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Published to coincide with a solo presentation of "The Hoax Suite" by British painter Justin Mortimer at The Armory Show in New York in 2018 with London-based gallery Parafin, the publication presents the thirty works that comprise this exceptional series of paintings depicting dead and dying flowers, offering an intense exposition of still life, or perhaps more aptly, nature morte. From one direction, pure abstraction threatens to rupture into physical space and matter from the other, figuration almost collapses into the abstraction that engulfs it. With Mortimer's characteristic combination of darkness and beauty, melancholy and metaphysics, observation and interpretation, the "Hoax" series is not only a significant body of work within the artist's oeuvre, but perhaps also one of the most significant series of paintings of flowers in our time. Alongside new photography of all the paintings, the book features a specially commissioned essay by London-based writer Freya Cooper Kiddie, in which she investigates the techniques and aesthetics of a series that fuses decaying organic matter with corrupted digital technology. While "The Hoax Suite" is an exploration of the dialogue between figuration and abstraction, its themes are manifold, from the contemplation of mortality to faded beauty and lost love - fragrant flowers in full bloom, as if to deceive us, soon decay. Here, in these dank, acrid, darkly psychedelic works, Mortimer shines a flashlight on the spectral beauty of death, and in doing so, reminds us that life is the agonizing yet ecstatic explosion of color that fleetingly fills the void.
"Published on the occasion of the exhibition 'Justin Mortimer Resort,' Haunch of Venison, London, 12 October - 24 November 2012." -- Colopho
Exhaustively annotated and illustrated, this explosive work of history unearths clues that finally demonstrate the truth about one of the world’s great religions: that it was born out of the conflict between the Romans and messianic Jews who fought a bitter war with each other during the 1st Century. The Romans employed a tactic they routinely used to conquer and absorb other nations: they grafted their imperial rule onto the religion of the conquered. After 30 years of research, authors James S. Valliant and C.W. Fahy present irrefutable archeological and textual evidence that proves Christianity was created by Roman Caesars in this book that breaks new ground in Christian scholarship and is destined to change the way the world looks at ancient religions forever. Inherited from a long-past era of tyranny, war and deliberate religious fraud, could Christianity have been created for an entirely different purpose than we have been lead to believe? Praised by scholars like Dead Sea Scrolls translator Robert Eisenman (James the Brother of Jesus), this exhaustive synthesis of historical detective work integrates all of the ancient sources about the earliest Christians and reveals new archeological evidence for the first time. And, despite the fable presented in current bestsellers like Bill O’Reilly’s Killing Jesus, the evidence presented in Creating Christ is irrefutable: Christianity was invented by Roman Emperors. I have rarely encountered a book so original, exciting, accessible and informed on subjects that are of obvious importance to the world and to which I have myself devoted such a large part of my scholarly career studying. In this book they have rendered a startling new understanding of Christianity with a controversial theory of its Roman provenance that is accessible to the layman in a very powerful way. In the process, they present new and comprehensive archeological and iconographic evidence, as well as utilizing the widest and most cutting edge work of other recent scholars, including myself. This is a work of outstanding and original scholarship. Its arguments are a brilliant, profound and thorough integration of the relevant evidence. When they are done, the conclusion is inescapable and obviously profound. Robert Eisenman, Author of James the Brother of Jesus and The New Testament Code "A fascinating and provocative investigative history of ideas, boldly exploring a problem that previous scholarship has not clearly or credibly addressed: how (and why!) the Flavian dynasty wove Christianity into the very fabric of Western civilization." -Mark Riebling, author of Church of Spies: The Pope's Secret War Against Hitler
The Vertical Plane: The Mystery of the Dodleston Messages: A unique supernatural detective story.
This volume provides a summary of the findings that educational research has to offer on good practice in school science teaching. It offers an overview of scholarship and research in the field, and introduces the ideas and evidence that guide it.
CNN host and best-selling author Fareed Zakaria argues for a renewed commitment to the world’s most valuable educational tradition. The liberal arts are under attack. The governors of Florida, Texas, and North Carolina have all pledged that they will not spend taxpayer money subsidizing the liberal arts, and they seem to have an unlikely ally in President Obama. While at a General Electric plant in early 2014, Obama remarked, "I promise you, folks can make a lot more, potentially, with skilled manufacturing or the trades than they might with an art history degree." These messages are hitting home: majors like English and history, once very popular and highly respected, are in steep decline. "I get it," writes Fareed Zakaria, recalling the atmosphere in India where he grew up, which was even more obsessed with getting a skills-based education. However, the CNN host and best-selling author explains why this widely held view is mistaken and shortsighted. Zakaria eloquently expounds on the virtues of a liberal arts education—how to write clearly, how to express yourself convincingly, and how to think analytically. He turns our leaders' vocational argument on its head. American routine manufacturing jobs continue to get automated or outsourced, and specific vocational knowledge is often outdated within a few years. Engineering is a great profession, but key value-added skills you will also need are creativity, lateral thinking, design, communication, storytelling, and, more than anything, the ability to continually learn and enjoy learning—precisely the gifts of a liberal education. Zakaria argues that technology is transforming education, opening up access to the best courses and classes in a vast variety of subjects for millions around the world. We are at the dawn of the greatest expansion of the idea of a liberal education in human history.
