John Sloan's Women


Book Description

"Challenging the cornerstone assumption of Sloan as a neutral spectator, Coco suggests the ways that he used art to define himself as both man and artist, at a time when the ideals of masculinity and artistic identity were at issue. Examining his self-admitted fear of women, she demonstrates how Sloan's perception of them, as potentially threatening to his manhood and his career, manifests itself subtextually in the fetishized nature of his windowed compositions.".




The "new Woman" Revised


Book Description

In the years between the world wars, Manhattan's Fourteenth Street-Union Square district became a center for commercial, cultural, and political activities, and hence a sensitive barometer of the dramatic social changes of the period. It was here that four urban realist painters--Kenneth Hayes Miller, Reginald Marsh, Raphael Soyer, and Isabel Bishop--placed their images of modern "new women." Bargain stores, cheap movie theaters, pinball arcades, and radical political organizations were the backdrop for the women shoppers, office and store workers, and consumers of mass culture portrayed by these artists. Ellen Wiley Todd deftly interprets the painters' complex images as they were refracted through the gender ideology of the period. This is a work of skillful interdisciplinary scholarship, combining recent insights from feminist art history, gender studies, and social and cultural theory. Drawing on a range of visual and verbal representations as well as biographical and critical texts, Todd balances the historical context surrounding the painters with nuanced analyses of how each artist's image of womanhood contributed to the continual redefining of the "new woman's" relationships to men, family, work, feminism, and sexuality.




An American Journey: The Art of John Sloan


Book Description

Catalogue for a full-career retrospective of the American realist artist and illustrator John Sloan (1871-1951). This book features work from the Sloan collection at the Delaware Art Museum.




John Sloan's New York


Book Description

A close look at early 20th-century New York City is revealed through the eyesof Ashcan artist John Sloan.




Prints and Their Makers


Book Description

"An exploration of historical and contemporary fine art printmaking, with an emphasis on the roles and processes of the artist, master printer, and publisher"--




Compelling People


Book Description

Required reading at Harvard Business School and Columbia Business School. Everyone wants to be more appealing and effective, but few believe we can manage the personal magnetism of a Bill Clinton or an Oprah Winfrey. John Neffinger and Matthew Kohut trace the path to influence through a balance of strength (the root of respect) and warmth (the root of affection). Each seems simple, but only a few of us figure out the tricky task of projecting both at once. Drawing on cutting-edge social science research as well as their own work with Fortune 500 executives, members of Congress, TED speakers, and Nobel Prize winners, Neffinger and Kohut reveal how we size each other up—and how we can learn to win the admiration, respect, and affection we desire.




Is Multiculturalism Bad for Women?


Book Description

Polygamy, forced marriage, female genital mutilation, punishing women for being raped, differential access for men and women to health care and education, unequal rights of ownership, assembly, and political participation, unequal vulnerability to violence. These practices and conditions are standard in some parts of the world. Do demands for multiculturalism--and certain minority group rights in particular--make them more likely to continue and to spread to liberal democracies? Are there fundamental conflicts between our commitment to gender equity and our increasing desire to respect the customs of minority cultures or religions? In this book, the eminent feminist Susan Moller Okin and fifteen of the world's leading thinkers about feminism and multiculturalism explore these unsettling questions in a provocative, passionate, and illuminating debate. Okin opens by arguing that some group rights can, in fact, endanger women. She points, for example, to the French government's giving thousands of male immigrants special permission to bring multiple wives into the country, despite French laws against polygamy and the wives' own bitter opposition to the practice. Okin argues that if we agree that women should not be disadvantaged because of their sex, we should not accept group rights that permit oppressive practices on the grounds that they are fundamental to minority cultures whose existence may otherwise be threatened. In reply, some respondents reject Okin's position outright, contending that her views are rooted in a moral universalism that is blind to cultural difference. Others quarrel with Okin's focus on gender, or argue that we should be careful about which group rights we permit, but not reject the category of group rights altogether. Okin concludes with a rebuttal, clarifying, adjusting, and extending her original position. These incisive and accessible essays--expanded from their original publication in Boston Review and including four new contributions--are indispensable reading for anyone interested in one of the most contentious social and political issues today. The diverse contributors, in addition to Okin, are Azizah al-Hibri, Abdullahi An-Na'im, Homi Bhabha, Sander Gilman, Janet Halley, Bonnie Honig, Will Kymlicka, Martha Nussbaum, Bhikhu Parekh, Katha Pollitt, Robert Post, Joseph Raz, Saskia Sassen, Cass Sunstein, and Yael Tamir.




Hitler's Last Hostages


Book Description

Adolf Hitler's obsession with art not only fueled his vision of a purified Nazi state--it was the core of his fascist ideology. Its aftermath lives on to this day. Nazism ascended by brute force and by cultural tyranny. Weimar Germany was a society in turmoil, and Hitler's rise was achieved not only by harnessing the military but also by restricting artistic expression. Hitler, an artist himself, promised the dejected citizens of postwar Germany a purified Reich, purged of "degenerate" influences. When Hitler came to power in 1933, he removed so-called "degenerate" art from German society and promoted artists whom he considered the embodiment of the "Aryan ideal." Artists who had produced challenging and provocative work fled the country. Curators and art dealers organized their stock. Thousands of great artworks disappeared--and only a fraction of them were rediscovered after World War II. In 2013, the German government confiscated roughly 1,300 works by Henri Matisse, George Grosz, Claude Monet, and other masters from the apartment of Cornelius Gurlitt, the reclusive son of one of Hitler's primary art dealers. For two years, the government kept the discovery a secret. In Hitler's Last Hostages, Mary M. Lane reveals the fate of those works and tells the definitive story of art in the Third Reich and Germany's ongoing struggle to right the wrongs of the past.




Life's Pleasures


Book Description