Check CLICnet for availability
Notes:

• Includes bibliographical references (p. [399]-404) and index.
• Hester Thrale — Alice Liddell — Elizabeth Siddal — Lou Andreas Salomé — Gala Dalí — Lee Miller — Charis Weston — Suzanne Farrell — Yoko Ono.

Subjects:

• Creation (Literary, artistic, etc.)
• Man-woman relationships.
• Artistic collaboration.

Requested by Anonymous

Check CLICnet for availability
Notes:

• Includes bibliographical references (pages 395-401) and indexs.
• Space and geometry — Motions on the plane — The many symmetries of planar objects — The many objects with planar symmetries — Reflections on the mirror — A raw material — Stretching the plane — Aural wallpaper — The dawn of perspective — A repertoire of drawing systems — The vicissitudes of perspective — The vicissitudes of geometry — Symmetries in non-Euclidean geometries — The shape of the universe.

Subjects:

• Arts — Mathematics.

Requested by Kurpiers, R

Check CLICnet for availability
Notes:

• Includes bibliographical references (pages 211-217) and index.
• As World War II raged overseas, Harlem witnessed a battle of its own. Brimming with creative and political energy, Harlem’s diverse array of artists and activists launched a bold cultural offensive aimed at winning democracy for all Americans, regardless of race or gender. In Harlem Nocturne, esteemed scholar Farah Jasmine Griffin tells the stories of three black female artists whose creative and political efforts fueled this movement for change: novelist Ann Petry, a major new literary voice choreographer and dancer Pearl Primus, a pioneer in her field and composer and pianist Mary Lou Williams, a prominent figure in the emergence of Be-Bop. As Griffin shows, these women made enormous strides for social justice during the war, laying the groundwork for the Civil Rights Movement before the Cold War temporarily froze their democratic dreams. A rich account of three distinguished artists and the city that inspired them, Harlem Nocturne captures a period of unprecedented vitality and progress for African Americans and women in the United States. — Provided by publisher.
• In Harlem Nocturne, eminent scholar Farah Jasmine Griffin tells the stories of three black female artists who emerged during this period of unprecedented openness, flourishing professionally while also making enormous political strides for their fellow women and African Americans. Novelist Ann Petry, choreographer and dancer Pearl Primus, and composer and pianist Mary Lou Williams all achieved great fame during the 1940s. Like many African Americans in New York at the time, they weren’t native to the city Petry, a fourth generation New Englander, was born in Connecticut and arrived in Harlem as a newlywed, while Williams was born in Atlanta and only settled in Harlem after years on the road. Primus, for her part, was born in Trinidad and emigrated to New York when she was three years old. All three of these women would make significant contributions to their fields. Petry joined Richard Wright as a major new literary voice through her work, especially her acclaimed novel The Street, she wrote about the complexities of life for working class black women. Mary Lou Williams became a major figure in the emergence of Be-Bop, and as a keyboardist and composer defied the notion that women could only contribute to jazz as vocalists. Pearl Primus, meanwhile, was a favorite of New York Times dance critic John Martin and performed across the globe and in front of enormous crowds, including at the 1943 Negro Freedom Rally at Madison Square Garden to an audience of 20,000 — Provided by publisher.

Subjects:

• African American women artists — New York (State) — New York — History — 20th century.
• African American women artists — Political activity — New York (State) — New York — History — 20th century.
• Petry, Ann, 1908-1997.
• Primus, Pearl.
• Williams, Mary Lou, 1910-1981.
• New York (N.Y.) — Intellectual life — 20th century.
• Harlem (New York, N.Y.) — Intellectual life — 20th century.

Requested by Anderson, K

Check CLICnet for availability
Notes:

• Originally published: London : Hutchinson, 1999.
• Includes bibliographical references (p. [686]-693) and index.
• 1. Prologue: Fairest Isle — 2. Pax Romana — 3. Through a Glass Darkly — 4. The Twelfth Century Renaissance — 5. Castles, Cathedrals and Abbeys — 6. Faith, Reason and Light — 7. Camelot — 8. A Medieval Patron: William of Wykeham — 9. Purchasing Paradise — 10. Magnificence — 11. End of an Era: Thomas, Cardinal Wolsey — 12. Classical Interlude — 13. A Cultural Revolution — 14. Dynasty — 15. The Faerie Queene — 16. All the World’s a Stage — 17. Removed Mysteries — 18. The Virtuoso: Thomas Howard, Earl of Arundel — 19. Isolation — 20. The Mechanistic Universe — 21. Apocalypse Now — 22. Pomp and Circumstance — 23. The Crown Eclipsed — 24. The Rule of Taste: Richard Boyle, 3rd Earl of Burlington — 25. Babylon — 26. The Grand Tour and After — 27. Forging a Culture — 28. Sensibility — 29. ‘A Little Gothic Castle’: Horace Walpole — 30. Light North of the Border — 31. Revolution, Reaction and Romance — 32. A New Nation — 33. Albertopolis: The Prince Consort — 34. Land of Hope and Glory — 35. Fragmentation — 36. Consensus Arts — 37. Lord Civilisation: Kenneth Clark — 38. Epilogue: Consumer Culture.
• After telling the two-thousand-year-old history of the British isles in The Story of Britain, a book widely hailed as an instant classic, Roy Strong now follows up with the story of the incredible burst of creative energy which has shaped Britain’s cultural identity since Roman times. In a continuous unfolding narrative, Strong chronicles the events that gave birth to a civilization of astonishing vitality as it created a culture of soaring splendor. Here he tells the story of all that is best in Britain’s art and culture – its literature and music, its poetry, painting, architecture, theater, and dance. In Sir Roy’s hands the tale becomes a journey of discovery from the Celts to the present day, to be shared and understood by modern readers. Strong’s story is marked by a vision which singles out the uniquely British qualities that have put their stamp on the island’s culture – its love of tradition, its predilection for the eccentric and the nonconformist, and its obsession with people, rather than ideas. –BOOK JACKET.