AN AMAZON BEST BOOK OF 2021 'Delightful' Ed Yong What's to be done about a drunken elephant? A monkey caught mugging passers-by? A trespassing squirrel? Follow Mary Roach as she investigates laser scarecrows, robo-hawks, human-elephant conflict specialists and monkey impersonators. Travel to the bear-busy back alleys of Aspen, the gull-vandalized floral displays at the Vatican and leopard-terrorized hamlets in the Himalayas. In this fresh, funny and thoroughly researched book, dive into the weird and wonderful moments when humanity and wildlife bump up against one another.
Louise Giovanelli (b.1993, London) is one of Britain's most promising young painters. This, the artist's first monograph, documents her first three solo exhibitions, staged in 2016-17 at The International 3, Salford, the Grundy Art Gallery, Blackpool, and Touchstones Rochdale. Featuring a foreword by Paulette Terry Brien, co-founder and co-director of The International 3, Salford, UK, and an essay and an interview by Charlotte Keenan McDonald, Curator of British Art at the Walker Art Gallery, Liverpool, this publication has been beautifully designed by Textbook Studio and published by Anomie in a first edition of 500 copies. Paintings, both contemporary and spanning the history of art, are Giovanelli's primary subjects within her own paintings. Picking out sections or details from existing works - some well-known but mostly lesser-known - she reworks and represents them, focussing on aspects that attract her eye and critical attention. These might be unusual or odd formal elements - a neckline or a detail on an item of clothing - or can equally be things that are extraneous to the original, such as how candlelight might fall on it, or how it might appear during restoration work by a conservator. Considering the position of the viewer as much as the painter, Giovanelli explores the history of painting as object, the context of its display and reception, and the very mechanics of painting itself to investigate languages of painting both past and present, resulting in works that are cryptic, other-worldly and strangely enchanting. Louise Giovanelli graduated in BA (Hons) Fine Art (Painting) from Manchester School of Art in 2015. Her previous group exhibitions include: 'BEEP', Wales' international painting prize; 'Institution / Outstitution' at The International 3; 'Pleasure Islands' at Art Work Atelier, Salford; 'The Painted World' Saatchi Art Showdown Final, Los Angeles; and 'Ones to Watch', Galerie Sarow, Pforzheim, Germany. In 2016 Giovanelli had her first solo exhibition, 'Prima Donna' at The International 3, Salford, followed by 'From Here to Here' at Grundy Art Gallery, Blackpool, 'Slow to Respond' at Touchstones Rochdale, and in 2017 a solo exhibition at Warrington Museum and Art Gallery. Giovanelli has been the recipient of a number of prizes including The Leonard James Fine Art Prize, The Manchester Academy of Fine Art Award, and The Ken Billany Painting Prize. In 2015 she was awarded second place in the Saatchi Art Showdown and in 2017 she will undertake a residency at Griffin Gallery, London. Her work is held in private collections in the UK, USA, Canada, China, Germany, Slovakia and Italy.
NATIONAL BESTSELLER • The gripping story of Elizabeth Holmes and Theranos—one of the biggest corporate frauds in history—a tale of ambition and hubris set amid the bold promises of Silicon Valley, rigorously reported by the prize-winning journalist. With a new Afterword covering her trial and sentencing, bringing the story to a close. “Chilling ... Reads like a thriller ... Carreyrou tells [the Theranos story] virtually to perfection.” —The New York Times Book Review In 2014, Theranos founder and CEO Elizabeth Holmes was widely seen as the next Steve Jobs: a brilliant Stanford dropout whose startup “unicorn” promised to revolutionize the medical industry with its breakthrough device, which performed the whole range of laboratory tests from a single drop of blood. Backed by investors such as Larry Ellison and Tim Draper, Theranos sold shares in a fundraising round that valued the company at more than $9 billion, putting Holmes’s worth at an estimated $4.5 billion. There was just one problem: The technology didn’t work. Erroneous results put patients in danger, leading to misdiagnoses and unnecessary treatments. All the while, Holmes and her partner, Sunny Balwani, worked to silence anyone who voiced misgivings—from journalists to their own employees.