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Brevet Major Miller served as a regimental adjutant and rose in rank to captain. He describes in detail the hardships and routines of camp life and the battles from Fort Donelson to Jonesboro. This post-war memoir includes descriptions and impressions of such leaders as Ulysses S. Grant.

Never Née Fey is a two-part, full-length chapbook containing a reverse-order narrative series of fanged wolf-woman poetry.

L'artiste native de Cuba Carmen Herrera (née en 1915) peint depuis plus de sept décennies, mais ce n'est que ces dernières années que la reconnaissance pour son travail a projeté l'artiste vers la notoriété internationale. Ce beau volume offre le premier examen soutenu d'elle, depuis le début de sa carrière en 1948 jusqu'en 1978, et s'étend sur les mondes de l'art de La Havane, de Paris et de New York. Les essais considèrent les premières études de l'artiste à Cuba, son implication dans le Salon des Réalités Nouvelles dans le Paris d'après-guerre et sa sortie révolutionnaire de New York. Puis l'ouvrage situe son travail dans le contexte d'un art d'avant-garde latino-américain plus large. Un essai de Dana Miller considère le travail de New York d'Herrera depuis les années 1950 jusque dans les années 1970, lorsque Herrera arrivait et perfectionnait son style de signature. Des photographies familiales personnelles des archives de Herrera enrichissent le récit, et une chronologie traitant de l'intégralité de sa vie et de sa carrière présente des images documentaires supplémentaires. Plus de quatre-vingts œuvres sont illustrées sous forme de plaques de couleur. Ce livre est la représentation la plus étendue des travaux de Herrera à ce jour. (d'après l'éditeur).

Reprint of the original, first published in 1856.

If you are serious about textiles and the built environment, this Third Edition is the one source to survey every aspect of textiles for residential and commercial interiors, from fiber to manufacturer, from its application to upholstered furniture, windows, walls, and floor coverings

Both Sides of the Line: Carmen Herrera & Leon Polk Smith celebrates the work of two of the most important American artists of the last century, Carmen Herrera (1915-2022) and Leon Polk Smith (1906-1996). In 1964, Carmen Herrera moved one block east of Leon Polk Smith in downtown Manhattan, forming a close friendship with Leon Polk Smith that lasted until Smith's passing in 1996. This is the companion volume to the exhibition that explores the deep and impactful relationship between Herrera and Smith, two artists who warrant further scholarly attention. Herrera and Smith enjoyed a close friendship despite their vastly different personal and artistic backgrounds. Smith, a gay man born to parents who he believed to have partial Cherokee ancestry in what was then Indian Territory (now Oklahoma), considered the flat, open plains of his childhood surroundings to be his formative aesthetic experience; Herrera, a married émigré from Havana, Cuba, who only became a naturalized U.S. citizen in 1971, frequently cited her studies in architecture as the foundation of her process. Yet each recognized in the other an artist who was challenging the prevailing aesthetic trends of contemporary art while enduring the prejudices of an often sexist, homophobic, racist, and xenophobic art world. Herrera was frequently pigeonholed by identity-based frameworks which presented her work as that of a Cuban or female painter, while Smith's public identity was more ambiguous and a claim for Indigenous heritage was only made at the end of his career. Through a careful selection of works, this project examines the ways in which their approaches to chromatic abstraction differed from and reverberated with one another and more broadly, alongside the enormous contributions each made to art in America. Essays by Dana Miller, John Yau, and Nadiah Rivera Fellah consider the broader historical context of their work, take a closer look at hard-edged abstraction and the artists' identities, and position both artists' work in the context of the collecting histories of American art museums.

Because we cannot see soundwaves, we can only hear and feel them, music will always remain in many ways a sensorial mirage. The men and women who conscientiously labor to faithfully capture its truest and prettiest essence without compromising any of its wild should not be likewise intangible. Whilst famous frontpeople, six-string slingers of every stripe, pulse-grabbing bassists, drummers both divine and dilettante, kaleidoscopic kings of the keys, and legendary backup singers are asked pointed and personal questions nearly every day about their interests, inspirations, irksome incidents and overall approaches to their craft, the choices and challenges of the harmonic heroes hitting "record" are scarcely given any notice at all by the same public and press. Those rare times when music producers have been talked to at any length beyond what constitutes clickbait or the occasional congratulatory clap on the back, it has generally occurred within a distinctly technical remit and with little to no mention made of their own impetus inside the glowing marks they have left all over the records that have meant the most to the world. Preposterously, they have never before this book been brought together in one place in any capacity, and certainly not ever for the purpose of a collective and comparative appreciation study of their artistic methods, their most meaningful memories, and their vibrantly varying interpretations of a serious job that comes with no hard and fast definitions whatsoever. Music producers, audio engineers, mixers, masterers: these are the unheralded invisible rockstars of the world, and their sonic signatures are writ as large or larger than that of any of the lionized artists they serve. Featuring first-person interviews with more than thirty of the most significant aural architects who ever signed up for the task, and with bespoke portraiture lending a peek into their respective studios and work spaces, this book strives to show why and how that is so by encouraging the producers to tell their tales in their own words, and to shine an overdue spotlight at last upon their indelible cultural legacies of sound.