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Catalogue published in conjunction with the exhibition "Extravagant Inventions: the Princely Furniture of the Roentgens" on view at The Metropolitan Museum of Art, New York, from October 30, 2102, through January 27, 2013.
This educational resource packet covers more than 1200 years of medieval art from western Europe and Byzantium, as represented by objects in the collection of The Metropolitan Museum of Art. Among the contents of this resource are: an overview of medieval art and the period; a collection of aspects of medieval life, including knighthood, monasticism, pilgrimage, and pleasures and pastimes; information on materials and techniques medieval artists used; maps; a timeline; a bibliography; and a selection of useful resources, including a list of significant collections of medieval art in the U.S. and Canada and a guide to relevant Web sites. Tote box includes a binder book containing background information, lesson plans, timeline, glossary, bibliography, suggested additional resources, and 35 slides, as well as two posters and a 2 CD-ROMs.
The Mogao Grottoes, a World Heritage Site in northwestern China, are located along the ancient caravan routes—collectively known as the Silk Road—that once linked China with the West. Founded by a Buddhist monk in the late fourth century, Mogao flourished over the following millennium, as monks, local rulers, and travelers commissioned hundreds of cave temples cut into a mile-long rock cliff and adorned them with vibrant murals. More than 490 decorated grottoes remain, containing thousands of sculptures and some 45,000 square meters of wall paintings, making Mogao one of the world’s most significant sites of Buddhist art. In 1997 the Getty Conservation Institute, which had been working with the Dunhuang Academy since 1989, began a case study using the Late–Tang dynasty Cave 85 to develop a methodology that would stabilize the deteriorating wall paintings. This abundantly illustrated volume is the definitive report on the project, which was completed in 2010.
From the Publisher: This latest edition of an official U.S. Government military history classic provides an authoritative historical survey of the organization and accomplishments of the United States Army. This scholarly yet readable book is designed to inculcate an awareness of our nation's military past and to demonstrate that the study of military history is an essential ingredient in leadership development. It is also an essential addition to any personal military history library.
Researching Visual Arts Education in Museums and Galleries brings together case studies from Europe, Asia and North America, in a way that will lay a foundation for international co-operation in the future development and communication of practice-based research. The research in each of the cases directly stems from educational practice in very particular contexts, indicating at once the variety and detail of practitioners' concerns and their common interests.
In the ideal follow-up to his stunning Caldecott Honor book Alphabet City, Stephen T. Johnson turns his talents towards numbers. Wordless spreads featuring impressively photo-realistic paintings of New York City invite readers both young and old to search for the numbers zero through twenty-one hidden in the images. From a sweeping 4 found in the span of an urban bridge to the 13 of a faded crosswalk, this is an intriguing new way to think about numbers and the world around you.
The "Overview of the Privacy Act of 1974," prepared by the Department of Justice's Office of Privacy and Civil Liberties (OPCL), is a discussion of the Privacy Act's disclosure prohibition, its access and amendment provisions, and its agency recordkeeping requirements. Tracking the provisions of the Act itself, the Overview provides reference to, and legal analysis of, court decisions interpreting the Act's provisions.
A daughter's remembrance of life with the eccentric genius and artist Walter Anderson
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable?