Adrian Stokes: An Architectonic Eye
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1000 tulosta hakusanalla Adrian Rodriguez
Vi f lger en lille gummiands sp ndende rejse rundt i verden for at finde sin familie. Han bes ger undervejs mange lande og f r en masse nye venner. Fyldt med s de billeder, flotte illustrationer, humor, fantasi og facts.
Vi f lger en lille gummiands sp ndende rejse rundt i verden for at finde sin familie. Han bes ger undervejs mange lande og f r en masse nye venner. Fyldt med s de billeder, flotte illustrationer, humor, fantasi og facts.
We follow a little rubber duck's exciting journey around the world in search of his family. On his way he visits a lot of countries and makes lots of friends. The book contains cute photos, beautiful drawings and lots of humor, fantasy and facts.
Sir Adrian Boult (1889-1983) was one of the greatest English conductors. He had a long association with the BBC, as director of music, and, more famously, as the permanent conductor of the BBC Symphony Orchestra. When forced to retire from the BBC at sixty (the BBC's retirement age) in 1949, Boult's career entered a long, productive Indian Summer. He was the principal conductor of the London Philharmonic Orchestra for six years, he conducted the music for the 1953 Coronation and he recorded prolifically, his final recording being in 1978 when he was eighty-nine.Sir Adrian's conducting and recording repertoire was formidable but he will be forever associated with English music. He conducted the first performance of Holst's suite 'The Planets'. Elgar said to him in 1920, 'I feel that my reputation in the future is safe in your hands'. His recordings of Butterworth, Elgar, Holst, Parry and Vaughan Williams, where not definitive, still provide a benchmark. It is fitting this biography is written by Michael Kennedy for, through his extensive writings, he has made a comparable contribution to the cause of English music. This biography, for which Michael Kennedy had unrestricted access to Sir Adrian's diaries, notebooks and a large number of letters, was first published in 1987.
Adrián Villar Rojas
Hans Ulrich Obrist; Carolyn Christov Bakargiev; Eungie Joo
Phaidon Press Ltd
2020
nidottu
The first book to explore the fascinating career and fantasy-driven worlds created by the acclaimed Argentinean artist Adrián Villar Rojas's works concoct imaginary realms. Usually made from clay, his colossal installations are transitory and so cannot be collected, as they disappear or decay over time. His practice confronts the public with ideas of obsolescence and extinction, but also with the possibilities of humankind and its endless imagination. This is the first book to include all of Villar Rojas' most significant projects, featured in international biennials such as Venice, Documenta, Shanghai, and others.
'It's really, really, really funny' David Walliams Mole Press - a brand new imprint of Penguin Books - is proud to announce the first publication of The Collected Poems of Adrian Mole to mark the author's 50TH birthday.--------------------------- 'Edgy politics, tortured eroticism, misunderstood intellect, changing Britain - a whiff of the sublime. Mole's contribution is significant' Daily Telegraph Featuring poems scattered over nearly thirty years of writing and salvaged from the diaries 'authored' by one Sue Townsend, this slim volume features more than thirty pieces of Adrian's unique art. From his timeless first documented poem - The Tap - via classic odes to his muse, first and only true love Pandora (I adore ya), we follow Adrian's life in verse form. We not only witness his burgeoning political anger in works like Mrs Thatcher (Do you weep, Mrs Thatcher, do you weep?) but also see in later poems his merciless examination of the hollow shell of masculinity as well as documenting his declining libido in tragic pieces like To My Organ. For the first time in a single volume, these are the collected poems of misunderstood intellectual and tortured poet Adrian Mole. 'I ruthlessly exploited Adrian. But he can't afford to sue me' Sue Townsend 'Wonderfully funny and sharp as knives' Sunday Times 'One of the great comic creations' Daily Mirror 'The funniest person in the world' Caitlin Moran
Adrian Simcox tells anyone who will listen that he has a horse - the best and most beautiful horse anywhere. But Chloe does NOT believe him. Adrian Simcox lives in a tiny house. Where would he keep a horse? He has holes in his shoes. How would he pay for a horse? The more Adrian talks about his horse, the angrier Chloe gets. But when she calls him out at school and even complains about him to her mom, Chloe doesn’t get the vindication she craves. She gets something far more important. Written with tenderness and poignancy and gorgeously illustrated, this book will show readers that kindness is always rewarding, understanding is sweeter than judgment, and friendship is the best gift one can give.
