Fall 2018. Art.

The East End In Colour, 1960 to 1980 by David Granick. Hoxton Mini Press. East End London, was documented in Kodachrome in this period. The result is a fine sensitivity to urban space.

Sicilian Splendors; Discovering the Secret Places That Speak to the Heart by John Keahey. Thomas Dunne Books. From Palermo to Castiglione de Sicilia to Alimena, we follow Keahey and his camera through the Island.

Written in Stone; Public Monuments in Changing Societies by Sanford Levinson. Duke University Press, Paper. A twentieth anniversary edition, which considers the contemporary debate and conflict surrounding controversial monuments, in some cases their removal.

Standing Soldiers, Kneeling Slaves; Race, War, and Monument in Nineteenth-Century America by Kirk Savage. Princeton University Press, The institution of slavery, wars-won or lost, historical events. We tell stories with our monuments. And if we change the story we tell, we figurataively remove the monument.

Between Form and Content; Perspectives on Jacob Lawrence at Black Mountain College by Julie Levin Caro & Jeff Arnal. Duke University Press, paper. A recent exhibition of Lawrence’s art the Harn Museum, Gainesville.

Jewish Comedy; A Serious History by Jeremy Dauber. W.W. Norton, paper. How humor shapes the response to social change. And vice versa.

Schumann; The Faces and the Masks by Judith Chernaik. Knopf. Robert Schumann admired the musical traditions of the past but was also enraptured by the Romantic movement of his day.

Maestros and Their Music; The Art and Alchemy of Conducting by John Mauceri. Vintage, paper. What is all that arm waving about?

Saturday Night at the Movies’ The Extraordinary Partnerships behind Cinema’s Greatest Scores by Jennifer Nelson. Elliott & Thompson Books. Looks at twelve films to examine the partnership between the film media and its musical score.

Saving Mona Lisa; The Battle to Protect the Louvre and Its Treasures from the Nazis by Gerri Chanel. Icon Press. August 1939 this famous painting was evacuated to a safer place in the Loire Valley. Most of the Louvre’s collection followed.

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