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“Be forewarned that this book honors people like the woman in my hometown who paints the numbers of her favorite NASCAR drivers on her elephant ears, and a Tokyo gardener with over a hundred bonsai plants.” So says renowned garden journalist Felder Rushing in his new book Maverick Gardeners: Dr. Dirt and Other Determined Independent Gardeners. In this book, Felder delves deeply into the psychology of what motivates and sustains the Keepers of the Garden Flame. For thousands of years, a loosely connected web of unique, nontraditional gardeners has bonded people across race, culture, language, and other social conventions through sharing unique plants and stories. Found in nearly every neighborhood worldwide, these “determined independent gardeners” (DIGrs) are typically nonjoiners who garden simply and exuberantly, eschewing customary horticultural standards in their amateur pursuits of personal bliss. Included in Maverick Gardeners are classic “passalong plant” lists, a dollop of how-to, numerous color photographs, and thought-provoking essays on quintessential tools, sharing with others, getting away with wildflowers in suburbia, and organizing a plant swap. The centerpiece of this unique gardening journey is the no-holds-barred story of a ten-year cross-cultural collaboration between the horticulturist author and a flamboyant rebellious gardener who called himself Dirt. Through swapping plants and garden lore—and rubbing shoulders with fellow DIGrs—they unraveled their shared humanity. From the practical to the inspiring, Maverick Gardeners is the perfect book for those nonconformist souls who see no sense in trying to fit in and follow the footpaths of others.
"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.
A history of the colonial tea plantation regime in Assam, which brought more than one million migrants to the region in northeast India, irrevocably changing the social landscape.
A beautifully designed introduction to art history by way of artworks that feature the mouse—from the ancient world to drawings by Picasso, Disney, and Art Spiegelman. Across centuries and civilizations, artists have used the mouse—the planet’s most common mammal after us—to illustrate our myths and beliefs. Mice have appeared as Japanese symbols of good luck or medieval emblems of evil, in Arab fables, Russian political satire and Nazi propaganda, as scientific tools and to help us challenge the way we see nature. With more than 80 rarely reproduced works—including paintings by Hieronymus Bosch and Gustav Klimt, a silkscreen by Andy Warhol, a print by Hokusai, a photograph by André Kertész, a sculpture by Claes Oldenburg, a video installation by Bruce Nauman, a performance by Joseph Beuys, and many more—Lorna Owen has created an engaging presentation of an extraordinary range. The pieces, which represent every period of visual art, are accompanied by Owen’s intriguing text about the story behind each work. She has combined her passion for art and her empathy for the unsung archetype of the animal kingdom to explain not only how or why the artist came to use the mouse as a subject, but how the art, in the end, reveals more about us than it could ever reveal about this humble creature.
The first book devoted to this landmark of architecture, urban planning, and social engineering Situated in the borough of Queens, New York, Sunnyside Gardens has been an icon of urbanism and planning since its inception in the 1920s. Not the most beautifully planned community, nor the most elegant, and certainly not the most perfectly preserved, Sunnyside Gardens nevertheless endures as significant both in terms of the planning principles that inspired its creators and in its subsequent history. Why this garden suburb was built and how it has fared over its first century is at the heart of Sunnyside Gardens. Reform-minded architects and planners in England and the United States knew too well the social and environmental ills of the cities around them at the turn of the twentieth century. Garden cities gained traction across the Atlantic before the Great War, and its principles were modified by American pragmatism to fit societal conditions and applied almost as a matter of faith by urban planners for much of the twentieth century. The designers of Sunnyside— Clarence Stein, Henry Wright, Frederick Ackerman, and landscape architect Marjorie Cautley—crafted a residential community intended to foster a sense of community among residents. Richly illustrated throughout with historic and contemporary photographs as well as architectural plans of the houses, blocks, and courts, Sunnyside Gardens first explores the planning of Sunnyside, beginning with the English garden-city movement and its earliest incarnations built around London. Chapters cover the planning and building of Sunnyside and its construction by the City Housing Corporation, the design of the homes and gardens, and the tragedy of the Great Depression, when hundreds of families lost their homes. The second section examine how the garden suburbs outside London have been preserved and how aesthetic regulation is enforced in New York. The history of the preservation of Sunnyside Gardens is discussed in depth, as is the controversial proposal to place the Aluminaire House, an innovative housing prototype from the 1930s, on the only vacant site in the historic district. Sunnyside Gardens pays homage to a time when far-sighted and socially conscious architects and planners sought to build communities, not merely buildings, a spirit that has faded to near-invisibility
The first book to examine the complexity of sexual identity, philosophy, and behavior in Amish culture. The Amish offer a startling contrast to the postmodern view of sexuality and gender roles. After the sexual revolution of the 1960s, mainstream American culture never looked back. Meanwhile, the Amish never looked forward. In twenty-first-century Amish communities, heteronormative sexuality is still based on a unifying principle: an understanding of sexuality as emerging from a divine plan. In the eyes of the Amish, sex is squandered by those who embrace it as hedonistic or who carve out a sexual identity that moves them away from that singular, God-given purpose. But this communal emphasis on sex for procreation does not mean that the Amish do not possess a complex range of sexual identities and opinions. In Serpent in the Garden, clinical psychologist James A. Cates breaks new ground in the study of Amish sexuality by examining this shrouded, rarely discussed subject. The first book to bring Amish sexuality into primary focus, this volume argues that, because the Amish are a sexual minority, queer theory is the ideal framework from which to observe their views on sex, sexuality, and gender. The book offers a broad view of sexuality in Amish culture that includes the challenges that gays and lesbians face in the community, as well as an exploration of Amish gender roles, their views toward intimacy, their responses to cases of child sexual abuse, and the role of fetishes among the Amish. Cates draws from multiple perspectives and years of research on the Amish themselves. He also looks at pushback against alternative behaviors or identities, as well as Amish success in keeping mainstream values at bay. With this book, Cates establishes Amish sexuality as a topic worthy of professional attention. Offering readers a more sophisticated understanding of the Amish and of sexual expression among cultures, Serpent in the Garden will appeal to scholars working on gender and sexuality, the Amish, and social service professionals who serve the Amish community.
A beautifully illustrated, accessible volume about one of the Getty Center’s best-loved sites. Among the most beloved sites at the Getty Center, the Central Garden has aroused intense interest from the moment artist Robert Irwin was awarded the commission. First published in 2002, Robert Irwin Getty Garden is comprised of a series of discussions between noted author Lawrence Weschler and Irwin, providing a lively account of what Irwin has playfully termed “a sculpture in the form of a garden aspiring to be art.” The text revolves around four garden walks: extended conversations in which the artist explains the critical choices he made—from plant materials to steel—in the creation of a living work of art that has helped to redefine what a modern garden can and should be. This updated edition features new photography of the Central Garden in a smaller, more accessible format.