50 Results for : weems

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    Genesis: A Living Conversation , Hörbuch, Digital, ungekürzt, 550min
    People need stories to make sense of the world - to hold their lives together, and to fasten on to those values that last. The greatest stories are found in the Bible, enduring through the centuries. In Genesis, acclaimed television journalist Bill Moyers brings together some of the world's liveliest minds for spirited round-table discussions of the ageless stories from the Bible's first, towering book.Creation, temptation, murder, exile, and family strife - these emerge from every page of Genesis and speak to us today. Genesis invites listeners into a lively and accessible discussion of the manifold meanings of these stories, and engages us in a fascinating exploration of the relationship between interpreter and text. Among the scores of writers, theologians, artists, and thinkers in the series are Mary Gordon, Phyllis Trible, John Barth, Faye Kellerman, Samuel Proctor, Aviva Zornberg, Walter Brueggemann, Robert Alter, Oscar Hijuelos, Charles Johnson, Stephen Mitchell, Leon Kass, Elaine Pagels, Bharati Mukherjee, Seyyed Hossein Nasr, Elizabeth Swados, Renita Weems - all in a dazzling, multi-layered chorus of voices.Genesis has the capacity to enrich people's lives intellectually and spiritually. ungekürzt. Language: English. Narrator: Bill Moyers, Mandy Patinkin. Audio sample: https://samples.audible.de/bk/bant/000365/bk_bant_000365_sample.mp3. Digital audiobook in aax.
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    As We Rise: Photography from the Black Atlantic
    As We Rise presents an exciting compilation of photographs from African diasporic culture. With over one hundred works by Black artists from Canada, the Caribbean, Great Britain, the United States, South America, as well as throughout the African continent, this volume provides a timely exploration of Black identity on both sides of the Atlantic. As Teju Cole describes in his preface, "Too often in the larger culture, we see images of Black people in attitudes of despair, pain, or brutal isolation. As We Rise gently refuses that. It is not that people are always in an attitude of celebration--no, that would be a reverse but corresponding falsehood--but rather that they are present as human beings, credible, fully engaged in their world.? Drawn from Dr. Kenneth Montague's Wedge Collection in Toronto--a Black-owned collection dedicated to artists of African descent--As We Rise looks at the multifaceted ideas of Black life through the lenses of community, identity, and power. Artists such as Stan Douglas, LaToya Ruby Frazier, Barkley L. Hendricks, Texas Isaiah, Liz Johnson Artur, Seydou Keïta, Deana Lawson, Jamel Shabazz, and Carrie Mae Weems, touch on themes of agency, beauty, joy, belonging, subjectivity, and self-representation. Writings by Isolde Brielmaier, Ugochukwu-Smooth C. Nzewi, Mark Sealy, Teka Selman, and Deborah Willis among others provide insight and commentary on this monumental collection.
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    Moving Up, Moving Out: The Rise of the Black Middle Class in Chicago , Hörbuch, Digital, ungekürzt, 388min
    In Moving Up, Moving Out, Will Cooley discusses the damage racism and discrimination have exacted on black Chicagoans in the 20th century, while accentuating the resilience of upwardly mobile African Americans. Cooley examines how class differences created fissures in the black community and produced quandaries for black Chicagoans interested in racial welfare. While black Chicagoans engaged in collective struggles, they also used individualistic means to secure the American Dream. Black Chicagoans demonstrated their talent and ambitions, but they entered through the narrow gate, and whites denied them equal opportunities in the educational institutions, workplaces, and neighborhoods that produced the middle class.African Americans resisted these restrictions at nearly every turn by moving up into better careers and moving out into higher-quality neighborhoods, but their continued marginalization helped create a deeply dysfunctional city. African Americans settled in Chicago for decades, inspired by the gains their forerunners were making in the city. Though faith in Chicago as a land of promise wavered, the progress of the black middle class kept the city from completely falling apart. In this important study, Cooley shows how Chicago, in all of its glory and faults, was held together by black dreams of advancement. Moving Up, Moving Out will appeal to urban historians and sociologists, scholars of African American studies, and general listeners interested in Chicago and urban history.The book is published by Northern Illinois University Press. The audiobook is published by University Press Audiobooks.Praise for the book:“A well-researched and intriguing book… brings to light fascinating material.” (Todd M. Michney, author of Surrogate Suburbs)“Presents a complex historical and contemporary phenomenon in a clear, accessible manner.” (Robert E. Weems Jr., coeditor of Building t ungekürzt. Language: English. Narrator: Andrew L. Barnes. Audio sample: https://samples.audible.de/bk/acx0/191032/bk_acx0_191032_sample.mp3. Digital audiobook in aax.
