One of the country's leading activist curators explores how corporations and governments have used art and culture to mystify and manipulate us. The production of culture was once the domain of artists, but beginning in the early 1900s, the emerging fields of public relations, advertising and marketing transformed the way the powerful communicate with the rest of us. A century later, the tools are more sophisticated than ever, the onslaught more relentless. In Culture as Weapon, acclaimed curator and critic Nato Thompson reveals how institutions use art and culture to ensure profits and constrain dissent--and shows us that there are alternatives. An eye-opening account of the way advertising, media, and politics work today, Culture as Weapon offers a radically new way of looking at our world.

Winning at competitive games requires a results-oriented mindset that many players are simply not willing to adopt. This book walks players through the entire process: how to choose a game and learn basic proficiency, how to break through the mental barriers that hold most players back, and how to handle the issues that top players face. It also includes a complete analysis of Sun Tzu's book The Art of War and its applications to games of today. These foundational concepts apply to virtually all competitive games, and even have some application to "real life." Trade paperback. 142 pages.

The politics, art and culture of Perth's Workers Art Guildare detailed in this comprehensive history, as well as the personal andprofessional lives of some of the movement's key figures.The Workers' Art Guild was a left-leaning political force andinfluential cultural movement of the 1930s and 1940s in Perth. Policeand intelligence arms kept close tabs on the Guild and its members,jailing some and intimidating many others prior to and during theperiod of the banning of the Communist Party in Australia.The book covers the personal and professional lives of key figuressuch as writer Katharine Susannah Prichard and theatre maverickKeith George, while charting the influence of the Communist Party onWestern Australian artists.

"A comprehensive resource on the weapons and martial philosophy and techniques employed by the ancient Hawai'ian warrior, a little-known part of our American heritage"--Provided by publisher.

What keeps so many of us from doing what we long to do? Why is there a naysayer within? How can we avoid the roadblocks of any creative endeavor—be it starting up a dream business venture, writing a novel, or painting a masterpiece? The War of Art identifies the enemy that every one of us must face, outlines a battle plan to conquer this internal foe, then pinpoints just how to achieve the greatest success. The War of Art emphasizes the resolve needed to recognize and overcome the obstacles of ambition and then effectively shows how to reach the highest level of creative discipline. Think of it as tough love . . . for yourself.

An engaging guide to the various ways in which war is now waged—and how to adapt to this new reality “This brisk everyman’s guide—straight-talking and free of jargon—is a useful tasting menu to a fast moving, constantly evolving set of problems. . . . A lively reminder that war adapts to technology, that civilians are part of modern conflict whether they like it or not.”—Roger Boyes, The Times “Galeotti’s field guide is an admirably clear overview (in his words, ‘quick and opinionated’) of a form of conflict which is vague and hard to grasp. Variously described as hybrid, sub-threshold or grey-zone warfare, this is the no man’s land between peaceful relations and formal combat.”—Helen Warrell, Financial Times Hybrid War, Grey Zone Warfare, Unrestricted War: today, traditional conflict—fought with guns, bombs, and drones—has become too expensive to wage, too unpopular at home, and too difficult to manage. In an age when America threatens Europe with sanctions, and when China spends billions buying influence abroad, the world is heading for a new era of permanent low-level conflict, often unnoticed, undeclared, and unending. Transnational crime expert Mark Galeotti provides a comprehensive and groundbreaking survey of the new way of war. Ranging across the globe, Galeotti shows how today’s conflicts are fought with everything from disinformation and espionage to crime and subversion, leading to instability within countries and a legitimacy crisis across the globe. But rather than suggest that we hope for a return to a bygone era of “stable” warfare, Galeotti details ways of surviving, adapting, and taking advantage of the opportunities presented by this new reality.

• Draw Your Weapons is essential reading in a time of global upheaval—a unique, impassioned and vital guide to peaceful, creative resistance in a violent era • A dazzling combination of memoir, history, reporting, visual culture, literature and theology which proposes that art can offer the tools for remaking the world • Centres on the stories of two very different men—one a former-soldier stationed at Abu Ghraib, and a consciencious objector from World War II. Both men respond to war, and reclaim their dignity, by making art • Sentilles almost became an episcopal priest. She holds a Doctorate of Theology from Harvard Divinity School and her ‘break-up with God’ was the subject of an earlier book • Sentilles is also the co-creator of Drone Alert Sutras, a project that prompts participants to create video responses to US drone attacks as they happen • Will appeal to fans of Rebecca Solnit, John Berger and Ta-Nehisi Coates

Published on the occasion of the centenary of World War I, this Bulletin, which accompanies the related exhibition “World War I and the Visual Arts,” on view at The Met until January 7, 2018, explores the myriad and often contradictory ways in which artists responded to the world’s first modern war. Drawn primarily from The Met’s collection of works on paper and supplemented with loans from private collections, both presentations move chronologically from the initial mobilization in early August 1914 to the tumultuous decade that followed the armistice of November 1918. Ranging from expressions of bellicose enthusiasm to sentiments of regret, grief, and anger, the selected works—from prints, photographs, and drawings to propaganda posters, postcards, and commemorative medals—powerfully evoke the conflicting emotions of this complex period. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}

Cold War Modernists documents how the CIA, the State Department, and private cultural diplomats transformed modernist art and literature into pro-Western propaganda during the first decade of the Cold War.

The present volume provides a critical insight into the relationship of art and war. It shows how artists perceive war and how they depict it, to warn the spectator but to cure their own trauma at the same time.0War causes destruction, loss, and trauma. Many artists have used their art to express feelings and memories related to these losses and their own traumatic experiences. The artwork that came into existence due to such processes reflects on events of our past, but should be considered a warning at the same time. To deal with human suffering means to fully engage with the artist remains of human war experiences. The present volume aims to provide a first critical insight into the relationship between art and war, showing how artists dealt with human losses, destruction, and personal trauma.