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Painting the City Red illuminates the dynamic relationship between the visual media, particularly film and theater, and the planning and development of cities in China and Taiwan, from the emergence of the People’s Republic in 1949 to the staging of the Beijing Olympics in 2008. Yomi Braester argues that the transformation of Chinese cities in recent decades is a result not only of China’s abandonment of Maoist economic planning in favor of capitalist globalization but also of a shift in visual practices. Rather than simply reflect urban culture, movies and stage dramas have facilitated the development of new perceptions of space and time, representing the future city variously as an ideal socialist city, a metropolis integrated into the global economy, and a site for preserving cultural heritage. Drawing on extensive archival research, interviews with leading filmmakers and urban planners, and close readings of scripts and images, Braester describes how films and stage plays have promoted and opposed official urban plans and policies as they have addressed issues such as demolition-and-relocation plans, the preservation of vernacular architecture, and the global real estate market. He shows how the cinematic rewriting of historical narratives has accompanied the spatial reorganization of specific urban sites, including Nanjing Road in Shanghai; veterans’ villages in Taipei; and Tiananmen Square, centuries-old courtyards, and postmodern architectural landmarks in Beijing. In Painting the City Red, Braester reveals the role that film and theater have played in mediating state power, cultural norms, and the struggle for civil society in Chinese cities.
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In 1919, in the wake of World War I, for a brief period Hungary was a Soviet Republic. The republic didn't last, but the incredible effusion of art, music, film, theater, and literature that it generated did. Painting the Town Red offers an in-depth exploration of the incredible artistic flourishing brought about by the 1919 republic, showing how art and politics were intertwined--and how, for a brief time, artists saw themselves as playing a crucial part in the establishment of a new way of living and governing. Through close analyses of the works of a number of creators and a careful recounting of the history and politics of the 1919 republic, Bob Dent brings a largely forgotten moment back to life, with all its glory and, ultimately, disillusion.
Paint Your Town Red tells the story of how one city in the north of England decided to level up without waiting for Whitehall. Across the world, there is a growing recognition that a new kind of economy is needed: more democratic, less exploitative, less destructive of society and the planet. Paint Your Town Red looks at how wealth can be generated and shared at a local level through the experience of one of the main advocates of the new Democratic Economy, Matthew Brown, the driving-force behind the world-recognized Preston Model. Using analysis, interviews and case studies to explain what Matthew and Preston City Council have done over the last decade in order to earn Preston the title of Most Improved City, the book shows how the model can be adapted to fit different local circumstances, as well as demonstrating how Preston itself adapted economic and democratic experiments in ‘community wealth-building’ from elsewhere in the US and Europe. Preston’s success shows that the ideas of community wealth-building work in practice and have the capacity to achieve a meaningful transfer of wealth and power back to local communities. A lot of recent coverage and references have tended to oversimplify the Preston Model, which is not just about ‘buying local’ but a comprehensive project, which envisions local and regional discussions and collaboration adding up to a wholesale transformation of our currently failing economic systems.
An Indigenous artist blends the aesthetics of punk rock with the traditional spiritual practices of the women in her lineage in this bold, contemporary journey to reclaim her heritage and unleash her power and voice while searching for a permanent home Sasha taqʷšəblu LaPointe has always longed for a sense of home. When she was a child, her family moved around frequently, often staying in barely habitable church attics and trailers, dangerous places for young Sasha. With little more to guide her than a passion for the thriving punk scene of the Pacific Northwest and a desire to live up to the responsibility of being the namesake of her beloved great-grandmother—a linguist who helped preserve her Indigenous language of Lushootseed—Sasha throws herself headlong into the world, determined to build a better future for herself and her people. Set against a backdrop of the breathtaking beauty of Coast Salish ancestral land and imbued with the universal spirit of punk, Red Paint is ultimately a story of the ways we learn to find our true selves while fighting for our right to claim a place of our own. Examining what it means to be vulnerable in love and in art, Sasha offers up an unblinking reckoning with personal traumas amplified by the collective historical traumas of colonialism and genocide that continue to haunt native peoples. Red Paint is an intersectional autobiography of lineage, resilience, and, above all, the ability to heal.
"I Heard You Paint Houses" will soon be a major motion picture directed by Martin Scorsese. The working title for the movie is "The Irishman". The first words Jimmy Hoffa ever spoke to Frank "the Irishman" Sheeran were, "I heard you paint houses." To paint a house is to kill a man. The paint is the blood that splatters on the walls and floors. In the course of nearly five years of recorded interviews Frank Sheeran confessed to Charles Brandt that he handled more than twenty-five hits for the mob, and for his friend Hoffa. Sheeran learned to kill in the U.S. Army, where he saw an astonishing 411 days of active combat duty in Italy during World War II. After returning home he became a hustler and hit man, working for legendary crime boss Russell Bufalino. Eventually he would rise to a position of such prominence that in a RICO suit then-U.S. Attorney Rudy Giuliani would name him as one of only two non-Italians on a list of 26 top mob figures. When Bufalino ordered Sheeran to kill Hoffa, he did the deed, knowing that if he had refused he would have been killed himself. Sheeran's important and fascinating story includes new information on other famous murders including those of Joey Gallo and JFK, and provides rare insight to a chapter in American history. Charles Brandt has written a page-turner that has become a true crime classic.
Acts of Intervention traces the ways in which performance and theatre have participated in and informed the larger cultural politics of race, sexuality, citizenship and AIDS in the United States in the last fifteen years.
Kaffe Fassett comes home to Big Sur each year to paint still lifes with Erin Lee Gafill. This book chronicles a decade of creative conversation between these two award-winning artists. This book serves as a catalog for the Color Duets show at the Monterey Museum of Art, summer 2020,
A Robert F. Sibert Honor Book Winner of the Schneider Family Book Award An ALA-ALSC Notable Children's Book Winner of the NCTE Orbis Pictus Award for Outstanding Nonfiction for Children As a child in the late 1800s, Horace Pippin loved to draw: He loved the feel of the charcoal as it slid across the floor. He loved looking at something in the room and making it come alive again in front of him. He drew pictures for his sisters, his classmates, his co-workers. Even during W.W.I, Horace filled his notebooks with drawings from the trenches . . . until he was shot. Upon his return home, Horace couldn't lift his right arm, and couldn't make any art. Slowly, with lots of practice, he regained use of his arm, until once again, he was able to paint--and paint, and paint! Soon, people—including the famous painter N. C. Wyeth—started noticing Horace's art, and before long, his paintings were displayed in galleries and museums across the country. Jen Bryant and Melissa Sweet team up once again to share this inspiring story of a self-taught painter from humble beginnings who despite many obstacles, was ultimately able to do what he loved, and be recognized for who he was: an artist.
Unlike many other art books only give recipes for mixing colors or describe step-by-step painting techniques, *Color and Light* answers the questions that realist painters continually ask, such as: "What happens with sky colors at sunset?", "How do colors change with distance?", and "What makes a form look three-dimensional?" Author James Gurney draws on his experience as a plain-air painter and science illustrator to share a wealth of information about the realist painter's most fundamental tools: color and light. He bridges the gap between abstract theory and practical knowledge for traditional and digital artists of all levels of experience.