The work of the highly original and influential artist Michael C. McMillen is reproduced in this retrospective book that presents his fascinating walk-through installations, films, paintings, and sculptures. Since the early 1970s artist Michael C. McMillen has been working to involve his audience directly with his installations. His most renowned works, such as Inner City, The Central Meridian (The Garage), The Pavilion of Rain, Train of Thought, and Red Trailer Motel, are dreamlike and often playfully sinister. Featuring architectural elements that transport the viewer into realms of metaphor and open narrative, these works effectively make the visitor an active participant in the artistic experience. This beautifully illustrated book, spanning more than thirty years of artmaking, features biographical and critical essays by leading curators, critics, and writers along with reproductions of his innovative works.

Published on the occasion of an exhibition of the same name organized by the Wadsworth Atheneum Museum of Art, Hartford, Connecticut, and held there January 31-May 31, 2015; at the San Diego Museum of Art, Calif., July 11-October 13, 2015; at the Brooklyn Museum, N.Y., November 20, 2015-March 13, 2016; and at the McNay Art Museum, San Antonio, Tex., May 11-September 11, 2016.

In a quiet town of Seneca Falls, New York, over the course of two days in July, 1848, a small group of women and men, led by Elizabeth Cady Stanton and Lucretia Mott, held a convention that would launch the woman's rights movement and change the course of history. The implications of that remarkable convention would be felt around the world and indeed are still being felt today. In Seneca Falls and the Origins of the Woman's Rights Movement, the latest contribution to Oxford's acclaimed Pivotal Moments in American History series, Sally McMillen unpacks, for the first time, the full significance of that revolutionary convention and the enormous changes it produced. The book covers 50 years of women's activism, from 1840-1890, focusing on four extraordinary figures--Lucretia Mott, Elizabeth Cady Stanton, Lucy Stone, and Susan B. Anthony. McMillen tells the stories of their lives, how they came to take up the cause of women's rights, the astonishing advances they made during their lifetimes, and the lasting and transformative effects of the work they did. At the convention they asserted full equality with men, argued for greater legal rights, greater professional and education opportunities, and the right to vote--ideas considered wildly radical at the time. Indeed, looking back at the convention two years later, Anthony called it "the grandest and greatest reform of all time--and destined to be thus regarded by the future historian." In this lively and warmly written study, Sally McMillen may well be the future historian Anthony was hoping to find. A vibrant portrait of a major turning point in American women's history, and in human history, this book is essential reading for anyone wishing to fully understand the origins of the woman's rights movement.

The Front Room: Diaspora Migrant Aesthetics in the Home, originally published in 2009, has become a beloved and much-praised source, providing fascinating revelations into the post-war British experience of immigrants, the decoration of their living spaces and their position in society in relation to decolonisation. The 'front room' (emanating from the Victorian parlour) provides an outlet to respond to the feelings of displacement, exile and alienation and the rebuilding of a home in a strange land. Primarily concerned with Caribbean homes, The Front Room also looks at Moroccan, Surinamese, Antillean and Indonesian migrant groups in Holland--encompassing, through texts, archival documents and artistic photographs, the important cultural markers that are expressed through the domestic interiors of migrants. The author examines how this intimate space within the home raises issues of class, race, migration, aspiration, religion, family, gender, identity and alienation. He also looks at the transition from the colonial post-colonial modernity by placing the book in the context of his own family's migrant experience.

Haegue Yang?s artworks are known not only for their diversity of media and methods, but also for their eloquent and seductive sculptural language of conceptual abstraction, often derived from her research on figures and events throughout history, as well as inquiries on the notion of folk and traditional craft techniques. 0Bringing together new and existing works spanning the last decade, Haegue Yang?s solo exhibition In the Cone of Uncertainty at The Bass foregrounds the artist?s consistent curiosity about the world and tireless experimentation with materializing the complexity of identity politics and their ever-changing parameters. Its companion publication highlights a substantial selection of Yang?s oeuvre, including blind installations, anthropomorphic works and light sculptures, with an expanded focus on her growing series of mural-like graphic wall pieces. 0HAEGUE YANG (*1971, Seoul) lives and works in Berlin and Seoul. Since 2017 she has been Professor at the Städelschule in Frankfurt am Main. Her work has been included in numerous exhibitions internationally, such as the Venice Biennale; documenta, Kassel; at Centre Pompidou, Paris; and at Museum Ludwig, Cologne. Her solo presentation at the MoMA New York will open in October 2019.00Exhibition: The Bass Museum of Art, Miami Beach, FL, USA (02.11.2019 - 05.04.2020) .

This book is about how Islamic finance is conducted in contemporary times. It is also about change and how change occurs in two areas. The first area is change in a body of law, both generally and specifically with respect to Islamic Shari`ah in the areas of commerce and finance. The second area is Islamic finance. Change in the Shari`ah and in Islamic finance are intimately and inextricably related: the Shari`ah defines and constrains change in Islamic finance. Legal change necessarily involves consideration of the interpretive modalities that are employed in effecting that legal change, and interpretive modalities in Islamic finance are also considered.The book is divided into four parts. Part I outlines the context and provides background for later discussions. Part II introduces the Shari`ah and its interpretation. Part III discusses a specific fatwa issued to Dow Jones in 1998 in respect of equity investing and equity indices (the Dow Jones Fatwa), its sequelae, and murabaha transactions. And Part IV addresses issues pertaining to and criticisms of Islamic finance.Part I describes the objectives and organization of the book, provides a short history of modern Islamic finance, and sets forth a categorized summary of the issues and criticisms raised by various critics.The discussion of Shari`ah matters in Part II begins with a summary of the nature of the Shari`ah (Islamic law) as applied in Islamic finance. This is followed by a detailed description of the Shari`ah scholars and Shari`ah boards that interpret and apply Islamic law in the field of Islamic finance. Topics considered include the qualifications of scholars, the nature and structure of Shari`ah boards and how they are comprised and operate, and the roles and functions of Shari`ah boards. The final chapter in this Part discusses the fatwa (legal opinion) that implements Islamic law in the transactional, operational entity and standard-setting context. Part III provides detailed discussions of the Dow Jones Fatwa, its equity investment tests, permissible and impermissible equity instruments, permissible and impermissible business activities, financial screens for impermissible interest income, and other important principles. In particular, the discussion focuses on the principles of “permissible variance” (or “permissible impurity”) and “purification” that have been instrumental in the development and growth of Islamic finance. Succeeding chapters in this Part trace how the permissible variance principles have evolved and expanded in areas such as equity, private equity and real estate investing, and the financing of those activities, and in project and infrastructure finance. Six areas of evolution and expansion are considered. These include (1) modification of the initial tests, (2) new equity investing tests, (3) permissible and impermissible business activities in different areas of practice and the variations in impurity that are permitted in those areas, (4) the most commonly used structures in modern Islamic finance (the lease or ijara and the murabaha or cost-plus sale), and) (5) when and how purification (largely by donation to charity) are effected.The final group of chapters, in Part IV, discuss the various issues and criticisms in detail. Topics include (i) the amount of discretion afforded Shari`ah scholars, (ii) the intentions of different transactional parties in Islamic finance transactions, (iii) the degree of formalism in application of interpretive modalities, (iv) complexities and transaction costs (both absolutely and relative to corresponding conventional transactions), (v) social justice and policy issues, and (vi) the application of interpretative modalities and their relationship to different jurisprudential theories of legal change.The book includes an extensive bibliography and index.For further information, please see http://www.islamicfinanceinpractice.com