Adrian IV The English Pope (1154–1159)
Brenda Bolton; Anne J. Duggan
Ashgate Publishing Limited
2003
sidottu
The year 2000 witnessed the 900th anniversary of the birth of Adrian IV, the only Englishman to sit on the papal throne. His short pontificate of four and a half years, distracted by crisis and controversy and followed as it was by an 18-year schism, could be judged a low point in the history of the papacy. The studies in this book challenge the view that Adrian was little more than a cipher, the tool of powerful factions in the Curia. This is the first large-scale work on Adrian since 1925, and is supported by a substantial appendix of relevant sources and documents in facing translation. Relations with the Empire, the Norman kingdom and the Patrimony are all radically reassessed and the authenticity of 'Laudabiliter' reconsidered. At the same time, the spiritual, educational and devotional contexts in which he was operating are fully assessed; his activities in Catalonia and his legatine mission to Scandinavia are examined in the light of recent research, and his special relationship with St Albans is explored through his privileges to this great abbey. These studies by leading scholars in the field, together with the introductory chapter by Christopher Brooke, reveal an active and engaged pope, reacting creatively to the challenges and crises of the Church and the world.
Adrian Willaert and the Theory of Interval Affect
Timothy R. McKinney
Ashgate Publishing Limited
2010
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In the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is found, for the first time, a systematic means of explaining music's expressive power based upon the specific melodic and harmonic intervals from which it is constructed. This "theory of interval affect" originates not with these theorists, however, but with their teacher, influential Venetian composer Adrian Willaert (1490-1562). Because Willaert left no theoretical writings of his own, Timothy McKinney uses Willaert's music to reconstruct his innovative theories concerning how music might communicate extramusical ideas. For Willaert, the appellations "major" and "minor" no longer signified merely the larger and smaller of a pair of like-numbered intervals; rather, they became categories of sonic character, the members of which are related by a shared sounding property of "majorness" or "minorness" that could be manipulated for expressive purposes. This book engages with the madrigals of Willaert's landmark Musica nova collection and demonstrates that they articulate a theory of musical affect more complex and forward-looking than recognized currently. The book also traces the origins of one of the most widespread musical associations in Western culture: the notion that major intervals, chords and scales are suitable for the expression of happy affections, and minor for sad ones. McKinney concludes by discussing the influence of Willaert's theory on the madrigals of composers such as Vicentino, Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio, Francesco dalla Viola, and Baldassare Donato, and describes the eventual transformation of the theory of interval affect from the Renaissance view based upon individual intervals measured from the bass, to the Baroque view based upon invertible triadic entities.
This key text will be the first full-length research tool on Adrian Willaert, the Renaissance composer of motets and madrigals who came to prominence in the first part of the sixteenth century, and should prove invaluable to researchers and students.
In 1972 the artist Adrian Piper began periodically dressing as a persona called the Mythic Being, striding the streets of New York in a mustache, Afro wig, and mirrored sunglasses with a cigar in the corner of her mouth. Her Mythic Being performances critically engaged with popular representations of race, gender, sexuality, and class; they challenged viewers to accept personal responsibility for xenophobia and discrimination and the conditions that allowed them to persist. Piper’s work confronts viewers and forces them to reconsider assumptions about the social construction of identity. Adrian Piper: Race, Gender, and Embodiment is an in-depth analysis of this pioneering artist’s work, illustrated with more than ninety images, including twenty-one in color.Over the course of a decade, John P. Bowles and Piper conversed about her art and its meaning, reception, and relation to her scholarship on Kant’s philosophy. Drawing on those conversations, Bowles locates Piper’s work at the nexus of Conceptual and feminist art of the late 1960s and 1970s. Piper was the only African American woman associated with the Conceptual artists of the 1960s and one of only a few African Americans to participate in exhibitions of the nascent feminist art movement in the early 1970s. Bowles contends that Piper’s work is ultimately about our responsibility for the world in which we live.