Subjects:

• Arts, British.

Requested by Bibus, K.

Check CLICnet for availability
Notes:

• Introduction: why does culture change? — What is culture? — Four kinds of culture — The meanings of art — All art is social — Patronage in action — Primacy of the artist — Seven principles of cultural change — Cultural change and the environment — Contemporary cultural change.

Subjects:

• Arts and society.
• Social change.

Requested by Wittenbreer, B

Check CLICnet for availability
Part of the series The new Black studies series;New Black studies.
Notes:

• Beginning in the 1930s, Black Chicago experienced a cultural renaissance that lasted into the 1950s and rivaled the cultural outpouring in the Harlem Renaissance of the 1920s. The contributors to this volume analyze this prolific period of African American creativity in music, performance art, social science scholarship, and visual and literary artistic expression. Unlike Harlem, Chicago was an urban industrial center that gave a unique working class and internationalist perspective to the cultural work being done in Chicago. This collection’s various essays discuss the forces that distinguished the Black Chicago Renaissance from the Harlem Renaissance and placed the development of black culture in a national and international context. Among the topics discussed in this volume are Chicago writers Gwendolyn Brooks and Richard Wright, The Chicago Defender and Tivoli Theater, African American music and visual arts, and the American Negro Exposition of 1940. Contributors are Hilary Mac Austin, David T. Bailey, Murry N. DePillars, Samuel A. Floyd Jr., Erik S. Gellman, Jeffrey Helgeson, Darlene Clark Hine, John McCluskey Jr., Christopher Robert Reed, Elizabeth Schlabach, and Clovis E. Semmes — Provided by publisher.
• The New Negro consciousness with its roots in the generation born in the last and opening decades of the 19th and 20th centuries replenished and nurtured by migration, resulted in the Harlem Renaissance in the 1920s then reemerged transformed in the 1930s as the Black Chicago Renaissance. The authors in this volume argue that beginning in the 1930s and lasting into the 1950s, Black Chicago experienced a cultural renaissance that rivaled the cultural outpouring in Harlem. The Black Chicago Renaissance, however, has not received its full due. This book addresses that neglect. Like Harlem, Chicago had become a major destination for black southern migrants. Unlike Harlem, it was also an urban industrial center that gave a unique working class and internationalist perspective to the cultural work that took place here. The contributors to Black Chicago Renaissance analyze a prolific period of African American creativity in music, performance art, social science scholarship, and visual and literary artistic expression. Each author discusses forces that distinguished and link the Black Chicago Renaissance to the Harlem Renaissance as well as placing the development of black culture in a national and international context by probing the histories of multiple (sequential and overlapping–Philadelphia, Cleveland, Detroit, Los Angeles, Memphis) black renaissances. Among the topics discussed in this volume are Chicago writers Gwendolyn Brooks and Richard Wright, The Chicago Defender and Tivoli Theater, African American music and visual arts, as well as the American Negro Exposition of 1940 — Provided by publisher.
• Includes bibliographical references and index.
• Let’s call it love / [by] J.M. Mahlum. — Black Chicago: History, Culture, and Community. African American cultural expression in Chicago before the Renaissance: the performing, visual, and literary arts, 1893-1933 / [by] Christopher Robert Reed The Negro Renaissance: Harlem and Chicago flowerings / [by] Samuel A. Floyd Jr. The problem of race and Chicago’s great Tivoli Theater / [by] Clovis E. Semmes The Defender brings you the world: the Grand European Tour of Patrick B. Prescott Jr. / [by] Hilary Mac Austin. — Black Chicago’s Renaissance: Culture, Consciousness, Politics, and Place. The dialectics of placelessness and boundedness in Richard Wright’s and Gwendolyn Brooks’s fictions: crafing the Chicago Black Renaissance’s literary landscape / [by] Elizabeth Schlabach Richard Wright and the season of manifestoes / John McCluskey Jr. Horace Cayton no road home / [by] David T. Bailey Who are you America but me? : the American Negro Exposition, 1940 / [by] Jeffrey Helgeson Chicago’s native son: Charles White and the laboring of the Black Renaissance / [by] Erik S. Gellman. — Visual Art and Artists in the Black Chicago Renaissance. Chicago’s African American visual arts renaissance / [by] Murry N. DePillars.

Subjects:

• African American arts — Illinois — Chicago — 20th century.
• African Americans — Illinois — Chicago — Intellectual life — 20th century.
• Arts and society — Illinois — Chicago — History — 20th century.
• Chicago (Ill.) — Intellectual life — 20th century.
• SOCIAL SCIENCE / Ethnic Studies / African American Studies. bisacsh
• HISTORY / United States / 20th Century. bisacsh
• HISTORY / Social History. bisacsh

Requested by Koehler, B