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A fascinating study of Edward Hopper's iconic Nighthawks painting and its deep significance for understanding American culture. Staying up Much Too Late discusses the painting Nighthawks and the painter Edward Hopper and their central importance to twentieth-century American culture. Topics include individualism, New York City, Arthur "Weegee" Fellig, diners, pornography, capitalism, advertising, cigarettes, American philosophy, World War II, Gravity's Rainbow, Blade Runner, Pulp Fiction, Russ Meyer, R. Crumb, David Lynch, and film noir What links these together is the painting's pessimistic take on American culture, which it also seems to epitomize. Despite its desolate feel, Nighthawks has become a familiar icon, reproduced on posters and postcards, in movies and on television shows. But Nighthawks is more than just a masterful painting. It is a portal into that rarely acknowledged but pervasive dark side of the American psyche.
Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn
More than two million students are enrolled in for-profit colleges, from the small family-run operations to the behemoths brandished on billboards, subway ads, and late-night commercials. These schools have been around just as long as their bucolic not-for-profit counterparts, yet shockingly little is known about why they have expanded so rapidly in recent years—during the so-called Wall Street era of for-profit colleges. In Lower Ed Tressie McMillan Cottom—a bold and rising public scholar, herself once a recruiter at two for-profit colleges—expertly parses the fraught dynamics of this big-money industry to show precisely how it is part and parcel of the growing inequality plaguing the country today. McMillan Cottom discloses the shrewd recruitment and marketing strategies that these schools deploy and explains how, despite the well-documented predatory practices of some and the campus closings of others, ending for-profit colleges won't end the vulnerabilities that made them the fastest growing sector of higher education at the turn of the twenty-first century. And she doesn't stop there. With sharp insight and deliberate acumen, McMillan Cottom delivers a comprehensive view of postsecondary for-profit education by illuminating the experiences of the everyday people behind the shareholder earnings, congressional battles, and student debt disasters. The relatable human stories in Lower Ed—from mothers struggling to pay for beauty school to working class guys seeking "good jobs" to accomplished professionals pursuing doctoral degrees—illustrate that the growth of for-profit colleges is inextricably linked to larger questions of race, gender, work, and the promise of opportunity in America. Drawing on more than one hundred interviews with students, employees, executives, and activists, Lower Ed tells the story of the benefits, pitfalls, and real costs of a for-profit education. It is a story about broken social contracts; about education transforming from a public interest to a private gain; and about all Americans and the challenges we face in our divided, unequal society.