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    Our Selves: Photographs by Women Artists
    Conceived in conjunction with an exhibition opening at The Museum of Modern Art in 2022, this publication focuses on an exceptional gift of 108 photographs by women artists from the collection of Helen Kornblum, distinguished member of MoMA's Committee on Photography. The publication will highlight this significant acquisition, which contributes to the Museum's continuous effort to research and rethink twentieth century art history narratives by amplifying the presence of women artists. Like the exhibition, the book will be structured around thematic groupings, arranged chronologically, and each prefaced by a short text. Special attention will be devoted to topics such as: pictorialist portraiture, surrealist explorations, portraits of artists, the social documentary, advertising, photography and language, photojournalism, gender and the media, still life and domesticity, performance for the camera, and to the camera as a means of personal artistic expression.From modernists such as Claude Cahun and Yva to contemporary photographer Catherine Opie, many of the works in this volume elicit conversations about queer subjectivity. Themes related to colonial history and indigeneity are addressed in photographic projects by both Native artists such as Cara Romero and Hulleah Tsinhnahjinnie, and non-Native practitioners including Graciela Iturbide, Sharon Lockhart, Meridel Rubenstein, Tatiana Parcero, and Tracey Moffatt. Lorna Simpson and Carrie Mae Weems offer uniquely feminist African-diasporic viewpoints on the relationship of race and gender. Our Selves presents a series of new perspectives that rise to our current moment, addressing the urgent need for more intersectional conversations in the arts.
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    People from Anne Arundel County Maryland
    People from Anne Arundel County Maryland ab 19.99 € als Taschenbuch: Robert Duvall Toni Braxton George H. Steuart Johns Hopkins Kevin Barnes Mike Khoury Leonard T. Schroeder Duane Gill Bud Beardmore William Steuart Parson Weems Brooks Barnard Tamar Braxton David G. Boschert Dale Castro. Aus dem Bereich: Bücher, Taschenbücher, Geist & Wissen,
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    Rhythms of Grace: Discovering God's Tempo for Your Life , Hörbuch, Digital, ungekürzt, 356min
    Life is not a sprint; it's a marathon. These well-known words of wisdom remind us to pace ourselves in the journey of life so we reach the finish line with no regrets. Pacing yourself is not as easy as it sounds. Life tends to take on a pace of its own which when left unchecked, will drive us toward burnout and fatigue. We can easily become driven by care, worry, and ambition rather than led by the Holy Spirit. We may tend to think of burnout as a modern problem, but we can see that people in Jesus' day felt their own kind of spiritual and emotional fatigue. Why else would Jesus have said these comforting words? Are you tired? Worn out? Burned out on religion? Come to me. Get away with me and you'll recover your life. I'll show you how to take a real rest. Walk with me and work with me - watch how I do it. Learn the unforced rhythms of grace. I won't lay anything heavy or ill-fitting on you. Keep company with me and you'll learn to live freely and lightly (Matt. 11:28-30; The Message). Even though he spoke these words more than two millennia ago, Jesus' call to rest and peace seem tailor-made to fit this generation. Author Kerri Weems had let the pace and rhythm of her life get out of control. At first the consequences were only physical, but they quickly impacted her spiritual life. Since then, God has been teaching her to walk in time with him; he is teaching her to be led rather than driven. In this audiobook, she opens up her life and shares this journey with the listener. God's best for each of us is that we go the full distance of our race, and not just crawl exhausted across the finish line. God wants us to enjoy the race and cross the line with our heads held high, a smile on our faces, and our arms lifted in a double fist-punch! Getting to that moment is all about learning the rhythms of grace and pacing ourselves for the long run. ungekürzt. Language: English. Narrator: Charity Spencer. Audio sample: https://samples.audible.de/bk/zond/001535/bk_zond_001535_sample.mp3. Digital audiobook in aax.
