An illuminating look at a fundamental yet understudied aspect of Italian Renaissance painting The Italian Renaissance picture is renowned for its depiction of the human figure, from the dramatic foreshortening of the body to create depth to the subtle blending of tones and colors to achieve greater naturalism. Yet these techniques rely on a powerful compositional element that often goes overlooked. Groundwork provides the first in-depth examination of the complex relationship between figure and ground in Renaissance painting. “Ground” can refer to the preparation of a work’s surface, the fictive floor or plane, or the background on which figuration occurs. In laying the material foundation, artists perform groundwork, opening the ground as a zone that can precede, penetrate, or fracture the figure. David Young Kim looks at the work of Gentile da Fabriano, Giovanni Bellini, Giovanni Battista Moroni, and Caravaggio, reconstructing each painter’s methods to demonstrate the intricacies involved in laying ground layers whose translucency and polychromy permeate the surface. He charts significant transitions from gold ground painting in the Trecento to the darkened grounds in Baroque tenebrism, and offers close readings of period texts to shed new light on the significance of ground forms such as rock face, wall, and cave. This beautifully illustrated book reconceives the Renaissance picture, revealing the passion and mystery of groundwork and discovering figuration beyond the human figure.

How does soil, as an ecological element, shape culture? With the sixteenth-century shift in England from an agrarian economy to a trade economy, what changes do we see in representations of soil as reflected in the language and stories during that time? This collection brings focused scholarly attention to conceptions of soil in the early modern period, both as a symbol and as a feature of the physical world, aiming to correct faulty assumptions that cloud our understanding of early modern ecological thought: that natural resources were then poorly understood and recklessly managed, and that cultural practices developed in an adversarial relationship with natural processes. Moreover, these essays elucidate the links between humans and the lands they inhabit, both then and now.

The current environmental crisis calls for a unified practice of landscape and architecture that would allow buildings and landscapes to perform symbiotically to heal the environment. Over the past ten years, a diverse group of architects, landscape architects, and artists have undertaken groundbreaking projects that propose an integration of landscape and architecture, dissolving traditional distinctions between building and environment. Groundwork: Between Landscape and Architecture examines twenty-five projects, on an international scale, that consider landscape and architecture as true reciprocal entities. Groundwork divides the projects into three design directions: Topography, Ecology, and Biocomputation. Topographic designers create projects that manipulate the ground to merge building and landscape as in Cairo Expo City in Egypt (Zaha Hadid Architects), Island City Central Park Grin Grin in Fukuoka, Japan (Toyo Ito & Associates) and the City of Culture of Galicia in Santiago de Compostela, Spain (Eisenman Architects). Ecologic designers develop environments that address issues such as energy climate and remediation, such as I’m Lost In Paris in France (R&Sie(n)), Turistroute in Eggum, Norway (Snøhetta) and Parque Atlántico in Santander, Cantabria, Spain (Batlle i Roig Arquitectes). Biocomputation designers use digital technologies to align biology and design in projects such as the Grotto Concept (Aranda/Lasch), North Side Copse House in West Sussex, England (EcoLogicStudio) and Local Code: Real Estates (Nicolas de Monchaux.) What these projects all have in common is a desire to pay attention and homage to the liminal space where indoors and outdoors meet. The critical connection between natural and synthetic, exterior and interior space, paves the way toward a more inclusive—and indeed more alive—conceptualization of the physical world.

A groundbreaking collection of essays on the civil rights movement focusing on smaller, regional civil organizations across the country - not just in the South.

Dr. Moshe Feldenkrais is best known for pioneering the somatic therapy that bears his name. Less well known is that he was also one of the earliest European practitioners of the martial art of judo and wrote a number of influential texts on the subject. Primary among these is Higher Judo, first published in 1952 and now reprinted with a new foreword that offers useful context and elaborates on Feldenkrais’ comprehensive—and still timely—approach to the martial art and to the body. Judo was a natural choice for Feldenkrais’s fascination with body/mind exploration and how to promote optimal functioning through awareness. In Higher Judo, he presents judo as the art of using all parts of the body to promote general health, and as part of the “basic culture of the body.” He reveals judo’s potential for creating a sense of rhythm of movement and improving mental and physical coordination. Higher Judo covers specific movements and positions—the astride position, the six o’clock approach, falling techniques—in both the text and the clear line drawings. Even more importantly, it shows how such groundwork can help practitioners develop their mental and physical awareness to their full potential.

"Ground Work: Before the War follows Robert Duncan's last collection of poetry by just over fifteen years. The silence was intentional, to permit the book to come into its own, at its own appointed time, and to allow new themes in his worldview to advance. ... Duncan now turns directly to the political issues of our sad history: love, death, and the mask worn by war and 'development,' behind which industrial-military power hides its contempt for nature and indeed all living beings."--Page [4] of cover.

The art of Pauline Rhodes is often temporary and housed outside of the usual gallery setting. This book documents her extraordinary body of work, making it accessible to a wider public and securing her a central place in art history. Additional essays by ecologist and historian Geoff Park and architectural theorist Sarah Treadwell consider her work in light of their respective disciplines.

Ground training is the key to a safe and pleasurable riding experience. Designed for easy reference while working with your horse, this guide can be hung on a post. Riders of all disciplines and skill levels will benefit from these exercises that reinforce good habits and help develop a strong bond between horse and rider.