In 1919, in the wake of World War I, for a brief period Hungary was a Soviet Republic. The republic didn't last, but the incredible effusion of art, music, film, theater, and literature that it generated did. Painting the Town Red offers an in-depth exploration of the incredible artistic flourishing brought about by the 1919 republic, showing how art and politics were intertwined--and how, for a brief time, artists saw themselves as playing a crucial part in the establishment of a new way of living and governing. Through close analyses of the works of a number of creators and a careful recounting of the history and politics of the 1919 republic, Bob Dent brings a largely forgotten moment back to life, with all its glory and, ultimately, disillusion.

Paint Your Town Red tells the story of how one city in the north of England decided to level up without waiting for Whitehall. Across the world, there is a growing recognition that a new kind of economy is needed: more democratic, less exploitative, less destructive of society and the planet. Paint Your Town Red looks at how wealth can be generated and shared at a local level through the experience of one of the main advocates of the new Democratic Economy, Matthew Brown, the driving-force behind the world-recognized Preston Model. Using analysis, interviews and case studies to explain what Matthew and Preston City Council have done over the last decade in order to earn Preston the title of Most Improved City, the book shows how the model can be adapted to fit different local circumstances, as well as demonstrating how Preston itself adapted economic and democratic experiments in ‘community wealth-building’ from elsewhere in the US and Europe. Preston’s success shows that the ideas of community wealth-building work in practice and have the capacity to achieve a meaningful transfer of wealth and power back to local communities. A lot of recent coverage and references have tended to oversimplify the Preston Model, which is not just about ‘buying local’ but a comprehensive project, which envisions local and regional discussions and collaboration adding up to a wholesale transformation of our currently failing economic systems.

Painting the City Red illuminates the dynamic relationship between the visual media, particularly film and theater, and the planning and development of cities in China and Taiwan, from the emergence of the People’s Republic in 1949 to the staging of the Beijing Olympics in 2008. Yomi Braester argues that the transformation of Chinese cities in recent decades is a result not only of China’s abandonment of Maoist economic planning in favor of capitalist globalization but also of a shift in visual practices. Rather than simply reflect urban culture, movies and stage dramas have facilitated the development of new perceptions of space and time, representing the future city variously as an ideal socialist city, a metropolis integrated into the global economy, and a site for preserving cultural heritage. Drawing on extensive archival research, interviews with leading filmmakers and urban planners, and close readings of scripts and images, Braester describes how films and stage plays have promoted and opposed official urban plans and policies as they have addressed issues such as demolition-and-relocation plans, the preservation of vernacular architecture, and the global real estate market. He shows how the cinematic rewriting of historical narratives has accompanied the spatial reorganization of specific urban sites, including Nanjing Road in Shanghai; veterans’ villages in Taipei; and Tiananmen Square, centuries-old courtyards, and postmodern architectural landmarks in Beijing. In Painting the City Red, Braester reveals the role that film and theater have played in mediating state power, cultural norms, and the struggle for civil society in Chinese cities.

A detailed account of Canadian involvement in South Africa's Anglo-Boer War and the impact it had on the country during the years 1899-1902 and beyond. Includes a few bandw photographs. Canadian card order no. C92-090380-0. Annotation copyrighted by Book News, Inc., Portland, OR

The first biography in over sixty years of a great American artist whose paintings are more famous than the man who made them. George Catlin has been called the “first artist of the West,” as none before him lived among and painted the Native American tribes of the Northern Plains. After a false start as a painter of miniatures, Catlin found his calling: to fix the image of a “vanishing race” before their “extermination”—his word—by a government greedy for their lands. In the first six years of the 1830s, he created over six hundred portraits—unforgettable likenesses of individual chiefs, warriors, braves, squaws, and children belonging to more than thirty tribes living along the upper Missouri River. Political forces thwarted Catlin’s ambition to sell what he called his “Indian Gallery” as a national collection, and in 1840 the artist began three decades of self-imposed exile abroad. For a time, his exhibitions and writings made him the most celebrated American expatriate in London and Paris. He was toasted by Queen Victoria and breakfasted with King Louis-Philippe, who created a special gallery in the Louvre to show his pictures. But when he started to tour “live” troupes of Ojibbewa and Iowa, Catlin and his fortunes declined: He changed from artist to showman, and from advocate to exploiter of his native performers. Tragedy and loss engulfed both. This brilliant and humane portrait brings to life George Catlin and his Indian subjects for our own time. An American original, he still personifies the artist as a figure of controversy, torn by conflicting demands of art and success.

An Indigenous artist blends the aesthetics of punk rock with the traditional spiritual practices of the women in her lineage in this bold, contemporary journey to reclaim her heritage and unleash her power and voice while searching for a permanent home Sasha taqʷšəblu LaPointe has always longed for a sense of home. When she was a child, her family moved around frequently, often staying in barely habitable church attics and trailers, dangerous places for young Sasha. With little more to guide her than a passion for the thriving punk scene of the Pacific Northwest and a desire to live up to the responsibility of being the namesake of her beloved great-grandmother—a linguist who helped preserve her Indigenous language of Lushootseed—Sasha throws herself headlong into the world, determined to build a better future for herself and her people. Set against a backdrop of the breathtaking beauty of Coast Salish ancestral land and imbued with the universal spirit of punk, Red Paint is ultimately a story of the ways we learn to find our true selves while fighting for our right to claim a place of our own. Examining what it means to be vulnerable in love and in art, Sasha offers up an unblinking reckoning with personal traumas amplified by the collective historical traumas of colonialism and genocide that continue to haunt native peoples. Red Paint is an intersectional autobiography of lineage, resilience, and, above all, the ability to heal.

Unlike many other art books only give recipes for mixing colors or describe step-by-step painting techniques, *Color and Light* answers the questions that realist painters continually ask, such as: "What happens with sky colors at sunset?", "How do colors change with distance?", and "What makes a form look three-dimensional?" Author James Gurney draws on his experience as a plain-air painter and science illustrator to share a wealth of information about the realist painter's most fundamental tools: color and light. He bridges the gap between abstract theory and practical knowledge for traditional and digital artists of all levels of experience.