Guarding Art

This is an exhibition about the relationship between security guards and the art they protect every day. It shines a light on the perspectives of security officers and offers a collaborative framework for learning about the exhibition process, the security officers' experiences, and provides opportunities for professional growth and mentorship. The exhibition and accompanying catalogue feature works from the BMA collection.

Guarding the Art: A Frontline Perspective is an exhibition catalog. Guarding the Art is an initiative started by the Baltimore Museum of Art (BMA) that provides front-line staff with the opportunity to gain deeper knowledge about every facet of exhibition development through curating an exhibition of artworks that most resonate with their personal interests

An “accessible and engaging” tool for understanding the branch of mathematics that is so crucial to modern computer science, using real-life problems (Mathematical Reviews). What is the maximum number of pizza slices one can get by making four straight cuts through a circular pizza? How does a computer determine the best set of pixels to represent a straight line on a computer screen? How many people at a minimum does it take to guard an art gallery? Discrete mathematics has the answer to these—and many other—questions of picking, choosing, and shuffling. T. S. Michael’s gem of a book brings this vital but tough-to-teach subject to life using examples from the real world and popular culture. Each chapter uses one problem—such as slicing a pizza—to detail key concepts about counting numbers and arranging finite sets. Michael takes a different perspective in tackling each of eight problems and explains them in differing degrees of generality, showing in the process how the same mathematical concepts appear in varied guises and contexts. In doing so, he imparts a broader understanding of the ideas underlying discrete mathematics and helps readers appreciate and understand mathematical thinking and discovery. This book explains the basic concepts of discrete mathematics and demonstrates how to apply them in largely nontechnical language. The explanations and formulas can be grasped with a basic understanding of linear equations.

In Guarding Cultural Memory, Flora González Mandri examines the vibrant and uniquely illuminating post-Revolutionary creative endeavors of Afro-Cuban women. Taking on the question of how African diaspora cultures practice remembrance, she reveals the ways in which these artists restage the confrontations between modernity and tradition. González Mandri considers the work of the poet and cultural critic Nancy Morejón, the poet Excilia Saldaña, the filmmaker Gloria Rolando, and the artists María Magdalena Campos-Pons and Belkis Ayón. In their cultural representations these women conflate the artistic, the historical, and the personal to produce a transformative image of the black woman as a forger of Cuban culture. They achieve this in several ways: by redefining autobiography as a creative expression for the convergence of the domestic and the national; by countering the eroticized image of the mulatta in favor of a mythical conception of the female body as a site for the engraving of cultural and national conflicts and resolutions; and by valorizing certain aesthetic and religious traditions in relation to a postmodern artistic sensibility Placing these artists in their historical context, González Mandri shows how their accomplishments were consistently silenced in official Cuban history and culture and explores the strategies through which culturally censored memories survived--and continue to survive--in a Caribbean country purported to have integrated its Hispanic and African peoples and heritages into a Cuban identity. The picture that finally emerges is one not only of exceptional artistic achievement but also of successful redefinitions of concepts of race, gender, and nation in the face of almost insurmountable cultural odds.

This book constitutes the refereed proceedings of the 9th International Symposium on Algorithms and Computation, ISAAC'98, held in Taejon, Korea, in December 1998. The 47 revised full papers presented were carefully reviewed and selected from a total of 102 submissions. The book is divided in topical sections on computational geometry, complexity, graph drawing, online algorithms and scheduling, CAD/CAM and graphics, graph algorithms, randomized algorithms, combinatorial problems, computational biology, approximation algorithms, and parallel and distributed algorithms.

This book constitutes the refereed proceedings of the 5th Italian Conference on Algorithms and Computation, CIAC 2003, held in Rome, Italy in May 2003.The 23 revised full papers presented were carefully reviewed and selected from 57 submissions. Among the topics addressed are complexity, complexity theory, geometric computing, matching, online algorithms, combinatorial optimization, computational graph theory, approximation algorithms, network algorithms, routing, and scheduling.

A best book of the year from New York Public Library, NPR, the Financial Times, Book Riot, and the Sunday Times (London). A fascinating, revelatory portrait of the Metropolitan Museum of Art and its treasures by a former New Yorker staffer who spent a decade as a museum guard. Millions of people climb the grand marble staircase to visit the Metropolitan Museum of Art every year. But only a select few have unrestricted access to every nook and cranny. They’re the guards who roam unobtrusively in dark blue suits, keeping a watchful eye on the two million square foot treasure house. Caught up in his glamorous fledgling career at The New Yorker, Patrick Bringley never thought he’d be one of them. Then his older brother was diagnosed with fatal cancer and he found himself needing to escape the mundane clamor of daily life. So he quit The New Yorker and sought solace in the most beautiful place he knew. To his surprise and the reader’s delight, this temporary refuge becomes Bringley’s home away from home for a decade. We follow him as he guards delicate treasures from Egypt to Rome, strolls the labyrinths beneath the galleries, wears out nine pairs of company shoes, and marvels at the beautiful works in his care. Bringley enters the museum as a ghost, silent and almost invisible, but soon finds his voice and his tribe: the artworks and their creators and the lively subculture of museum guards—a gorgeous mosaic of artists, musicians, blue-collar stalwarts, immigrants, cutups, and dreamers. As his bonds with his colleagues and the art grow, he comes to understand how fortunate he is to be walled off in this little world, and how much it resembles the best aspects of the larger world to which he gradually, gratefully returns. In the tradition of classic workplace memoirs like Lab Girl and Working Stiff, All The Beauty in the World is a surprising, inspiring portrait of a great museum, its hidden treasures, and the people who make it tick, by one of its most intimate observers.