2014, ISBN: 9783775716543

Taschenbuch, Gebundene Ausgabe, Erstausgabe

Sadie Coles HQ, London, 2003. 1st Edition. SOFTCOVER. Small 4to. in colour printed stiff card covers, 56pp, plates etc __CONDITION : A well preserved AS NEW unread and unmarked copy. … Mehr…

Sadie Coles HQ, London, 2003. 1st Edition. SOFTCOVER. Small 4to. in colour printed stiff card covers, 56pp, plates etc __CONDITION : A well preserved AS NEW unread and unmarked copy. ... __To see more of our Art Monographs etc type DbbARTIST in the Keywords search box __We always ship in PROTECTIVE CARD PARCELS, Sadie Coles HQ, London, 2003, 0, Tate Publishing, London, 2001. 1st Edition. SOFTCOVER. Thick, very heavy 4to in colour printed stiff card covers, 319pp on thick art paper, colour plates, etc __CONDITION : A well preserved AS NEW unread and unmarked copy. __NOTE Due to size and/or weight, shipping will cost more than price shown above. Orders made by card will be completed only after you have approved any such extra cost... __To see more of our Art Monographs etc type DbbARTIST in the Keywords search box __We always ship in PROTECTIVE CARD PARCELS, Tate Publishing, London, 2001, 0, Cambridge, Massachusetts: Perseus Publishing, April, 2000. First Printing [Stated]. Hardcover. Good/Very good. xxix, [1], 400 pages. Pencil marks and underlining noted. Includes Acknowledgments, Introduction, Epilogue, Notes, and Index. Topics covered include Out-of-Control Capitalism; Reclaiming Global Leadership; The Path from Here to There; and Share Our Wealth 2000. Inscribed by the author on the front free endpaper. Inscription reads: To Jim Wolfensohn--With best regards, Jeff Gates. James David Wolfensohn, KBE, AO (born 1 December 1933) is an Australian-American lawyer, investment banker, and economist who served as the ninth president of the World Bank Group (1995-2005). When Wolfensohn took over at the World Bank in 1995, he viewed himself as a spiritual successor to a former World Bank chief, Robert McNamara. He was born in Sydney, Australia, and is a graduate of the University of Sydney and Harvard Business School; he was also an Olympic fencer. He worked for various companies in Britain and the United States before forming his own investment firm. Wolfensohn became an American citizen in 1980, requiring him to renounce his Australian citizenship although he eventually regained it in 2010. He served two terms as President of the World Bank on the nomination of U.S. President Bill Clinton, and has since held various positions with charitable organizations. Drawing from his own experience on the front lines (as a pioneer of employee stock ownership legislation and a lifetime in national politics and corporate finance), and citing startling statistics of the growing disparities in wealth and income, the author paints a compelling picture of how political and business interests have long conspired to concentrate power and influence. The effects are manifested in a variety of increasingly disturbing conditions that reflect a penchant for short-term returns over long-term solutions--from voter apathy to ecological devastation to an educational system in crisis. The author offers politically practical and financially feasible ways toward a broad-based prosperity around the world. Citing cherry-picked statistics, Jeff Gates argues that the economic boom was largely a mirage, buoyed by policies that continue to reward the wealthy and ignore the poor. With equal measures of passion and sophistic reasoning, he proposes a program of financial, political, and economic change. Derived from a Publisher's Weekly review: Gates is enthusiastic about both capitalism and democracy--but he's a little concerned that one (capitalism) is advancing at the expense of the other, and that today's profit-or-perish economy endangers the viability of community. "My goal," he writes, "is to smarten up free enterprise." So, in this well-meaning populist primer, Gates--former counsel to the U.S. Senate Committee on Finance--maps out a plan for a more "democratic capitalism" that would make the world safe from the ravages of global financial markets that benefit the few at the expense of the many. Among other things, he proposes a "freeloader's levy" that would take money from the $8 trillion now stashed in the world's tax havens and redistribute it to humanitarian projects in the developing world, and he imagines a scheme for reinvesting retirement assets to assist self-reliant pensioners. Most compellingly, he proposes a series of strategies (based in part on his 1998 book The Ownership Solution) for "peoplizing ownership"--expanding the edges of corporations through various customer, employee and citizen stock-ownership plans. Gates is at his best when analyzing specific tactics to back up his rhetorical salvos. But a number of his critiques lose their focus as he barrels pell-mell through an onslaught of subject matter--foreign relations, monetary policy, bioterrorism, Gandhi, perceived misdeeds of Wal-Mart, and cybernetics. Still, even if the answers Gates turns up don't always hit the mark, at least he's raising an important set of questions., Perseus Publishing, 2.75, San Francisco: Modernism, 2014. Poster. 63.5 x 73cm. "On Thursday evenings in the months before the outbreak of World War I, Sonia Delaunay-Terk would go dancing at a nightclub in Paris called Le Bal Bullier. Dressed in colorful, crazy-looking clothes of her own design, she and her friends would do the fox trot and the tango, which were all the rage.Delaunay-Terk was already an experienced artist. Born Sarah Stern in 1885, she was the daughter of factory workers from Odessa, Ukraine. At age 5, she was placed in the care of Heinrich Terk, a well-off relative in St. Petersburg who liked to collect art.Terk saw to it that Sonia (she assumed the name as a child) got a proper education. Since she showed an interest in art, she went to Germany to study drawing at the Karlsruhe Academy of Fine Arts, then moved to Paris in 1905. That was the year Matisse painted Portrait of Madame Matisse. The Green Line and Woman With a Hat, the scandalous portraits of his wife that, by liberating color from description, became the opening salvos of the 20th-century avant-garde.", San Francisco: Modernism, 2014, 0, (RUSCHA, EDWARD). De Salvo, Donna and Linda Norden, Joan Didion & Frances Stark. COURSE OF EMPIRE: PAINTINGS BY ED RUSCHA. Ostfildern, GERMANY: Hatje Cantz Verlag, 2005. First Edition. Oblong 8vo. Printed Wrappers. Artist Monograph. Fine. np (64pp), 10 color illustrations. Text in English and Italian. Designed by Green Dragon Office (Lorraine Wild with Stuart Smith). This is the elegant little catalogue issued in conjunction with the 2005 selection of Ed Ruscha as the representative for the American Pavilion at the fifty-first Venice Biennale. Included are reproductions of each of the ten exhibited large-scale paintings on canvas from his series "Course of Empire", as well as a brief but nifty foreword by the late, great literary icon Joan Didion. A brand new, most handsome example. 3-7757-1654-8 Inventory Number: 026754, Hatje Cantz Verlag, 2005, 5<

