Wright Panorama amplifies the artistry of Frank Lloyd Wright's architecture with expanse. In the more than 140 Tom Schiff panoramic photographs contained in Wright Panorama, Schiff reveals nearly eighty extant buildings in Wright's oeuvre from a unique perspective. Wright Panorama exhibits the great architect's prolific, varied, and iconic body of work, pulling from it a new shape and offering it renewed appeal. Eric Lloyd Wright's compelling foreword to Wright Panorama introduces Tom Schiff and four noteworthy Frank Lloyd Wright scholarsCara Armstrong, Scott W. Perkins, Margo Stipe, and Marta Wojcik. Since Wright's architecture embraced his strong belief in and respect for Nature, these scholars draw from this and contribute essays from a new nature-centric perspective. They further our understanding of the ways each of the natural elementsearth, air, fire, and water influences Wright's life and work. In addition, these four essays utilize Schiff 's images to more fully illustrate the involvement of the natural elements on Wright's organic architecture. In his preface to Wright Panorama, Schiff conveys his desire to acknowledge the "true" as well as extend our framework of seeing, of vision. Schiff likes that his panoramic photography is "true to the landscape as seen by the naked eye" and is both "expansive" and "challenging." He sees the resulting panoramic image in Wright Panorama as "a unique way to see Frank Lloyd Wright's interiors and exteriors, from all vantage points, in one image." Wright Panorama is a continual discovery: A new way of viewing, a new way of discovering the architecture of Frank Lloyd Wright.

The Spycatcher affair remains one of the most intriguing moments in the history of British intelligence and a pivotal point in the public's relationship with the murky world of espionage and security. It lifted the lid on alleged Soviet infiltration of British services and revealed a culture of law-breaking, bugging and burgling. But how much do we know about the story behind the scandal? In To Catch a Spy, Tim Tate reveals the astonishing true story of the British government's attempts to silence whistleblower Peter Wright and hide the truth about Britain's intelligence services and political elites. It's a story of state-sanctioned cover-up plots; of the government lying to Parliament and courts around the world; and of stories leaked with the intention to mislead and deceive. This is a tale of high treason and low farce. Drawing on thousands of pages of previously unpublished court transcripts, the contents of secret British government files, and original interviews with many of the key players in the Spycatcher trials, it draws back the curtain on a hidden world. A world where spies, politicians and Britain's most senior civil servants conspired to ride roughshod over the law, prevented the public from hearing about their actions and mounted a cynical conspiracy to deceive the world. It is the story of Peter Wright's ruthless and often lawless obsession to uncover Russian spies, both real and imagined, his belated determination to reveal the truth and the lengths to which the British government would go to silence him.

Beginning with the Gospels and Acts and continuing through the letters and final book of the Bible, Panorama of the New Testament invites us into familiar scenes but with a wide-angle lens to capture the big picture. For newcomers to Bible study, this is a wonderful place to begin to put the pieces together; for seasoned Bible students, this study identifies major themes that emerge throughout the New Testament books. Commentary, study and reflection questions, prayer, and access to online lectures are included. 4 lessons.

The state of the world, books, and reading.

The significance of panorama painting in the nineteenth century is frequently cited in contemporary debates about visuality and the emergence of the modern spectator. Stephan Oettermann's The Panorama is the first major historical study to appear in English of the rich phenomenon of the panorama, one of the most influential forms of visual entertainment in the nineteenth century. In this richly illustrated book Oettermann gives readers a concrete sense of the structural and experiential reality of the panorama, and the many forms it took throughout Europe and North America--a crucial task given that very few of the original nineteenth-century panoramas survive. At the same time, he outlines the many ways in which these remarkable and often immense 360-degree images were part of a larger transformation of the status of the observer and of popular culture. Thus, the panorama is treated not only as a new kind of image but also as an architectural and informational component of the new urban spaces and media networks.

Canadian Graphic: Picturing Life Narratives presents critical essays on contemporary Canadian cartoonists working in graphic life narrative, from confession to memoir to biography. The contributors draw on literary theory, visual studies, and cultural history to show how Canadian cartoonists have become so prominent in the international market for comic books based on real-life experiences. The essays explore the visual styles and storytelling techniques of Canadian cartoonists, as well as their shared concern with the spectacular vulnerability of the self. Canadian Graphic also considers the role of graphic life narratives in reimagining the national past, including Indigenous–settler relations, both world wars, and Quebec’s Quiet Revolution. Contributors use a range of approaches to analyze the political, aesthetic, and narrative tensions in these works between self and other, memory and history, individual and collective. An original contribution to the study of auto/biography, alternative comics, and Canadian print culture, Canadian Graphic proposes new ways of reading the intersection of comics and auto/ biography both within and across national boundaries.

An “immensely valuable” dual biography of the iconic American architect and the city that transformed his career in the early twentieth century (Francis Morrone, New Criterion). Frank Lloyd Wright took his first major trip to New York in 1909, fleeing a failed marriage and artistic stagnation. He returned a decade later, his personal life and architectural career again in crisis. Booming 1920s New York served as a refuge, but it also challenged him and resurrected his career. The city connected Wright with important clients and commissions that would harness his creative energy and define his role in modern architecture, even as the stock market crash took its toll on his benefactors. Anthony Alofsin has broken new ground by mining the Wright archives held by Columbia University and the Museum of Modern Art. His foundational research provides a crucial and innovative understanding of Wright’s life, his career, and the conditions that enabled his success. The result is at once a stunning biography and a glittering portrait of early twentieth-century Manhattan.