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    Wingspread (eBook, ePUB)
    Any man who has reason to hope (or to fear) that someone may someday write the story of his life would do well to pray that he may not fall into the hand of an enemy, a disciple, a rival or a relative. Of all men, these make the poorest biographers. Their relationship to the subject places them where they cannot see him as he actually is, so the picture they paint, however interesting it may be, is never true to the original. Our enemies seldom know us well enough to write about us. The person they think they know-and hate-is not the person we are. For that reason an enemy is likely to draw a caricature, and not a true likeness. He is sure to sketch in his prejudices and animosities, and may casually leave upon the forehead little careless projections which could not be proved to be, but might easily be mistaken for, horns. A disciple will usually do as poor a job, from an artistic point of view, as an enemy, though for an altogether different reason. Instead of horns he may, with as little fidelity to the facts, sketch in a harp, but the result will be no better in the end. "Leave the warts in," said Lincoln when about to sit for his portrait, and to the everlasting credit of the artist he had the courage to do it. But true disciples never see warts, or if one is called to their attention, they will argue that it is only a callous anyway, caused by a halo that had slipped down. George Washington has the misfortune to be respected by everybody and loved by nobody. Parson Weems saw to that. He wrote a life of Washington that fixed a great gulf between him and every downright American from that day forward. The pretty boy with the cherry cheeks, the innocent little hatchet and the sententious manner of speech which Weems gave to the world can never excite the affections of sincere men and women. But I wonder whether Lincoln's warts and his uncurried hair may not have created a secret bond of sympathy between him and two generations of American boys. No one wants a hero who is too perfect. And where is that man who can write a fair biography of an acknowledged rival? It is not in human nature to do it. No matter how valiantly we may try, we cannot force ourselves to say all the good that ought to be said about a man when we know that every feather we put in his cap we must first take out of our own. That is why it is hard to get a fair appraisal of a public figure by a contemporary in his own field. Our relatives know us better than anyone else does, but they are not safe biographers nevertheless. In the first place they are likely to be stone blind with pride and affection, (not to mention their uncomfortable habit of referring to us by little nicknames we hoped had been forgotten). The knowledge that one of their own blood and kin has actually attained to eminence acts like a draught of heady wine rendering them incapable of anything like sober judgment. By a well-known law of the human mind they praise themselves in their illustrious relative, so that what we get is a lot of left-handed boasting that does not come within shouting distance of the truth. The best biographer comes from a far country. He can see the subject as he is, and being free from the handicap of a close personal relation, he will, if he have a fair amount of intelligence and enough patience to make himself familiar with the facts, be in a position to present a reasonably accurate picture of what he sees. We feel that we bring to the task of writing this sketch of the life of Albert B. Simpson, if nothing more, a sympathetic heart and an objective mental approach. We belong to another generation than his, and thus stand back from the subject far enough to gain better perspective. We are not, and have never been his disciple, though common gratitude requires us to testify that we have received from his life and teachings, and more especially from his "spiritual songs," such immeasurable benefits that we feel forever bound to thank the thoughtful God who gave him to the Church. Meditation upon his trials and triumphs easily brings tears close to the surface and disposes us to reverent prayer. Indeed it is hard to write dispassionately of one possessing the tremendous emotional appeal of A. B. Simpson. The sheer spiritual weight of the man crushes in upon us till we are overcome with it and, like Daniel, we "sit down astonied." But in spite of this, we shall try to maintain a fair objectivity in our treatment of the subject matter which his life affords. In preparing this work we but loose his shoe latchet, and acknowledge ourself blessed in the doing of it.