In 1972 the artist Adrian Piper began periodically dressing as a persona called the Mythic Being, striding the streets of New York in a mustache, Afro wig, and mirrored sunglasses with a cigar in the corner of her mouth. Her Mythic Being performances critically engaged with popular representations of race, gender, sexuality, and class; they challenged viewers to accept personal responsibility for xenophobia and discrimination and the conditions that allowed them to persist. Piper’s work confronts viewers and forces them to reconsider assumptions about the social construction of identity. Adrian Piper: Race, Gender, and Embodiment is an in-depth analysis of this pioneering artist’s work, illustrated with more than ninety images, including twenty-one in color.Over the course of a decade, John P. Bowles and Piper conversed about her art and its meaning, reception, and relation to her scholarship on Kant’s philosophy. Drawing on those conversations, Bowles locates Piper’s work at the nexus of Conceptual and feminist art of the late 1960s and 1970s. Piper was the only African American woman associated with the Conceptual artists of the 1960s and one of only a few African Americans to participate in exhibitions of the nascent feminist art movement in the early 1970s. Bowles contends that Piper’s work is ultimately about our responsibility for the world in which we live.
Adrian: Hollywood Designer
Leonard Stanley; Robin Adrian
Rizzoli International Publications
2019
sidottu
This is a bright, bubbly look at the fashion, art, and homes of Adrian, one of the most celebrated clothing designers of the 20th Century. Perhaps most well-known for his work at MGM from 1928-1941, Adrian created wearable confections for the likes of Greta Garbo, Lana Turner, Joan Crawford, Judy Garland, and Katherine Hepburn before going on to found one of the most popular and influential fashion labels of the mid twentieth century. When he wasn t dressing some of the most well-known women of his day, Adrian had a passion for art and design which manifested itself in his impeccably decorated homes and personal paintings and sketches, which are shown here for the first time in years. Adrian: Hollywood Designer is the first book on the famed Hollywood fashion and costume designer to be published with the cooperation of his family. The book will include an introduction from the designer s son, Robin, as well as a trove of never-before-seen images and anecdotes taken from Adrian s private archives and showing not just his fashions, but also his homes, paintings, family photos, personal writings, and much more. This will be the definitive book on the life and legend of Adrian.
Adrian's family is moving, and he's not happy. He's leaving everything and everyone he knows for a place he's never seen. For Adrian, life's perfect just the way it is. Now he has to say goodbye to the only home he's ever had and face somewhere strange, new, and far away. Could things get any worse? Based on true events, this story follows Adrian as he embarks on a life-changing journey. By the end of his odyssey, Adrian will learn to embrace the changes in his life and realize that home is wherever the heart lies.
Adrian Gaut: Wilshire Blvd
August Editions
2017
sidottu
Wilshire Boulevard is one of Los Angeles's transportation lifelines, and as close as one gets in the sprawling metropolis to a Main Street. Running east-to-west from downtown to the ocean, Wilshire is a link from late-nineteenth-century L.A. to the explosive growth of this city in the 1950s, 60s and 70s. Fascinated by its history, New York–based photographer Adrian Gaut pays tribute to L.A.'s most famous strip in his unique framing of architectural details. Gaut's photographs evoke the 100-year-plus history of L.A.'s growth through rigorous documentation of the boulevard starting with One Wilshire in downtown L.A. and ending with traffic cones that divide the Pacific Coast Highway. In between—the Art Deco details of Miracle Mile, the 1980s reflective glass facades of Century City and the midcentury modern architecture omnipresent throughout the entire strip—is captured in more than 100 color and black-and-white semi-abstract compositions. A brilliant way to mark a time and place in Southern California in the early 21st century.
Adrian Llama wanders through the trees in search of another llama to play with. He discovers other animals playing but doesn't understand how it can be so since they are all very different. A goat befriends him and introduces him to the other animals who accept him into their group and ask him to play.
