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Ella Littwitz investigates political, social, and cultural landscapes by appropriating and shifting specific elements connected to the land. Pivotal to her practice the constant desire of humans to create sovereign ideologies by drawing limits, borders, and frontiers, sometimes even controlling nature and moving soil. Littwitz?s interest in a specific stretch of land?namely Israel and Palestinian territories?stems from its status as a crossroads of religions, geography, and politics; water, soil, and sky; mythologies, beliefs, and momentous transitions. Littwitz?s works echo its biblical and modern narratives, presenting us with diverse examples of transition, transfiguration, and the formation of political constructs through acts of belief. In her cosmos, the field of action comprises both the artistic objects she presents to us and their non-presence in their original sites. Trail markers removed from a path, tin triangles that indicated minefields, floaters that once marked the border between Jordan and Israel, barrels that delineated military firing ranges, and books that once had a place on people?s shelves are all elements intended to trigger personal and collective memories, and thereby probe received assumptions and beliefs.0.
The artists? book 'How To Shoplift Books' by David Horvitz is a guide on how to steal books. It details 80 ways in which one can steal a book, from the very practical, to the witty, imaginative, and romantic ways. Originally published in 2013, this paperback re-issue is making this sought after title available again and is published in an English, Spanish and French version. 17 more languages will be released successively.
In The Corinthians, curators Ed Jones and Timothy Prus present more than 200 slides taken with Kodachrome film. The images in this collective visual portrait describe the new prosperity of a postwar United States, highlighting barbecues, big cars and families on vacation.
Violence, calamity and the absurdity of war are recorded extensively within The Archive of Modern Conflict, the largest photographic collection of its kind in the world. For their most recent work, Holy Bible, Adam Broomberg and Oliver Chanarin mined this archive with philosopher Adi Ophir's central tenet in mind: that God reveals himself predominantly through catastrophe and that power structures within the Bible correlate with those within modern systems of governance. - The format of Broomberg and Chanarin's illustrated Holy Bible mimics both the precise structure and the physical form of the King James Version. By allowing elements of the original text to guide their image selection, the artists explore themes of authorship, and the unspoken criteria used to determine acceptable evidence of conflict. - Inspired in part by the annotations and images Bertolt Brecht added to his own personal bible, Broomberg and Chanarin's publication questions the clichés at play within the visual representation of conflict.
'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
"This study provides some of the first empirical information about the self-reported crimes of adults with genius-level IQ scores. The study combines quantitative data about 72 different offenses with qualitative data from 44 follow-up interviews to describe nine different types of offending: violent crime, property crime, sex crime, drug crime, white-collar crime, professional misconduct, vehicular crime, justice system crime, and miscellaneous crime"--Provided by publisher.
Foreword by Alice von Hildebrand When The Eternal Woman was first published in Germany, Europe was a battlefield of modern ideologies that would sweep away millions of lives in war and genocide. Denying the Creator, who made male and female, Nazism and Communism could only fail to appreciate the true meaning of the feminine and reduce woman to a mere instrument of the state. In the name of liberating her from the so-called tyranny of Christianity, atheism, in any form, leads to woman's enslavement. With penetrating insight Gertrud von le Fort understood the war on womanhood, and consequently on motherhood, that always coincides with an attack on the faith of the Catholic Church, which she embraced at the age of 50 in 1926. In The Eternal Woman, she counters the modern assault on the feminine not with polemical argument but with perhaps the most beautiful meditation on womanhood ever written. Taking Mary, Virgin and Mother, as her model, von le Fort reflects on the significance of woman's spiritual and physical receptivity that constitutes her very essence, as well as her role in both the creation and redemption of human beings. Mary's fiat to God is the pathway to our salvation, as it is inextricably linked with the obedience unto death of Jesus her son. Like the Son's acceptance of the Cross, Mary's acceptance of her maternity symbolizes for all mankind the self-surrender to the Creator required of every human soul. Since any woman's acceptance of motherhood is likewise a yes to God, when womanhood and motherhood are properly understood and appreciated, the nature of the soul's relationship to God is revealed.