The Whitney Austin Coloring Book is a collection of her top masterpieces. Whitney wanted to give everyone the opportunity to bring these paintings back to life but also allow your creativity to take control. For anyone who loves creativity or just simply the joy of coloring, this book is for you. Imagine. Dream. Be Great.

The Whitney Austin Coloring Book is a collection of her top masterpieces. Whitney wanted to give everyone the opportunity to bring these paintings back to life but also allow your creativity to take control. For anyone who loves creativity or just simply the joy of coloring, this book is for you. Imagine. Dream. Be Great

The Whitney Austin Coloring Book is a collection of her top masterpieces. Whitney wanted to give everyone the opportunity to bring these paintings back to life but also allow your creativity to take control. For anyone who loves creativity or just simply the joy of coloring, this book is for you. Imagine. Dream. Be Great

This volume, edited by Kim Golombisky, applies an intersectional lens to advertising, focusing on gender, race, ethnicity, sexuality, disability, age, class, and nationality. Intersectional feminist perspectives on advertising are rare in the advertising industry, even as it faces pressure to reform. This anthology focuses on advertising messaging to follow up the professional practices covered in Feminists, Feminisms, and Advertising, edited by Kim Golombisky and Peggy Kreshel. In this new collection, contributors write from a variety of perspectives, including Black, African, lesbian, transnational, poststructuralist, material, commodity, and environmental feminisms. The authors also discuss the reproductive justice framework, feminist disability studies, feminist ethnography, feminist discourse analysis, and feminist visual rhetoric. Together, these scholars introduce big ideas for feminist advertising studies. The first section, titled “Historicize This!,” includes work dealing with historicized analyses of advertising, ranging from more than a century of stereotypes about black women to early twentieth-century white women purchasing automobiles, all contextualized with women’s complex relations with technologies from cars to Twitter. The second section, “Advertising Body Politics,” groups work on topics related to body politics in advertising, including lesbians, disabled women, aging women, and Chinese “promotion girls.” The third section, “Media Reps,” revisits advertising representation in novel ways from operational definitions of race and advertising news about gay men to advertising twenty-first-century masculinities in Ghana and the United States. The last section, “Reproduction and Postfeminist Empowerment,” ends the book with a selection of case studies on the advertising industry’s cooptation and commodification of feminism, particularly in regressive postfeminist ideologies about women’s reproductive health and mothering.

"Edited by Max Schumann, Director of Printed Matter, and with a foreword and afterword by art writer and Colab member Walter Robinson, the book traces the output of Collaborative Projects Inc. (aka Colab), the highly energetic gathering of young New York downtown artists active from the late 1970's through the mid 1980's."--Printed Matter website.

An adaptation of the powerful New York Times bestselling account of growing up Black and female in America, completely rewritten with new stories for young readers Austin Channing Brown’s first encounter with race in America came at age seven, when she discovered that her parents had named her Austin to trick future employers into thinking she was a white man. Growing up in majority-white schools and churches, Channing Brown writes, “I had to learn what it means to love Blackness,” a journey that led to a lifetime spent navigating America’s racial divide as a writer, speaker, and expert helping organizations practice genuine inclusion. In this adaptation of her bestselling and critically acclaimed memoir, she explores how America’s racial dynamics show up in the classrooms, friend groups, and conversations kids inhabit every day. “I love being a Black girl,” she writes. “And sometimes being a Black girl in America is hard.” Covering topics like representation, self-love, allyship, and being Black in public, Brown helps kids nourish their identity and make sense of how they fit into the world. For students navigating a time of racial hostility, and for the adults and educators who care for them, I’m Still Here is an empowering look at the experiences of young Black kids, inviting the reader to confront apathy, find their voice, and discover how Blackness—if we let it—can save us all.