Mostrando resultados por narrador "Dana Brewer Harris" en Todas las categorías

Sistah Vegan is a series of narratives, critical essays, poems, and reflections from a diverse community of North American Black-identified vegans. Collectively, these activists are de-colonizing their bodies and minds via whole-foods veganism.

In this lively, accessible, and provocative collection, Aph and Syl Ko provide new theoretical frameworks on race, advocacy for nonhuman animals, and feminism. Using popular culture as a point of reference for their critiques, the Ko sisters engage in groundbreaking analysis of the compartmentalized nature of contemporary social movements, present new ways of understanding interconnected oppressions, and offer conceptual ways of moving forward, expressive of Afrofuturism and Black veganism.

In this scintillating combination of critical race theory, social commentary, veganism, and gender analysis, media studies scholar Aph Ko offers a compelling vision of a reimagined social justice movement. Through a subtle and extended examination of Jordan Peele’s hit 2017 movie Get Out, Ko shows the many ways that white supremacist notions of animality and race exist through the consumption and exploitation of flesh. She demonstrates how a critical historical and social understanding of anti-blackness can provide the pathway to genuine liberation.

Animal rights. Diane Beers demonstrates how the cause has shaped and reshaped itself as it has evolved within the broader social context of the shift from an industrial to a postindustrial society. For the Prevention of Cruelty tells an intriguing and important story that reveals society's often changing relationship with animals through the lens of those who struggled to shepherd the public toward a greater compassion.

What did 19th-century cities smell like? And how did odors matter in the formation of a modern environmental consciousness? Smell Detectives follows the 19th-century Americans who used their noses to make sense of the sanitary challenges caused by rapid urban and industrial growth.

Marina Vaizey reviews the work of Julia Margaret Cameron, Victorian photographer, exhibited at the Victoria and Albert, and Science Museum London.

Aftershock is about the real war against terror - the struggle for a world in which nobody lives in fear of atrocities perpetrated by human beings. Every day, people who push against violence and injustice or pull for peace and freedom must face their own fears. Many activists also must struggle with "aftershock," the physical and emotional reverberations of frightening, horrifying, or otherwise traumatizing experiences endured in the course of their activism.

Education, employment, and home ownership have long been considered stepping stones to the middle class. But in Abandoned Families, social policy expert Kristin Seefeldt shows how many working families have access only to a separate but unequal set of poor-quality jobs, low-performing schools, and declining housing markets, which offer few chances for upward mobility. Through in-depth interviews over a six-year period with women in Detroit, Seefeldt charts the increasing social isolation of many low-income workers.

In a 1968 photograph a US Marine pauses for thought, inadvertently echoing those renaissance paintings of meditating scholars, holding his helmet rather than a book - but this is a quiet moment in the battle for Hue. It is McCullin's photographs which helped to define the savage war in Vietnam for Britain, and beyond. Some is unbearably sad: a young North Vietnamese soldier, a casualty of Hue, stares sightlessly at the photographer, his hands outstretched to the detritus of his pockets, scattered on the earth beside the body.

Alice Liddell, sweetly dignified, the inspiration for the heroine of Alice in Wonderland, is posed and identified as Pomona, goddess of abundance, in a marvelous 1872 photograph by the irrepressible Julia Margaret Cameron; appropriately she is the cover girl for this lavish standalone publication, which also acted as the catalogue accompanying the recent exhibition of the same title at the National Gallery of Art, Washington, (October 31 2010-January 30 2011), and the Museé d'Orsay Paris, March 6 - May 29, 2011).

When Green Mountain College in Poultney, Vermont, announced that two oxen called Bill and Lou would be killed and turned into hamburgers despite their years of service as unofficial college and town mascots, Pattrice Jones and her colleagues at nearby VINE Sanctuary offered an alternative scenario: to allow the elderly bovines to retire to the sanctuary. What transpired after this simple offer was a catastrophe of miscommunication, misdirection, and misinterpretations, as the college dug in its heels, activists piled on, and social media erupted. Part true-crime mystery, part on-the-ground reportage, and part sociocultural critique, The Oxen at the Intersection is a brilliant unearthing of the assumptions, preconceptions, and biases that led all concerned with the lives and deaths of these two animals to fail to achieve their ends.

The dazzling exhibition of Horst at the Victoria and Albert is particularly apt: classically trained in avant garde design and architecture, Horst was involved as a precociously successful photographer for Condé Nast publications, not only with the leading fashion houses, but the social and artistic élite. And he took sustained inspiration from the isms of art - past and present. In the thirties he photographed costumes by Dali and used props from Giacometti furniture. Dali designed a set for a photograph for Horst to take for American Vogue, with dresses by Hattie Carnegie.

This ample exhibition - 150 or so photographs, and a small complementary display of well chosen magazines, showing a succinct number in published form - by Man Ray (1890-1976) is described as the first to concentrate exclusively on his portraits. He was born in Philadelphia as Michael Emmanuel Radnitzky, the eldest child of Russian Jewish immigrants (the father's classic occupation for someone of his ethnicity and class that of a tailor); the family moved to Brooklyn in 1897, the first of Man Ray's advantageous geographical relocations.

Painter Claudia Carr describes her surreal landscapes, composed from reflections of found objects that suggest imaginative scenarios of play and dreams.

Interview with painter Anthea Holmes, recorded in April 1988 at her Whitechapel Studio. She describes her training at Kingston University and at The Pratt Institute New York; with the development of an intricate play between figure, ground and light in an intimate process of accumulation and elision of elements.

Interview conducted with Christiane Baumgartner in 2010, by emailed questions and replies, in which she describes the process of her graphic and video work; incorporating ideas of stop-motion time frames applied to subjects of landscape, travelling, traffic, highways, and military installations.

Interview recorded with Rachel Howard at the artist's studio in July 2011. Explores her childhood and upbringing, awareness of "God", and experience of a Quaker schooling. Attendance at Goldsmiths and work for Damien Hirst on pharmacy cabinets and the Spot Paintings. Recent exhibition in Italy, the "Via Dolorosa"; discussion of her paintings and drawings; the desired effect of her work.

Artist Louise Sheridan interviewed at her exhibition at The Cafe Gallery Southwark in 1993. She describes her travels in Nepal and Thailand, and the works produced from a fellowship in Barcelona, Spain. She focuses on "The Envelope Series", votive objects made with wax and encaustic, and works made with Nepalese bark paper.

Renowned artist Thérèse Oulton describes her series, Territory, detailed aerial views in small-scale paintings, exhibited at Marlborough Fine Art London. She considers their source and her excursions in London and elsewhere, and their bearing on her work.

Interview recorded with Brazilian artist Lara Viana at Domobaal Gallery in January 2010. She describes her interest in souvenirs and votive settings found in the Catholic Church, and acknowledges an influence from the art of Velazquez and Zurbaran in her refined and ethereal paintings. The conversation revolves around a recent set of still life studies; tableaux of nature morte, that carry implications of transient existence in their subtle conception.