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    art21 – Compassion
    ART21 is an award-winning series of 24 programmes in which 100 contemporary artists talk about their creations, the way they work and their individual view of art. Might a work of art move us to temper our more destructive impulses? In what ways do artists’ feelings of empathy contribute to works that tackle problematic subjects and address the human condition? The “Art in the Twenty-First Century” documentary “Compassion” explores these questions in the work of the artists William Kentridge, Doris Salcedo, and Carrie Mae Weems.
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    Dancing on the Water
    AC Bushnell RELEASES CD/DVD ALBUM: CD - 'DANCING ON THE WATER' AND DVD: 'FOLLOWING THE ROAD: MUSIC AND LIFE LESSONS WITH AC BUSHNELL' Childhood & Family... AC Bushnell was born in Berkeley, California (contrary to reports that it was New York City). When he was four years old, he lived with his parents, Donna and Jack Bushnell, and sister, Kathlyn Bushnell in San Juan Atzingo, Mexico, a small village in the Mexican highlands. His father was a cultural anthropologist studying the indigenous people of this area. AC lived in Mexico for a year and a half, and in spite of hepatitis and dysentery, remembers his time in Mexico as extremely happy. AC learned Spanish and spoke some Matlazinca which was the local language of the indigenous people. He retained some Spanish but doesn't remember Matlazinca. When he visited the village in 1975 a woman he knew was absolutely devastated that he could no longer speak the language. After AC's Dad got his PhD from the University of California he had two job offers to teach anthropology: one from Vasser College in Poughkeepsie, New York (which he accepted) and one from the University of North Carolina at Chapel Hill (which he did not). Ironically, AC ended up in Chapel Hill, NC later in life. Upstate New York was a huge change from the Bay Area of California. The first night his family arrived in Poughkeepsie they stayed overnight with two elderly German women who read he and his sister gothic German fairy tales. At the same time, there was a huge thunderstorm, all the power went out and lightening danced along the light fixtures. AC remembers thinking 'What is this place? What's happened to me?" He came to love upstate New York but it was an adjustment that took a while. AC took violin lessons with some regularity beginning at the age of 10. He and his family moved to New York City when he was 11 so his father could take a job with the State Commission Against Discrimination (later renamed more positively The State Commission for Human Rights) as Director of Research. New York City was another big change and a whole new world to explore. AC attended the High School of Music and Art in New York which he really liked. When he was 14 he first heard 'old time' American fiddle and banjo music and was entranced. His family had moved from the lower east side to Greenwich Village on the west side of New York City and from his apartment window he could look down on Allan Block's Sandal Shop. On Saturday afternoons they played music and Allan Block (later called 'the dean of north eastern fiddle players') gave him his first introduction to fiddle music. He used to listen every Saturday and eventually got up enough courage to take his violin over and try to play along - staying on the outside of the circle at first. And this was how he first learned how to play the fiddle. AC also met and played with Alan Block's daughter, Rory Block, who has since become a truly great blues singer and guitarist. Rory has recently earned the W.C. Handy Awards four years in a row - two for Traditional Blues Female Artist of the Year, and two for Best Acoustic Blues Album of the Year. AC is happy that their friendship has lasted over the years. The 60s & New York City... It was then the decade of the 60s and AC was involved in the folk music revival as well as rock and roll and alternative music. During this time he absorbed a huge variety of music and saw many great performers at the Fillmore East and other locations. This was an amazing time to be in New York City and he met many fascinating people both famous and not so famous: musicians, artists, writers and politicians. It was a vibrant and turbulent time. At this time he played briefly with The Magic City Buckdancers and also met Richard Pertz and Bill Parsons who later would become the Cluckeneers. AC also met his great friend Frank Harjo in New York City - a Creek Indian who was born in Oklahoma. Frank's