2007, ISBN: 9783775716543

Gebundene Ausgabe

New. The New Measures: A Theological History of Democratic Practice brings thick cultural history to contemporary debates about religion and democracy. Combining histories of performance… Mehr…

New. The New Measures: A Theological History of Democratic Practice brings thick cultural history to contemporary debates about religion and democracy. Combining histories of performance, space, institutions, and ideas, this 2007 book tells the story of the 'new measures' that circulated in the religious revivals of the 1820s and '30s and traces the role of these practices in the development of democratic culture in the United States. The book borrows resources from Walter Benjamin and Theodor Adorno to remember the new measures from an eschatological point of view. That eschatological perspective holds together close empirical studies and explicitly theological hopes. The book's attention to detail moves it beyond abstraction and caricature to a more materialist political theology. And its eschatological hope resists narratives of progress and decline to understand American democracy as both tangled in contradiction and caught up in redemption., 6, New York Ny: Jonathan Cape & Harrison Smith, 1931. 1st Edition . Hardcover. Very Good/No Jacket. Plates. Xxiii, 363 Pp. Very Light Green Cloth, Spine Stamped In Dark Green And Black. First Printing, 1931. Light Usage. Ownership Signature Of R W Rider. American Invasions Of The Soviet Union; No Corresponding Soviet Invasions Of America, Contrary To The Fear-Mongering Of Countless Ambitious But Otherwise Ignorant And Useless Politicians., Jonathan Cape & Harrison Smith, 1931, 3, (RUSCHA, EDWARD). De Salvo, Donna and Linda Norden, Joan Didion & Frances Stark. COURSE OF EMPIRE: PAINTINGS BY ED RUSCHA. Ostfildern, GERMANY: Hatje Cantz Verlag, 2005. First Edition. Oblong 8vo. Printed Wrappers. Artist Monograph. Fine. np (64pp), 10 color illustrations. Text in English and Italian. Designed by Green Dragon Office (Lorraine Wild with Stuart Smith). This is the elegant little catalogue issued in conjunction with the 2005 selection of Ed Ruscha as the representative for the American Pavilion at the fifty-first Venice Biennale. Included are reproductions of each of the ten exhibited large-scale paintings on canvas from his series "Course of Empire", as well as a brief but nifty foreword by the late, great literary icon Joan Didion. A brand new, most handsome example. 3-7757-1654-8 Inventory Number: 026754, Hatje Cantz Verlag, 2005, 5<

2005, ISBN: 3775716548

Taschenbuch

[EAN: 9783775716543], Gebraucht, guter Zustand, [SC: 8.0], [PU: Hatje Cantz], INSTALLATION, PAINTING, Z : 64 pp., 10 ills. 25.50 x 12.60 cm - Inspired by the symmetrical, Jeffersonian lay… Mehr…

[EAN: 9783775716543], Gebraucht, guter Zustand, [SC: 8.0], [PU: Hatje Cantz], INSTALLATION, PAINTING, Z : 64 pp., 10 ills. 25.50 x 12.60 cm - Inspired by the symmetrical, Jeffersonian layout of the American Pavilion' s neo-classical architecture, Ed Ruscha s installation for the 2005 Venice Biennale will comprise ten paintings: five in color, five in black and white, the color paintings mirroring the black and white in both subject matter and placement. Leaving the pavilion's entry rotunda, "C," empty, Ruscha will install a combination of pictures, based on his 1992 "Blue Collar" group, as follows: In the pavilion's lefthand, "D & E" galleries: the original five, 1992 "Blue Collar" pictures, black and white canvases depicting urban landscapes. In the opposite "A & B" galleries: five new pictures depicting an accelerated, aged version of the same urban landscapes, possibly to the point of deterioration, painted in color., Books<