"If I only knew then what I know now...." The Little Girl’s Guide to Entrepreneurship lets you know now the essentials about starting and running a business. This book is all substance and no fluff. It is the perennial insider's reference guide about what all entrepreneurs and startups need to know to maximize success in business, what to do when things go wrong, and how to avoid making costly mistakes.Keeping it 100% real with pertinent autobiographical anecdotes and a focus on small business owners and startups, this book not only can change your business, but can also change your life.Designed to help all girls, women, little boys, men, – people - from the Millennial Entrepreneur to the Baby Boomer Entrepreneur. The Little Girl’s Guide to Entrepreneurship provides inspiration, guidance, and a startup checklist to launch and grow an entrepreneurial venture. It is the goal of this book to make it easier for someone to better understand, and eventually decide, whether being an entrepreneur is an option worthy of further pursuit, and to know the right questions to ask. It is often said: “If I knew then what I know now….” well, now you will know.This book is a combination of autobiography and lessons learned in entrepreneurship. Author Emily McHugh takes you on a journey starting with the seeds of entrepreneurship that were planted at an early age on a farm in Jamaica to the founding of her award-winning design company Casauri. Casauri started as a class project in Columbia Business School to design stylish laptop bags for women and went on to become the first laptop case sold at the Museum of Modern Art (MoMA) Design Store in New York and Tokyo. Emily distills the essence of entrepreneurship in its purest form and reveals insights from hard won lessons and experiences that can save new and seasoned entrepreneurs time and money. She expertly highlights the keys to business success and provides tangible examples from how to price your product to knowing how to be profitable. This book will add value from the classroom to the boardroom and is written to enlighten and inform on the key factors of the entrepreneurial mindset.The art of negotiation, brand building, setting benchmarks, break even and ratio analysis, selecting a manufacturer, prioritizing opportunities, as well as the emotional side of being an entrepreneur - love and the entrepreneur - are among the topics detailed in this book. Emily shares insights on the entrepreneurial journey and what it takes to be successful at any age. This is a timely book that speaks to the core of what people need to know who are considering starting a business or who are already in business and need a new perspective.

The Little Girl's Guide to Entrepreneurship: What I Know Now That I Sure Wish I Knew Then

Business & Money

McHugh, Emily

Business Culture

St. Ann's Press

Producer Mark Magidson took these photographs during the filming of the acclaimed 1993 cult movie, BARAKA: A World Beyond Words. Shot in over 24 countries, the film is a visualization of the global rhythms of life. Images of rituals, landscape, and urban spaces from Brazil to Bali, New York to Calcutta, and the Himalayas to Reims Cathedral capture the interconnectedness of humanity and, define in pictures, the meaning of "Baraka," the Sufi word for "the essence of life." The film was awarded Best Picture at the Montreal World Film Festival and the Award of Excellence from the United Nations Society of Writers. The book itself is a deluxe presentation of 60 still photographs, clothbound with a tipped in plate on the cover, and printed at Stinehour Press. "Drawing on the work and vision that led to his 1993 film of the same name, Magidson surveys the forces at play in a world inexorably shaped by both destructive fury and sublime grace." Utne Reader

Baraka

Arts & Photography

Individual Artists

American-born photographer Levinthal has earned national recognition by creating potent, ironic, and sometimes controversial visions using miniature figures and toys as characters in staged tableaux. Since publishing his first major work in 1977 (Hitler Moves East: A Graphic Chronicle, 1941-43), he has worked with Barbie, blackface memorabilia, toy soldiers, and various modeling figures to explore the icons and stereotypes of popular culture. Levinthal executed his series Modern Romance in the mid-1980s. Echoing the paintings of Edward Hopper and film noir, these are scenes of urban life in dreamy neon-lit color and television blues. Levinthal shows us figures lingering on street corners, entering movie theaters, passing through alleys, conversing in diners, and interacting in confined spaces. He also depicts the impersonal landscape of the city: cop cars on the streets, doorways, and murky bedrooms. Levinthal's lovely and vaguely troubling photographs house a tension of possibilities; with details obscured, they speak of solitude, sexual isolation, and urban anxiety. An illuminating essay by Eugenia Parry opens the book, nicely placing this formative series in both a personal and an artistic context. This is serious art, dealing with fascinating ideas. Highly recommended for contemporary art collections of academic and public libraries. Deborah Miller, Minneapolis--Library Journal

David Levinthal: Modern Romance

Parry, Eugenia

James Fee has been taking photographs for most of his life, and in the past decade he has developed a large and loyal following of critics and enthusiasts across the world of fine art photography. The 1990s was a prolific decade for Fee, who has in the last ten years produced several compelling series of works, all of which are documented in this essential new monograph. Presented here are the many black and white photographs of American icons and imagery that are thematically connected by Fee's obsession with the decline and destruction of the America that he knew as a young man: we see his series of New York imagery, including the Chrysler building and the Brooklyn Bridge; pictures of the crumbling Penn State penitentiary, Beat-inspired photographs of the American road; a distinctive and unique series of nude imagery; as well as his innovative collaborations with multimedia artist George Herms. Finally, presented here for the first time is a unique series of photographs taken on the South Pacific Island of Pelelui, a series which offers a glimpse at a long, very personal project for Fee, inspired by the photographs his father took while posted on the island during the Second World War.

