Now available again, this stunning volume examines the life and work of Fritz Scholder, the most influential, successful, and controversial Native American artist of the twentieth century. In the 1960s and '70s, the notion of American Indian art was turned on its head by artists who fought against prejudice and popular cliches. At the forefront of this revolution was Scholder (1937-2005), whose portrayals of Native American life combined realism, tragedy, and spirituality with the genres of abstract expressionism and pop art. This volume features hundreds of works from Scholder's career as a painter, printmaker, and sculptor. Essays explore the artist's major themes-humanity's place in the natural world, ancient mythical beings, women, Christian iconography, the millennium, and the afterlife as well as Scholder's role in the Native American community and the art world. A fascinating figure who fearlessly took on his own contradictions and those of his times, Scholder continues to generate passionate discussion. Fritz Scholder: Indian/Not Indian offers a lively, insightful exploration of his place in twentieth-century American art history as a colourist, expressionist, and figurative painter.

An exploration of the fast food industry in the United States, from its roots to its long-term consequences.

A guide to managing data in the digital age. Winner of the ALCTS Outstanding Publication Award by the Association for Library Collections & Technical Services, Winner of the Waldo Gifford Leland Award by the Society of American Archivists Many people believe that what is on the Internet will be around forever. At the same time, warnings of an impending "digital dark age"—where records of the recent past become completely lost or inaccessible—appear with regular frequency in the popular press. It's as if we need a system to safeguard our digital records for future scholars and researchers. Digital preservation experts, however, suggest that this is an illusory dream not worth chasing. Ensuring long-term access to digital information is not that straightforward; it is a complex issue with a significant ethical dimension. It is a vocation. In The Theory and Craft of Digital Preservation, librarian Trevor Owens establishes a baseline for practice in this field. In the first section of the book, Owens synthesizes work on the history of preservation in a range of areas (archives, manuscripts, recorded sound, etc.) and sets that history in dialogue with work in new media studies, platform studies, and media archeology. In later chapters, Owens builds from this theoretical framework and maps out a more deliberate and intentional approach to digital preservation. A basic introduction to the issues and practices of digital preservation, the book is anchored in an understanding of the traditions of preservation and the nature of digital objects and media. Based on extensive reading, research, and writing on digital preservation, Owens's work will prove an invaluable reference for archivists, librarians, and museum professionals, as well as scholars and researchers in the digital humanities.

This book celebrates a number of artistic endeavours: music, painting and the skill of making in general with particular reflection upon Japanese aesthetics. Composer, Monty Adkins and visual artist, Pip Dickens (through a Leverhulme Trust Award collaboration) investigate commonality and difference between the visual arts and music exploring aspects of rhythm, pattern, colour and vibration as well as outlining processes utilised to evolve new works within these practices. The hand-cut paper Katagami stencil: a beautiful utilitarian object once used to apply decoration on to Japanese kimonos, is used as a poignant symbol the hand-made machine - by Adkins and Dickens both within the production of paintings and sound compositions and as a thematic link throughout the book. The book reviews examples of a number of contemporary artists and craftspeople and their individual approaches to making things well. It explores the balance between hand skills and technology within a works production with particular reference to Richard Sennetts review of material culture in The Craftsman. Shibusa includes contributing essays by arts writer, Roy Exley, who examines convergence and crossover within the arts and an in-depth history, and review, of the kimono making industry by Kyoto designer, Makoto Mori.

Founded in 1869, the University of Nebraska was given the awesome responsibility of educating a new state barely connected by roads and rail lines. Established as a comprehensive university, uniting the arts and sciences, commerce and agriculture, and open to all regardless of "age, sex, color, or nationality," it has as its motto Literis dedicata et omnibus artibus--dedicated to letters and all the arts. The University at first was confined to four city blocks and didn't have a building until 1871. Cows grazed the campus. But soon the high aspirations of the state began to be realized. Nebraska boasted the first department of psychology west of the Mississippi River, and its faculty included national prominent scholars like botanist Charles Bessey and linguist A. H. Edgren (later a member of the Nobel Commission). Willa Cather, Roscoe Pound, Mari Sandoz, and Louise Pound ranked among its early graduates. And it developed a reputation for excellence in collegiate athletics. Written by a beloved member of the faculty, this history shows both why Robert E. Knoll is so devoted to the University as well as the tests such devotion must endure. Its history is hardly one of placid growth and unimpeded progress. Its regents, administration, faculty, and students have periodically fought one another: sometimes over matters as crucial as the University's purpose, shape, and destination. More often, battles waged over personalities. It is to these personalities that Knoll directs most of his attention. The author focuses on the men and women who made a difference, for good or ill. He locates the University's place in the changing intellectual and academic context of the United States and charts its passage through hard times and prosperity. He notes the contributions of the University to Nebraska, from the early experiments in sugar beet cultivation to the national fame of its football team. Most important, its education of generations of Nebraskans has lifted state goals and achievement, and its outreach has made the University an international community.