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"The first major catalogue of contemporary Black American collage, Multiplicity: Blackness in Contemporary American Art brings together over sixty-five works of art by fifty artists that reflect the breadth and complexity of Black identity. Rather than casting their work solely in terms of a racial discourse that often portrays African Americans as a monolith, these artists employ collage to convey the intersecting facets of their lived experiences that combine to make whole individuals. Building on a technique that has roots in European and American traditions-used by canonical figures from Picasso and Hannah Höch to Robert Rauschenberg and Romare Bearden-the artists have assembled pieces of paper, photographs, fabrics, and other often salvaged materials to create unified compositions that express the endless possibilities of Black-constructed narratives despite the fragmentation of our times. As artist Deborah Roberts asserts, "With collage, I can create a more expansive and inclusive view of the Black cultural experience." In addition to eight scholarly essays, the book features 140 color images of work by artists including McArthur Binion, Mark Bradford, Zoë Charlton, Tomashi Jackson, Arthur Jafa, Rashid Johnson, Yashua Klos, Kerry James Marshall, Wangechi Mutu, Lovie Olivia, Ebony Patterson, Howardena Pindell, Jamea Richmond-Edwards, Deborah Roberts, Tschabalala Self, Devan Shimoyama, David Shrobe, Lorna Simpson, Nyugen Smith, Paul Anthony Smith, Mickalene Thomas, Kara Walker, and others. Short biographies written by honor students at Fisk University accompany each artist's entry, concluding a comprehensive and inclusive look at collage today"--

"Was war der Vielvölkerstaat Sowjetunion, der immerhin sieben Jahrzehnte lang das Leben von über zweihundert Millionen Menschen bestimmte? Wie funktionierte das Miteinander der multiethnischen Gemeinschaften, die in einer Vielzahl von sowjetischen Städten über Jahrzehnte bestanden? Anders gefragt, wie gelang es den Menschen, nach den Exzessen der Gewalt – Revolution, Bürgerkrieg, Terror, Zweiter Weltkrieg – einander wieder in die Augen zu schauen und neues Vertrauen zu fassen? Oder waren die gemeinsam verlebten Jahrzehnte nach Stalins Tod nichts weiter als ein Ausharren, ein Warten auf das 'Ende der Geschichte'?" Die Suche nach Antworten auf diese Fragen führte Walter Sperling in dieser mitreißend erzählten Alltagsgeschichte an den Rand der ehemaligen Sowjetunion, nach Grosny. Dort bündelt sich wie in einem Brennglas das Kräftespiel von Widerstand und Integration, im Ringen des russischen Imperiums und der Peripherie, der Kolonisatoren und Kolonisierten. Erst Garnisonsort, dann Boomtown des Erdöls, nach der Oktoberrevolution Baustelle des Sozialismus, wenig später Frontstadt im Visier der deutschen Wehrmacht. Nach der Deportation der Tschetschenen und Inguschen 1944 und deren Rückkehr 1957 hörte man lange nichts mehr von dem beschaulichen Städtchen im Kaukasus, das beharrlich um seinen sozialen Frieden rang. Bis zum ersten russischen Tschetschenienkrieg, als Grosny erneut in Ruinen endete. Die Eskalation und die Radikalisierung zeichnet Walter Sperling nach. Vor allem aber macht er die Bemühungen sichtbar, Brücken zu schlagen und zu vermitteln, weil die Eliten der multiethnischen und multireligiösen Peripherie wussten, was der Preis von Entfesselung ist.

Introduction: "Words are easy" -- Prelude: The Edloe sixty-six -- 1850-1860 -- The fugitive economy -- Underground commons -- The world of the streets -- Boston in the shadow of slavery -- Women in service -- Making a living in unsettled times -- 1861-1865 -- The politics of wartime work and charitable assistance -- Boston diaspora I -- "A higher standard of courage" -- Hardship on the homefront -- "False and exaggerated ideas of freedom" -- 1865-1875 -- Their suffering housekeepers -- Boston diaspora II -- White men demanding their own rights, but refusing to concede to others theirs -- Persistent industry -- "Safely doing injustice" to black Bostonians.

From 1998 till 2013, a former railwaycanteen on d'Herbouvillekaai in Antwerp that was transformed into a cultural hub by youthful idealists, hoodlums and enthousiasts who called themselves Scheld'apen, was home to an eclectic stream of artists, with over 1300 events occurring in those 15 years, before inevitably being demolished by city expansion plans. All those events produced a flux of visual communication, an enormous flow of printed media that fascinated artists and Scheld?apen aficionados Benny Van den Meulengracht-Vrancx and Bent Vande Sompele. Collecting items and building upon an already existing physical archive, they decided to pour a selection of works into a book: Graphic Design of Scheld?apen.00?Graphic Design of Scheld?apen? is the result of two years of collecting, three archival residencies at Het Bos (the new home of the still existing Scheld?apen organisation) and a short scanning residency at Frans Masereel Centrum. The book contains over 200 graphical works from a variety of different artists, a preface by Pieter Willems and texts by Roel Griffioen and Pia Jacques

Critical thinking and online reading need to go hand in hand--but they often don't. Students click, swipe, and believe because they don't know how to do otherwise. At times, so do we. And that's a problem. Fighting Fake News combats this challenge by helping you model how to read, myth-bust, truth-test, and respond in ways that lead to wisdom rather than reactivity. No matter what content you teach, the lessons showcased here provide engaging, collaborative reading and discussion experiences so students can: Notice how teacher and peers read digital content, to be mindful of how various reading pathways influence perception Identify the author background, the website sponsor, and other evidence that help set a piece in context Stress-test the facts by evaluating news sources, reading laterally, and other critical reading strategies Use "Reader's Rules of Notice" to learn to identify common rhetorical devices used to influence the reader Be aware of how for-profit social media platforms feed on our responses to narrow rather than widen our reading landscape We are still in the wild west era of the digital age, scrambling to impart a safer, ethical framework for evaluating information. Thankfully, it distills to one mission: teach students (and ourselves) how to think critically, and we will forever have the tools to fight fake news.

"Non-human animals are present in various heritage and tourist environments: they may be the heritage focus of interest or it may be that they are agents involved in heritage tourist setting working. From a posthumanist perspective the involvement of non-human animals as heritage elements implies their commodification and zooslavery".