Framing First Contact

Representations of first contact—the first meetings of European explorers and Native Americans—have always had a central place in our nation’s historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths—and how those myths acquired different meanings at different points in our nation’s history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth-century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies—paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell—Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. Yet others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.

This is a thorough and profusely illustrated guide to building a timber-frame house. Grounded in ancient tradition, timber-frame construction is admirably suited to fulfill today's need for durable, energy-efficient housing and other building needs. First published in 1977, this book is now in its ninth printing and is established as a classic in the field.

From its origins in the Midwest in the early nineteenth century, the technique of light timber framing-also known at the time as "Chicago construction"-quickly came to underwrite the territorial and ideological expansion of the United States. Softwood construction was inherently practical, as its materials were readily available and required little skill to assemble. The result was a built environment that erased typological and class distinctions: no amount of money can buy you a better 2 x 4. This fundamental sameness paradoxically underlies the American culture of individuality, unifying all superficial differences. It has been both a cause and effect of the country's high regard for novelty, in contrast with the stability that is often assumed to be essential to architecture. American Framing is a visual and textual exploration of the social, environmental, and architectural conditions and consequences of this ubiquitous form of construction. For architecture, it offers a story of an American project that is bored with tradition, eager to choose economy over technical skill, and accepting of a relaxed idea of craft in the pursuit of something useful and new-the forming of an architecture that enables architecture.

The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.

The relationship between the fine art and the business sphere has never been harmonious; it has been rejected, fought about, ignored, exploited, criticised and questioned, but it is still omnipresent. Commonly assumed to be antagonistic, situating art and the business organisation sphere in the discourses of new knowledge creation and learning, however, holds the potential of exploring new ways of relating the two spheres. This book investigates such potentialities, discussing the limits and challenges of these new forms of relating. It does so by first outlining the changing discourses of the art and business spheres, and how they produce different ways of relating to their respective worlds. Second, it brings into conversation an ethnographic study of an art-business-collaboration organised by two artists with a Deleuzian concept of dialogue. Dialogue, here, is understood as a non-hierarchical encounter developing between two spheres; a source of creation no longer belonging to anyone. In what is here termed “a machinic research framework” – accounting for composition and movement on all scales – the book shows how making connections is a discursive and material practice with expectations and imaginaries playing a central role. It also addresses the paradoxical interplays between losing control and maintaining control in collaborative attempts, between reaching out for the Other and carrying out identity work, and between positions in the centre and in the margins of the highly stratified and codified areas of business organisations and fine art. Eventually, this book examines small dialogical instances that escape the stratifying forces dividing the two worlds, thereby creating a temporary space. It closes with a reflection on the role of research in thinking (and making) new ways of relating the world of fine art and the business organisation sphere.

Sacred Shock attempts to lay bare the inner workings of Byzantine art by looking closely at the marginal or subsidiary areas in works of art.

Revised and expanded for the digital age, this trusted guidebook and text helps novice psychotherapists of any orientation bridge the gap between coursework and clinical practice. It offers a window into what works and what doesn't work in interactions with patients, the ins and outs of the therapeutic relationship, and how to manage common clinical dilemmas. Featuring rich case examples, the book speaks directly to the questions, concerns, and insecurities of novice clinicians. Reproducible forms to aid in treatment planning can be downloaded and printed in a convenient 8 1/2" x 11" size. New to This Edition *Reflects two decades of technological changes--covers how to develop email and texting policies, navigate social media, use electronic medical records, and optimize teletherapy. *New chapters on professional development and on managing the impact of therapist life events (pregnancy and parental leave, vacations, medical issues). *Instructive discussion of systemic racism, cultural humility, and implicit bias. *Significantly revised chapter on substance use disorders, with a focus on motivational interviewing techniques. *Reproducible/downloadable Therapist Tools.

Federal recognition enables tribes to govern themselves and make decisions for their citizens that have the power to retain their cultures. But over the last forty years, the news media coverage of the federal recognition of tribes has perpetuated ignorance and stereotypes about tribal sovereignty. This book examines how past coverage has prioritized gaming over sovereignty and interfered in Tribes’ ability to be federally recognized. Scholars of journalism, mass communication, media studies, and indigenous studies will find this book of particular interest.

When a death is investigated by a coroner, what is the place of the family in that process? This accessibly written book develops a nuanced analysis of the contemporary inquest system in England and Wales.