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Murphy surveys the different patterns of labor organizing across the region, showing how the discourse of moral reform provided skilled and unskilled workers with a common language, as well as compelling arguments with which to confront their employers. She examines how working-class moral reform movements such as the Washingtonians challenged the pretensions of middle-class piety, while labor activists went on to attack the paternalism which had shaped labor relations in New England. She argues that the language of religion and reform allowed women an entree into the labor movement of the 1840s, though some of these women reshaped the discourse to challenge traditional gender roles as they challenged their employers. Ten Hours' Labor sheds new light on a key chapter in the development of American labor and gender relations and will be essential reading for social and cultural historians as well as historians of religion.
Carol Bove: Ten Hours presents new work by “sculpture's woman of steel,” as coined by Randy Kennedy in The New York Times. Her new sculptures expand on her investigations of materiality and form. Characterized by compositions of various types of steel, Bove’s ongoing series of "collage sculptures," begun in 2016, amalgamates theoretical and art-historical influences across time periods and disciplines. To create these lyrical and abstract assemblages, Bove pairs fabricated tubing that has been crushed and shaped at her studio with found metal scraps and a single highly polished disk. Luminous color is applied to parts of the composition, transforming the steel—more commonly associated with inflexibility and heft—into something that appears malleable and lightweight, like clay, fabric, or crinkled paper. Bove’s new works are smaller in scale and elaborate on the “collage sculptures,” with more complex forms that twist, fold, and bend into postures that belie their material construction. Bove manipulates steel to varying degrees, rendering gentle folds in some, and extreme, almost anthropomorphic contortions in others. Their contrasting textures—matte, glossy, or rough—create a further sense of visual play, heightening the surface tension throughout. The publication features a new interview with the artist by Johanna Burton. Published on the occasion of the artist’s solo exhibition at David Zwirner, Hong Kong in 2019, Carol Bove is available in both English only and bilingual English/traditional Chinese editions.
Reports for 1897-1908 include the Report of inspection of factories, 5th-16th.