their clothing—in a powerful artistic statement that honors the original roots of the sport. Using vintage snowboards from the early 1980s, and clad only in vibrant Native American blankets that contrast with the stark winter landscape, the seven riders soared naked and uninhibited down empty slopes. Mangan captures not just the action, but the unfolding of emotion on intentionally grainy 35 mm film that reflects the ethos of snowboarding’s early years. “As I exited the snowboarding business, I wanted to recreate the feelings that originally drew me to the sport,” explains Mangan. “This project is an exaggerated overstatement of those feelings.” Ultimately, for the photographer, the riders, and the viewers, Winter’s Children becomes a baptism, with the cold snow washing away the neon filth of consumerism and serving as a bracing reminder of snowboarding’s pure origins.

Winter's Children

Line, Peter

Photography & Video

This is the only book devoted to the law on veterans' entitlements and military compensation in Australia. The book comprehensively annotates the Veterans' Entitlements Act 1986 (VEA) and, in this third edition, for the first time annotates the new unified military compensation scheme introduced by the Military Rehabilitation and Compensation Act 2004 (MRCA). The third edition covers all of the recent major reports into the veterans' law and military compensation system and includes annotations of all relevant High Court, Federal Court and Administrative Appeals Tribunal decisions on the two Acts. The book is an invaluable reference for all those assisting veterans to obtain their entitlements to the pensions and benefits available to those who have served their country - be they ex-service organisations, tribunal members, legal practitioners or Departmental officials. Highlights of the third edition include: <ul>
<li>a new section of the book discussing the cases on the application of Statements of Principles under the two Acts; </li> <li>comprehensive annotations of complex issues under the VEA, including qualifying service, special rate of pension, GARP, allowances, standards of proof and review of decisions; </li> <li>annotations and commentary on issues under the MRCA, including liability for compensation, incapacity, permanent impairment, death benefits, and transitional arrangements for previous schemes; </li> <li>the interaction between the VEA and the MRCA; and </li> <li>appendices which include an amendment history of the VEA and of the MRCA, an index of MRCA legislative instruments, discussion of defence honours and awards, and war grave eligibility.</li>
</ul>

Veterans' Entitlements and Military Compensation Law

Creyke, Robin

Specialties

Federation Press

NEW PROMISE LAND, INC.

Hello

Esemplare in buone condizioni.Copertina e tagli con tracce di polvere. Lievissimo ingiallimento delle pagine. Etichetta alla quarta pagian di copertina Book in good conditions. Slightly yellowed pages. Traces of dust on the edges and cover. Etiquette on the fourth cover's page.

Autograf New York city's graffiti writers /anglais

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