being and philosophy was a great influence on AC. Frank showed AC a different way to look at the world and that time wasn't actually linear but rather circular. Frank died in 1982. Happily AC is still friends with his wife, Suzan Shown Harjo (Creek and Cheyenne) who lives in Washington, D.C. and their son, Duke Ray Harjo who lives in Portland, Oregon. Frank always used to tell Duke that AC was his uncle and AC always felt honored by that. In the late 60s AC met Bland Simpson of the Red Clay Ramblers. Bland was in New York to record an album called "Simpson' for Columbia Records. AC used to play music with Bland, Bill Parsons and other musicians. Bland says 'I learned more Charlie Poole songs from these Yankees in New York than I ever learned in North Carolina!' The 60s were over and with it's passing went the great idealism and hope that were contained in that time. AC had graduated from Hunter College in the Bronx (now Lehman College) but felt at loose ends. Some things were good but he wasn't having much fun and he wasn't sure of this direction. He used to meet with Bland in the evenings and Bland kept talking about going back to Chapel Hill, North Carolina. One night AC said 'When you go back to North Carolina, would you take me with you?' Bland eventually agreed and in May of 1972 AC packed his modest possessions in Bland's truck and drove south. AC soon discovered that old time music in the south was even better than it had been up north. He got married to Mary Setter and had three sons, Brian, Chris and Tim and has lived in North Carolina ever since. Playing in bands and starting other things... After playing in the State Line String Band with Bill Parsons and Michael Kott (the flamboyant cello player who later played with The Plank Road String Band and Ace Weems and The Fat Meat Boys) AC didn't play publicly for about 12 years. In 1993, he began playing again individually and with other bands and his musical output has been increasing every year since then. During this time AC founded the Morning Star Foundation to assist Native Americans and make the public more aware of issues affecting them. Although AC is no longer active with the foundation, it's good works continue to this day as the Morning Star Institute based out of Washington, DC for support of Native Peoples' traditional rights and advocacy of their arts, with a special focus on Native American religious freedom and cultural property rights. The Institute also serves as a group sponsor of Native Children's Survival, devoted to the healing of Mother Earth, and sponsors legal action and public education to end use of Native Peoples' names and imagery in the sports world. In the 1990's AC also founded The Starlight Foundation to further spiritual progress on earth. Also at this time AC undertook a 2 year program at the New Seminary in New York and became an interfaith minister in 1997 and was ordained at the Cathedral of St. John in New York City. AC still performs weddings and other events when people ask him. During this period AC met his spiritual teacher Grace in Mt. Shasta, California. AC considers Grace a realized spiritual master who had an enormous positive influence in his life. In 1993 as AC took up the fiddle again he formed the Cluckeneers with Bill Parsons on guitar and Richard Pertz on banjo. They recorded two albums that are out of print and one live CD that is still available in limited supply called "The Hen Has Landed". On New Year's Day 2000, the dawn of the new millennium, the Stillhouse Bottom Band came into being. The members were AC, fiddle, Alan Julich, banjo and bass and Mark Weems, guitar. Bobb Head, banjo and bass, joined the band a few months later. There are three Stillhouse Bottom Band CDs in print. The band was named after Stillhouse Bottom, a natural area that AC's house overlooks in Chapel Hill, NC. In days gone by it was indeed used to make moonshine. Part of the Stillhouse Bottom area has been preserved in it's natural state forever by the NC Botanical Gardens. They are hoping to save an a
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    art:21 // Compassion
    Der Südafrikaner William Kentridge (u. a. beteiligt an der Documenta 13), die Kolumbianerin Doris Salcedo (ihre Werke sind u. a. in der Londoner Tate Modern zu sehen) und die Amerikanerin Carrie Mar Weems (bekannt durch ihre Photo- und Videokunst) zeigen Wege und Formen, wie Kunst „Mitleid“ erzeugen kann. Und wie schafft es Kunst allgemein, die menschliche Verfassung und den Kern menschlichen (Zusammen)Lebens darzustellen?
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