How did the avant-garde imagine its interconnected world? And how does this legacy affect our understanding of the global today? The writers and artists of the French avant-garde aspired to reach a global audience that would be wholly transformed by their work. In this study, Effie Rentzou delves deep into their depictions of the interwar world as an international and modern landscape, one marked by a varied cosmopolitanism. The avant-garde’s conceptualization of the world paralleled, rejected, or expanded prevailing notions of the global sphere. The historical avant garde—which encompassed movements like futurism, Dada, and surrealism—was self-consciously international, operating across global networks and developed with the whole world as its horizon and its public. In the heady period between the end of the Belle Époque and the tumult of World War II, both individual artists (including Guillaume Apollinaire, Blaise Cendrars, Francis Picabia, Louis Aragon, Leonora Carrington, and Nicolas Calas) and collective endeavors (such as surrealist magazines and exhibitions) grappled with contemporary anxieties about economic growth, imperialism, and colonialism, as well as various universalist, cosmopolitan, and internationalist visions. By probing these works, Concepts of the World offers an alternative narrative of globalization, one that integrates the avant-garde’s enthusiasm for, as well as resistance to, the process. Rentzou identifies within the avant-garde a powerful political language that expressed the ambivalence of living and creating in an increasingly globalized world—a language that profoundly shaped the way the world has been conceptualized and is experienced today.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1975.

In Surrealist sabotage and the war on work, art historian Abigail Susik uncovers the expansive parameters of the international surrealist movement’s ongoing engagement with an aesthetics of sabotage between the 1920s and the 1970s, demonstrating how surrealists unceasingly sought to transform the work of art into a form of unmanageable anti-work. In four case studies devoted to surrealism’s transatlantic war on work, Susik analyses how artworks and texts by Man Ray, André Breton, Simone Breton, André Thirion, Óscar Domínguez, Konrad Klapheck, and the Chicago surrealists, among others, were pivotally impacted by the intransigent surrealist concepts of principled work refusal, permanent strike, and autonomous pleasure. Underscoring surrealism’s profound relevance for readers engaged in ongoing debates about gendered labour and the wage gap, endemic over-work and exploitation, and the vicissitudes of knowledge work and the gig economy, Surrealist sabotage and the war on work reveals that surrealism’s creative work refusal retains immense relevance in our wired world.

In another century and a half, the world, as we know it, will be greatly changed. This book foresees changes that most of us could scarcely dream of. But several earthly problems have not been resolved. One of these is the periodic emergence of infectious diseases that have evaded all efforts to prevent or control them. Enter Q-strain, an astoundingly pernicious mutation of Ebola virus which totally wipes out all humans on the Earth. There is time, however, to transport the very earliest stage of clones to the robotic station on the Moon. When the "all clear" for absence of the Ebola Q-strain mutant on the Earth has been biologically verified, these clones are given birth on the Moon and raised to adulthood by robotic guides and caretakers. The story then centers on the development of fourteen clones who must return a human presence to our now Ebola-free blue planet. This sounds like quite a challenge, and in fact, that's just what it is.

' The right notion just might unlock your creativity For the past 25 years, Nancy Zieman has offered innovative ideas, inspiration and information designed to make sewing, serging, quilting and embroidering more efficient—and more enjoyable. Now she offers a guidebook to every tool you’ll ever need! Nancy’s Favorite 101 Notions covers the standards—not all pins are created equal!—as well as some one-task wonders that can make the difference between a frustrating failure and a wonderful work of art. Nancy describes the features of each tool—so you can find a tool that works, regardless of brand—and details the various uses. Helpful Notes from Nancy and Budget-Friendly tips are sprinkled throughout, as are illustrated mini-demonstrations. With Nancy’s Favorite 101 Notions, you can find the tools that will make sewing easier, faster, more creative and more fun!

Despite surrealism's celebration of the subconscious and eschewal of reason, the movement was nevertheless concerned with definitions. Andre Breton included a dictionary-style entry for surrealisme in his 1924 Manifeste du surrealisme and later explored juxtapositions of the absurd and the mundane in the 1938 Dictionnaire abrege du surrealisme. To the mountain of literature that seeks to organize the far-reaching intellectual movement, Aspley (honorary fellow, Univ. of Edinburgh) adds this handy volume that organizes the breadth of surrealism into concise entries on artists, writers, artworks, and themes. A chronology highlights events that sparked the surrealist imagination, activities of formal surrealist groups, and exhibitions. An introductory essay and extensive bibliography are included. One of the few English-language reference sources about surrealism published in the last decade, Aspley's dictionary is useful for quick access to key terms and biographies. For a book devoted to a movement characterized by arresting visual imagery, the lack of illustrations is annoying. Even Rene Passeron's 1978 Phaidon Encyclopedia of Surrealism (CH, May'79) reprints artworks in color. For a richly illustrated and comprehensive history, see Gerard Durozi's History of the Surrealist Movement (CH, Nov'02, 40-1316). Summing Up: Recommended. Lower-level undergraduates through graduate students. Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students. Reviewed by A. H. Simmons.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

Make It Better: The Editor (x2) By: Dr. Michael J. Bernard DDS, MS This book is comprised of fifty-five short informational and motivational editorials Dr. Bernard wrote over nine years as the editor of a local dental magazine. In Make It Better, Dr. Bernard reinvigorates his original articles by commenting on them in the year 2020, bringing his current life-skill knowledge and new information to bear on past insights. With humor and self-awareness, Dr. Bernard shares some of the principles that have helped him make his own life better and more spiritual. What he learned in a lifetime, the reader can learn through this collection of short, engaging articles. Whether you read it straight through or pick and choose the articles that will help you most, Make It Better can help you do just that: make your life better.

The book provides an in-depth knowledge of Arthritis with their causes, symptoms and diagnoses. It primarily focuses on the use of Ayurvedic and Herbal medicines in the treatment of Arthritis and allied conditions. the important aspect of this book is that it takes care to give a detailed description of the herbs available in India and outside India. Hence, the readers from all over the world will find this book invaluable in curing the disease.

Beginning in Paris in the 1920s, women poets, essayists, painters, and artists in other media have actively collaborated in defining and refining surrealism's basic project—achieving a higher, open, and dynamic consciousness, from which no aspect of the real or the imaginary is rejected. Indeed, few artistic or social movements can boast as many women forebears, founders, and participants—perhaps only feminism itself. Yet outside the movement, women's contributions to surrealism have been largely ignored or simply unknown. This anthology, the first of its kind in any language, displays the range and significance of women's contributions to surrealism. Letting surrealist women speak for themselves, Penelope Rosemont has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. She opens the book with a succinct summary of surrealism's basic aims and principles, followed by a discussion of the place of gender in the movement's origins. She then organizes the book into historical periods ranging from the 1920s to the present, with introductions that describe trends in the movement during each period. Rosemont also prefaces each surrealist's work with a brief biographical statement.