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Reclaiming San Francisco is an anthology of fresh appraisals of the contrarian spirit of the city-a spirit "resistant to authority or control." The official story of San Francisco is one of progress, development, and growth. But there are other, unofficial, San Francisco stories, often shrouded in myth and in danger of being forgotten, and they are told here: stories of immigrants and minorities, sailors and waterfront workers, and poets, artists, and neighborhood activists-along with the stories of speculators, land-grabbers, and the land itself that need to be told differently. Contributors include historians, geographers, poets, novelists, artists, art historians, photographers, journalists, citizen activists, an architect, and an anthropologist. Passionate about the city, they want San Francisco to be more itself and less like the city of office towers, chain stores, theme parks, and privatized public services and property that appears to be its immediate fate. San Francisco is not alone in being transformed according to the dictates of the global economy. But San Franciscans are unusual in their readiness to confront the corporate agenda for their city.
A landmark work of art history: lavishly illustrated and extraordinary for its thoroughness, A History of African-American Artists -- conceived, researched, and written by the great American artist Romare Bearden with journalist Harry Henderson, who completed the work after Bearden's death in 1988 -- gives a conspectus of African-American art from the late eighteenth century to the present. It examines the lives and careers of more than fifty signal African-American artists, and the relation of their work to prevailing artistic, social, and political trends both in America and throughout the world. Beginning with a radical reevaluation of the enigma of Joshua Johnston, a late eighteenth-century portrait painter widely assumed by historians to be one of the earliest known African-American artists, Bearden and Henderson go on to examine the careers of Robert S. Duncanson, Edward M. Bannister, Henry Ossawa Tanner, Aaron Douglas, Edmonia Lewis, Jacob Lawrence, Hale A. Woodruff, Augusta Savage, Charles H. Alston, Ellis Wilson, Archibald J. Motley, Jr., Horace Pippin, Alma W. Thomas, and many others. Illustrated with more than 420 black-and-white illustrations and 61 color reproductions -- including rediscovered classics, works no longer extant, and art never before seen in this country -- A History of African-American Artists is a stunning achievement.
From the music of Louis Armstrong to the portraits by Beauford Delaney, the writings of Langston Hughes to the debut of the musical Show Boat, the Harlem Renaissance is one of the most significant developments in African-American history in the twentieth century. The Encyclopedia of the Harlem Renaissance, in two-volumes and over 635 entries, is the first comprehensive compilation of information on all aspects of this creative, dynamic period. For a full list of entries, contributors, and more, visit the Encyclopedi a of Harlem Renaissance website.
In Spaces of Conflict, Sounds of Solidarity, Gaye Theresa Johnson examines interracial anti-racist alliances, divisions among aggrieved minority communities, and the cultural expressions and spatial politics that emerge from the mutual struggles of Blacks and Chicanos in Los Angeles from the 1940s to the present. Johnson argues that struggles waged in response to institutional and social repression have created both moments and movements in which Blacks and Chicanos have unmasked power imbalances, sought recognition, and forged solidarities by embracing the strategies, cultures, and politics of each others' experiences. At the center of this study is the theory of spatial entitlement: the spatial strategies and vernaculars utilized by working class youth to resist the demarcations of race and class that emerged in the postwar era. In this important new book, Johnson reveals how racial alliances and antagonisms between Blacks and Chicanos in L.A. had spatial as well as racial dimensions.
The author of Lincoln's Boys takes us inside Lyndon Johnson's White House to show how the legendary Great Society programs were actually put into practice: Team of Rivals for LBJ. The personalities behind every burst of 1960s liberal reform - from civil rights and immigration reform, to Medicare and Head Start. "Absorbing, and astoundingly well-researched -- all good historians do their homework, but Zeitz goes above and beyond. It's a more than worthwhile addition to the canon of books about Johnson."--NPR "Beautifully written...a riveting portrait of LBJ... Every officeholder in Washington would profit from reading this book." --Robert Dallek, Author of An Unfinished Life: John F. Kennedy, 1917-1963 and Franklin D. Roosevelt: A Political Life LBJ's towering political skills and his ambitious slate of liberal legislation are the stuff of legend: the Civil Rights Act of 1964, the Voting Rights Act of 1965, Medicare, Medicaid, Head Start, and environmental reform. But what happened after the bills passed? One man could not and did not go it alone. Joshua Zeitz reanimates the creative and contentious atmosphere inside Johnson's White House as a talented and energetic group of advisers made LBJ's vision a reality. They desegregated public and private institutions throughout one third of the United States; built Medicare and Medicaid from the ground up in one year; launched federal funding for public education; provided food support for millions of poor children and adults; and launched public television and radio, all in the space of five years, even as Vietnam strained the administration's credibility and budget. Bill Moyers, Jack Valenti, Joe Califano, Harry McPherson and the other staff members who comprised LBJ's inner circle were men as pragmatic and ambitious as Johnson, equally skilled in the art of accumulating power or throwing a sharp elbow. Building the Great Society is the story of how one of the most competent White House staffs in American history - serving one of the most complicated presidents ever to occupy the Oval Office - fundamentally changed everyday life for millions of citizens and forged a legacy of compassionate and interventionist government.
St. James's unique biographical dictionary provides information concerning approximately 400 artists, nearly 300 of whom were living at the time of publication. Although the focus is on "fine artists"--sculptors, painters, and printmakers--the index groups artists by medium, listing photographers, illustrators, ceramists, performance artists, filmmakers, quilt makers, wood-carvers, and fiber artists. An index of nationalities lists 26 groups from Europe, Africa, and the Caribbean, but US artists predominate (approximately 300); Nigerians and Jamaicans are the second largest groups, with 16 listings each. The signed entries profile the artist and list the artist's exhibitions, the institutions holding the artist's work, and the artist's publications. Many entries provide photographs of the artists or examples of their work. All illustrations are black-and-white reproductions and are indexed separately. A four-part subject bibliography covers general works and works on African, African American, and Caribbean art. Profiles of some 80 advisers and contributors constitute the last section. College and university libraries and large public libraries need this survey of black artists. Copyright 1999 American Library Association.
In this intimate portrait of an extraordinary father-son relationship, Mark K. Shriver discovers the moral principles that guided his legendary father and applies them to his own life When Sargent "Sarge" Shriver—founder of the Peace Corps and architect of President Johnson's War on Poverty—died in 2011 after a valiant fight with Alzheimer's, thousands of tributes poured in from friends and strangers worldwide. These tributes, which extolled the daily kindness and humanity of "a good man," moved his son Mark far more than those who lauded Sarge for his big-stage, headline-making accomplishments. After a lifetime searching for the path to his father's success in the public arena, Mark instead turns to a search for the secret of his father's joy, his devotion to others, and his sense of purpose. Mark discovers notes and letters from Sarge; hears personal stories from friends and family that zero in on the three guiding principles of Sarge's life—faith, hope, and love—and recounts moments with Sarge that now take on new value and poignancy. In the process, Mark discovers much about himself, as a father, as a husband, and as a social justice advocate. A Good Man is an inspirational and deeply personal story about a son discovering the true meaning of his father's legacy.