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For over two decades visual artist and historian Brenton Hamilton has created a sustained body of work, mostly concentrated within the historic processes employing nineteenth century photography techniques, no longer commercially available. Hamilton has produced a unique body of work using methodologies like gum bichromated forms, platinum, and collodion ambrotypes on black glass, French variants of paper calotypy and of course the embellished cyanotype. Influenced by the Surrealist motifs; coaxing dream like, chance collisions of fragments from art history, Hamilton shapes a new landscape in his photographs. The present symbolism of the dark night sky and the freedom to look outside himself towards unfettered ideas and musings, learning to make a new place with paper and metal salts and light allowing him to rest and wonder. He combines human anatomy, astronomy and botanical imagery to create intriguing and provocative arrangements. His work references to ancient Greece and Rome, as well as 15th and 16th century Dutch and Italian paintings. Hamilton uses symbols and visual elements from the history of art to create a thoroughly contemporary vision.
When Dr. George Pritchard asked Phoebe to marry him, she hadn't needed much persuading. The recent death of her aunt had left her penniless and without a job. Besides, she did like him. So what if he'd made it plain that he wasn't in love with her—at least she knew where she stood. It wasn't until after the wedding that she began to wonder if liking was going to be enough….
A trenchant critique of failure and opportunism across the political spectrum, American Idyll argues that social mobility, once a revered hallmark of American society, has ebbed, as higher education has become a mechanistic process for efficient sorting that has more to do with class formation than anything else. Academic freedom and aesthetic education are reserved for high-scoring, privileged students and vocational education is the only option for economically marginal ones. Throughout most of American history, antielitist sentiment was reserved for attacks against an entrenched aristocracy or rapacious plutocracy, but it has now become a revolt against meritocracy itself, directed against what insurgents see as a ruling class of credentialed elites with degrees from exclusive academic institutions. Catherine Liu reveals that, within the academy and stemming from the relatively new discipline of cultural studies, animosity against expertise has animated much of the Left’s cultural criticism. By unpacking the disciplinary formation and academic ambitions of American cultural studies, Liu uncovers the genealogy of the current antielitism, placing the populism that dominates headlines within a broad historical context. In the process, she emphasizes the relevance of the historical origins of populist revolt against finance capital and its political influence. American Idyll reveals the unlikely alliance between American pragmatism and proponents of the Frankfurt School and argues for the importance of broad frames of historical thinking in encouraging robust academic debate within democratic institutions. In a bold thought experiment that revives and defends Richard Hofstadter’s theories of anti-intellectualism in American life, Liu asks, What if cultural populism had been the consensus politics of the past three decades? American Idyll shows that recent antielitism does nothing to redress the source of its discontent—namely, growing economic inequality and diminishing social mobility. Instead, pseudopopulist rage, in conservative and countercultural forms alike, has been transformed into resentment, content merely to take down allegedly elitist cultural forms without questioning the real political and economic consolidation of powers that has taken place in America during the past thirty years.
It is unwise to steal from goblins... In order to save a dying silver kitten, a kind-hearted sprite makes a desperate decision. It is a choice that will change her life forever. Because all debts come due eventually, and a debt to the Goblin King is no small thing. Caught up in an age-old enmity, can Lumina find a way to make good what she owes and still keep all she holds dear? Will the price of her choice be more than she can pay? No matter the answer, some things are worth the cost, whatever it might be. At its heart, Lumina and the Goblin King is a fairytale - complete with goblins, fairies, elementals and the like - plus one opinionated silver cat. There is no obscene language or mature scenes; although there are some mild thematic elements.
On a block dressed up in Red and Green one house shone Blue and White. It's a holiday season that both Isaac, whose family is Jewish, and Teresa, whose family is Christian, have looked forward to for months! They've been counting the days, playing in the snow, making cookies, drawing (Teresa) and writing poems (Isaac). They enjoy all the things they share, as well as the things that make them different. But when Isaac's window is smashed in the middle of the night, it seems like maybe not everyone appreciates "difference." Inspired by a true story, this is a tale of a community that banded together to spread light.
A decades-old robbery of an ancient whaling chest, combined with an historic riddle, send the winter inhabitants of Nantucket - including a scallop fisherman, a former tour bus driver, and a 95-year-old native - on an island-wide treasure hunt.