James Fee

KRULL, Craig

"Darren Waterson's early paintings were interpretations of conventional landscape imagery, depicted as meditations on fertility and decomposition. Examples of the early work appear in this book, but the majority of the paintings are from a more recent period where he shifts the focus of the work away from decaying abstraction into one of exoticism, decadence, and an underlying erotic sensuality. Waterson uses traditional painting materials and techniques, and the multiple layers of paint that are the foundation for his works infuse them with a wet, atmospheric quality. He also has an acute interest in the aesthetics of the East, and motifs of the Orient punctuate every picture. The paintings that at first appear quite ethereal and whimsical upon further investigation reveal a sensuality combining a poetic language of flora and fauna with an overt observation about the human body and other creatures. The result is a complex layering of opposing forces: beautiful and unsettling, appealing and revealing, extroverted and introspective."

Darren Waterston

Gerstler, Amy

Waterston, Darren

Since 1994, Uta Barth has been creating a series of photographs which consist of blurred images generated by focusing the camera on an unoccupied foreground. These unframed, empty, but lushly seductive images present only background information, implying the absence of subjects, and referring to the function of images as containers of information and the role of the viewer in reading that information. This book is a faithful reproduction of the long out-of-print catalogue which was published on the occasion of Barth's first major museum exhibition at the Museum of Contemporary Art, Los Angeles, in 1996.

Uta Barth: Moca Catalogue

Smith, Elizabeth A.T.

On May 25, 1961, Bruce Davison joined a group of Freedom Riders traveling by bus from Montgomery, Alabama to Jackson, Mississippi. The actions of these youths challenged and disobeyed federal laws allowing for integrated interstate bus travel. These historic episodes, which ended in violence and arrests, marked the beginning of Davidson's exploration into the heart and soul of the civil rights movement in the United States during the years 1961-1965. In 1962, Davidson received a Guggenheim Fellowship and continued documenting the era, including an early Malcolm X rally in Harlem, steel workers in Chicago, a Ku Klux Klan cross burning near Atlanta, farm migrant camps in South Carolina, cotton picking in Mississippi, protest demonstrations in Birmingham, and the heroic Selma March that led to the Voting Rights Act of 1965, which was instrumental in changing the political power base in the segregated Southern states. In the 140 photographs collected here, many of which have never before been published, we see intimate and revealing portraits of Dr. Martin Luther King Jr., John Lewis, and other leaders made by Davidson during those turbulent times. These images describe the mood that prevailed during the civil rights movement with a lyrical imagery that is both poignant and profound. As Davidson bears witness to these historical events, and documents the degradation and segregation that were endured, he gives testimony to the struggle for freedom, equality, justice, and human dignity.

Time of Change: Civil Rights Photographs, 1961-1965

LEWIS, John

Willis, Deborah

DAVIDSON, Bruce

An important visual record of the Civil Rights Movement in the USA

Time of Change: Civil Rights Photographs 1961-1965

Bruce Davidson

For two years in the 1960s, Bruce Davidson photographed one block in East Harlem. He went back day after day, standing on sidewalks, knocking on doors, asking permission to photograph a face, a child, a room, a family. Through his skill, his extraordinary vision, and his deep respect for his subjects, Davidson's portrait of the people of East 100th Street is a powerful statement of the dignity and humanity that is in all people. Long out of print, this volume is a reissue of the classic book of photographs originally published in 1970 and recently included in The Book of 101 Books. This reprint includes over 20 new images not included in the original edition.

Bruce Davidson: East 100Th Street

Feliciano, Mildred

Photography & Video

Since ground was first broken, New York City's subway system has been the stuff of living legend--and a source of inspiration and fear. This dark, democratic environment provided the setting for photographer Bruce Davidson's first extensive series in color, originally published in 1986. In it, subway riders are set against a gritty, graffiti-strewn background, displayed in tones Davidson described as "an iridescence like what I had seen in photographs of deep-sea fish." Never before had the subway been portrayed in such detail, revealing the interplay of its inner landscape and outer vistas. The images include lovers, commuters, tourists, families, and the homeless. From weary strap hangers to languorous ladies in summer dresses to stalking predators, Davidson's compassionate vision illuminates the stubborn survival of humanity. From the spring of 1980 to 1985, Davidson explored and shot 600 miles of subway tracks. In his own words, he "wanted to transform this subway from its dark, degrading, and impersonal reality into images that open up our experience again to the color, sensuality, and vitality of the individual souls that ride it each day." Now nearly 25 years later, and on the eve of the subway's 100th anniversary, St. Ann's Press is publishing a new edition of Davidson's classic book. This edition adds 43 unseen images to the original book, and includes an introduction by Arthur Ollman of the Museum of Photographic Art in San Diego, and a foreword by Fred Braithwaite (aka Fab Five Freddy), the original graffiti artist. It also includes Bruce Davidson and Henry Geldzahler's original essays.

Bruce Davidson: Subway

Ollman, Arthur

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