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The first book-length study of the Royal Chicano Air Force maps the history of this vanguard Chicano/a arts collective, which used art and cultural production as sociopolitical activism.
"The Murrumbidgee River Hay to Maude Floodplain Management Plan (the FMP) has been prepared to provide strategic guidance to the NSW Government and landholders who are involved in the management of floodwaters on the Murrumbidgee River (Hay to Maude) floodplain. The vision for the FMP is: an environment where flood risk to occupiers and users of the floodplain is minimised and flood dependent ecosystems within the floodplain and on the downstream Lowbidgee floodplain are sustained by access to floodwaters"--Page 1.
This guide was written as a quick primer for transportation professionals and analysts who assess the impacts of proposed transportation actions on communities. It outlines the community impact assessment process, highlights critical areas that must be examined, identifies basic tools and information sources, and stimulates the thought-process related to individual projects. In the past, the consequences of transportation investments on communities have often been ignored or introduced near the end of a planning process, reducing them to reactive considerations at best. The goals of this primer are to increase awareness of the effects of transportation actions on the human environment and emphasize that community impacts deserve serious attention in project planning and development-attention comparable to that given the natural environment. Finally, this guide is intended to provide some tips for facilitating public involvement in the decision making process.
This volume presents an overview of the social history of modern and contemporary Latin American and Latino art. This collection of thirty-three essays focuses on Latin American artists throughout Mexico, Central and South America, the Caribbean, and the United States. The author provides a chronology of modern Latin American art; a history of "social art history" in the United States; and synopses of recent theoretical and historical writings by major scholars from Mexico, Cuba, Brazil, Peru, Uruguay, Chile, and the United States. In her essays, she discusses a vast array of topics including: the influence of the Mexican muralists on the American continent; the political and artistic significance of poster art and printmaking in Cuba, Puerto Rico, and among Chicanos; the role of women artists such as Guatemalan painter Isabel Ruiz; and the increasingly important role of politics and multinational businesses in the art world of the 1970s and 1980s. She explores the reception of Latin American and Latino art in the United States, focusing on major historical exhibits as well as on exhibits by artists such as Chilean Alfredo Jaar and Argentinean Leandro Katz. Finally, she examines the significance of nationalist and ethnic themes in Latin American and Latino art.
Attempts to separate fact from fiction and update their history in light of their recent activities.
No One Is Illegal debunks the leading ideas behind the often-violent right-wing backlash against immigrants.