Blain Southern and the National Trust present Anthony Caro at Cliveden (6 April - 10 November 2019), an exhibition celebrating the work of the internationally renowned British sculptor.This lavish publication accompanies the exhibition, the third in a series of outdoor displays at the beautiful National Trust property which overlooks the River Thames in Buckinghamshire.Featuring essays by curator and publisher, Amanda Renshaw charting the British sculptor's career of 'restless investigation and rule breaking'; and by National Trust curator, Oonagh Kennedy providing a reflection on Caro's work on site at Cliveden.Also included are archive photographs of Caro and his work, complemented by stunning full-colour photography of each of the sculptures in situ. Sixteen monumental works by Caro are displayed across the Grade I listed grounds at Cliveden, charting Caro's career and his distinctive approach to sculpture.Installed along the Green Drive, the ensemble of sculptures, including Scorched Flats (1974) and Slow March (1985), accompany visitors on their journey, offering them an opportunity to contemplate the works and their relationship to the surrounding landscape.

In the 1920s, with the end of the revolution, the Soviet government began investing resources and energy into creating a new type of book for the first generation of young Soviet readers. In a sense, these early books for children were the ABCs of Soviet modernity; creatively illustrated and intricately designed, they were manuals and primers that helped the young reader enter the field of politics through literature. Children’s books provided the basic vocabulary and grammar for understanding new, post-revolutionary realities, but they also taught young readers how to perceive modern events and communist practices. Relying on a process of dual-media rendering, illustrated books presented propaganda as a simple, repeatable narrative or verse, while also casting it in easily recognizable graphic images. A vehicle of ideology, object of affection, and product of labour all in one, the illustrated book for the young Soviet reader emerged as an important cultural phenomenon. Communist in its content, it was often avant-gardist in its form. Spotlighting three thematic threads – communist goals, pedagogy, and propaganda – The Pedagogy of Images traces the formation of a mass-modern readership through the creation of the communist-inflected visual and narrative conventions that these early readers were meant to appropriate.

Leading geographer Denis Cosgrove provides a series of personal reflections on the complex connections between seeing, imagining and representing the world geographically. In a series of eloquent essays he draws upon pictorial images - including maps, sketches, cartoons, paintings, and photographs - to explore and elaborate upon the many and varied ways in which the vast and varied earth, and at times the heavens beyond, have been both imagined and represented as a place of human habitation. The essays include reflections upon geographical discovery; urban cartography and utopian visions; ideas of landscape and the shaping of America; wilderness and masculinity; conceptions of the Pacific; and the imaginative grip of the Equator. Extensively illustrated, this engaging work reveals the richness of the geographical imagination as expressed over the past five centuries.

Company towns first appeared in Europe and North America with the industrial revolution and followed the expansion of capital to frontier societies, colonies, and new nations. Their common feature was the degree of company control and supervision, reaching beyond the workplace into workers' private and social lives. Major sites of urban experimentation, paternalism, and welfare practices, company towns were also contested terrain of negotiations and confrontations between capital and labor. Looking at historical and contemporary examples from Europe, the Americas, Africa, and Asia, this book explores company towns' global reach and adaptability to diverse geographical, political, and cultural contexts.

The wilderness is much closer than you think. Passed through, negotiated, unnamed, unacknowledged: the edgelands - those familiar yet ignored spaces which are neither city nor countryside - have become the great wild places on our doorsteps. In the same way the Romantic writers taught us to look at hills, lakes and rivers, poets Paul Farley and Michael Symmons Roberts write about mobile masts and gravel pits, business parks and landfill sites, taking the reader on a journey to marvel at these richly mysterious, forgotten regions in our midst. Edgelands forms a critique of what we value as 'wild', and allows our allotments, railways, motorways, wasteland and water a presence in the world, and a strange beauty all of their own.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The original family classic is now available in a glorious, midi size with a new heart-felt cover, ideal for Valentine's Day sharing. Full color.