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BLOOD, STEEL & CANVAS: THE ASIAN ODYSSEY OF A FIGHTER is a story about fighting on two levels: the American lawyer author’s improbable career as Asia’s oldest amateur boxer and his fight to overcome colon cancer and its consequences. Through his friendships with boxers in the Philippines and Thailand, his efforts (not always successful) to learn the languages and his delight in experiencing local cultures, he sets an example for other expatriates who have the great fortune to live and work overseas. His unremitting enthusiasm and refusal to give up, under any circumstances, set an example for others with serious or life-threatening diseases.
Engravers and embellishers of arms are the stars of this loving tribute to the artistry of firearms.
Steel Canvas now a best selling book, tells the tale of the glory days of the graffiti art subculture on the London Underground system through the late eighties to the mid nineties. More than just a photo book, this is the authors personal journey through troubled times in the Thatcher era struggling to get noticed trying to get up whilst also trying to capture the system that was in decay littered with graffiti through the medium of 35 mm (pre digital) photography.
At an unprecedented and probably unique American moment, laboring people were indivisible from the art of the 1930s. By far the most recognizable New Deal art employed an endless frieze of white or racially ambiguous machine proletarians, from solo drillers to identical assembly line toilers. Even today such paintings, particularly those with work themes, are almost instantly recognizable. Happening on a Depression-era picture, one can see from a distance the often simplified figures, the intense or bold colors, the frozen motion or flattened perspective, and the uniformity of laboring bodies within an often naive realism or naturalism of treatment. In a kind of Social Realist dance, the FAP’s imagined drillers, haulers, construction workers, welders, miners, and steel mill workers make up a rugged industrial army. In an unusual synthesis of art and working-class history, Labor’s Canvas argues that however simplified this golden age of American worker art appears from a post-modern perspective, The New Deal’s Federal Art Project (FAP), under the aegis of the Works Progress Administration (WPA), revealed important tensions. Artists saw themselves as cultural workers who had much in common with the blue-collar workforce. Yet they struggled to reconcile social protest and aesthetic distance. Their canvases, prints, and drawings registered attitudes toward laborers as bodies without minds often shared by the wider culture. In choosing a visual language to reconnect workers to the larger society, they tried to tell the worker from the work with varying success. Drawing on a wealth of social documents and visual narratives, Labor’s Canvas engages in a bold revisionism. Hapke examines how FAP iconography both chronicles and reframes working-class history. She demonstrates how the New Deal’s artistically rendered workforce history reveals the cultural contradictions about laboring people evident even in the depths of the Great Depression, not the least in the imaginations of the FAP artists themselves.