Showing results by narrator "Dana" in All Categories

After years of boarding school and chaperoned dances, Lexi Maxwell is ready to detour from the perfect path her parents set her on. She makes plans to do this on her 18th birthday. Of course, she doesn't plan for the uninvited guest who crashes her party, and the last thing she expects is to fall in love with the man. Correction - the god. The kind of god with charm and smolder. The irresistible kind. And when Lexi decides to have a taste of forbidden fruit, she must also choose whether to follow the rules or follow her heart.

Scottish painter June Redfern interviewed by Livvy Anson for CV Journal in March 1990. The artist discusses her methods and approach, with sources of inspiration for her work.

Interviewed during the installation of "Ghost" at Chisenhale Gallery East London in 1990, sculptor Rachel Whiteread describes her initial experience as an assistant to Alison Wilding and employment as a theatrical props maker. She reveals the development of "Ghost", cast from a room at 286 Archway, and gives details discovered in her first major project of replication.

Sharon Kivland describes strands of influence in her work, which draws on French and Russian literature of the 18th and 19th centuries, in particular concerning the changing roles of women in domestic, social, and political life.

Kelly is a woman who has faced many challenges in her life, including the many obstacles presented as a result of cerebral palsy, but that hasn’t stopped her from climbing the professional ladder. The driving force, for so many years, has been the young children who enter the school with smiles on their faces. Her roles as educator and then administrator allowed her to teach acceptance of physical disability to those young minds. But, when presented with a case of severe mental illness in her school, how will she handle her own biases?

Presents a collection of essays by Nicholas James on classic and contemporary art: "The Trinity" by Masaccio at Santa Maria Novella, Florence; Vermeer's "The Maid" and "Woman Weighing Pearls"; Cezanne and Salvador Dali, Francis Bacon portraits, and reviews of over 70 exhibitions in public and private galleries held between 1993 and 2010.

Art in the Caribbean is culturally of great complexity. This complexity reflects the intricacies of the colonial history of the region, with the different islands and territories divided between many different European powers. Artists in each territory tended to mesh into a different education system and a different set of preconceptions about art.

In 1941, the FBI asked citizen Matt Cvetic to join the Communist Party and report back on their activities. After emerging in 1950 to testify before congress about his experience, his exploits were chronicled in magazines, on the silver screen, and in a taut and entertaining radio series suggested by his real life adventures: I Was a Communist for the FBI.

Raelyn, Symba, and Blue are back with twice as much drama as before. Will these three friends be able to juggle a rocky friendship after lies begin surfacing? And more importantly, will they be able to hold onto the relationships with the very men who were deceiving them? Canyon and Caesar were living the life before their entire world came crashing down around them. With the Feds sniffing around, they now have to be on their Ps and Qs if they don't want their entire organization to crumble.

When Green Mountain College in Poultney, Vermont, announced that two oxen called Bill and Lou would be killed and turned into hamburgers despite their years of service as unofficial college and town mascots, Pattrice Jones and her colleagues at nearby VINE Sanctuary offered an alternative scenario: to allow the elderly bovines to retire to the sanctuary. What transpired after this simple offer was a catastrophe of miscommunication, misdirection, and misinterpretations, as the college dug in its heels, activists piled on, and social media erupted. Part true-crime mystery, part on-the-ground reportage, and part sociocultural critique, The Oxen at the Intersection is a brilliant unearthing of the assumptions, preconceptions, and biases that led all concerned with the lives and deaths of these two animals to fail to achieve their ends.

Following the success of the comedic fairytale, Shadoe, this newest audio version of Eclecentric offers a unique feature: Not just a collection of poetry and prose, this audio version includes a capella singing as well as music samples from lyrics off of E. Hyland Maze's first 2 albums. Co-narrator, Dana R Ramirez, offers an inspirational and entertaining element to the selections. If you just want to listen to an eclectic arrangement of poetry (some, in song), or, enjoy short rantings and ravings about such subjects as a better way to elect the President to heavenly-minded enlightenment to answers to questions regarding non-corporeal existence, and to the tongue-in-cheek wisdom of growing old, this book will prove to meet your listening pleasure.

Felicity is on route to Beau to marry the Duke. However, when she arrives, Alistair, the prince, and heir to the throne catches her eye. His late night disappearances and roguish attitude send Felicity down a mysterious and strange path. When her best friend, the beautiful Anne, comes to town, everything takes a strange turn. Felicity must decide between love or power - before it's too late. The beggar who cursed the beast had a bigger story than anyone could have imagined.

Alice Liddell, sweetly dignified, the inspiration for the heroine of Alice in Wonderland, is posed and identified as Pomona, goddess of abundance, in a marvelous 1872 photograph by the irrepressible Julia Margaret Cameron; appropriately she is the cover girl for this lavish standalone publication, which also acted as the catalogue accompanying the recent exhibition of the same title at the National Gallery of Art, Washington, (October 31 2010-January 30 2011), and the Museé d'Orsay Paris, March 6 - May 29, 2011).

Linnaeus Tripe? Shades of a minor character in Dickens or Trollope, but in fact the resoundingly named Tripe (1822-1902), army officer and photographer, was the sixth son and ninth child of a professional middle-class family from Devonport, his father a surgeon in the Royal Navy. He joined, as so many of his background did - younger son, but of a certain social status - the East India Company's army (the 12th Madras Native Infantry) aged only 17, the third Tripe son to do so.

EM Forster's famous dictum "Only connect!" is often quoted out of context but it is a resoundingly emotive phrase which might also be taken as the motto for the first major excursion by the National Gallery, London, into the history, portent and meaning of photography as a medium. Before Seduced by Art: Photography Past and Present, the National Gallery has only exhibited the work of a contemporary photographer on one occasion.

Marina Vaizey reviews the work of Julia Margaret Cameron, Victorian photographer, exhibited at the Victoria and Albert, and Science Museum London.

This ample exhibition - 150 or so photographs, and a small complementary display of well chosen magazines, showing a succinct number in published form - by Man Ray (1890-1976) is described as the first to concentrate exclusively on his portraits. He was born in Philadelphia as Michael Emmanuel Radnitzky, the eldest child of Russian Jewish immigrants (the father's classic occupation for someone of his ethnicity and class that of a tailor); the family moved to Brooklyn in 1897, the first of Man Ray's advantageous geographical relocations.

The dazzling exhibition of Horst at the Victoria and Albert is particularly apt: classically trained in avant garde design and architecture, Horst was involved as a precociously successful photographer for Condé Nast publications, not only with the leading fashion houses, but the social and artistic élite. And he took sustained inspiration from the isms of art - past and present. In the thirties he photographed costumes by Dali and used props from Giacometti furniture. Dali designed a set for a photograph for Horst to take for American Vogue, with dresses by Hattie Carnegie.

One of Shakespeare's most often quoted lines, from Hamlet, simply asserts that "There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy." The current retrospective at Tate Britain of the art of Richard Long, the first in London since the Arts Council's Hayward Gallery show in 1991, has been titled Heaven and Earth by Long himself, a phrase he had earlier used for specific works of art.

The extraordinary exhibition of thousands of photographs ranging from cumbersome, beautifully detailed, sharply acute photographs of the aftermath of the 1860s American Civil War to mundane landscapes taken in 2013, are based on an enlivening, provocative, and even perhaps controversial organizing principle. What is novel is the unusual premise: eschewing more conventional and immediate reportage, or documentary series, the selection moving from gallery to gallery - and section by section in the catalogue - is defined by time.