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Professional Wedding Planning Advice is a compilation of interviews with industry experts from the Dallas/Forth Worth Metroplex, who have shared their insider tips and advice on how to plan the perfect wedding. Inside, we've included interviews with: Rebecca Hackl Events/RHE Productions, Paper & Chocolate, LoveNotes - DFW Clergy Services, Laro Bakery, Lone Star Travel, Dancemasters Studio, Hair Comes the Bride, The Beauti Studio, The City Club Dallas, Premier Transportation Services LLC, Providence Place Bridal Boutique, Xquisite Events, A & L Floral Design, Hakim Sons Films and Jessica D'Onofrio Photography. Wedding Planning Perfection is the one must-have book that any couple should pick up before planning their big day.

"Evidentiary Realism aims to articulate a particular form of realism in art that portrays and reveals evidence from complex social systems. ...Evidentiary Realism focuses on artworks that prioritize formal aspects of visual language and mediums; diverging from journalism and reportage, they strive to provoke visual pleasure and emotional responses. The evidence is presented through photography, film, drawing, painting, and sculpture, with strong references to art history. In particular, these artists also theoretically articulate the aesthetic, social and documentary functions of their mediums in relation to the subject matter they investigate"--Page 1.

Foundations reflects on the aesthetics and history of conceptual art concerning social complexity. Jack Burnham's seminal defining of "systems aesthetics" in 1968, followed by the exhibitions Software at the Jewish Museum and Information at MoMA in New York in 1970, mark a turn in art addressing social and technological systems. Foundations focuses on the ontologies of conceptual art examining social fields, rather than solely the making of images, forms, or gestures driven by ideas. Informed by systems, cybernetics, and communication theories, this project reckons with today's complexity in the age of algorithms, big data, and the Internet. This study and timelines by Paolo Cirio research on the genesis of the growing intersections among the domains of art, economics, politics, law, sociology, media, and technology.

“The Artist's Reserved Rights Transfer and Sale Agreement” (Siegelaub-Projansky Agreement) of 1971 and the certificates of early Conceptual art have been considered contradictory for enabling so-called “dematerialized” artworks to be exchanged as any other commodifiable work, thus negating Conceptual artists' claims of challenging market and institutional conventions. However, an expanded lens on the life of the Siegelaub-Projansky Agreement in law yields another legacy for these endeavors, where the Agreement is instead evidenced as influencing artists' rights laws in the United States, and where its rhetoric of collectivity can be viewed as a radical appropriation of private law in an effort to establish more equitable art industry norms. This reclaimed narrative of political influence emerges only when we recognize the capacity of these artistic documents as legal instruments, and consider how they have circulated through and challenged the limits of both fields they are cross-classified between: art and law.

This dissertation analyzes a key icon within the history of artists' struggles for equity, and within the rich intersection of art and law: The Artist's Reserved Rights Transfer and Sale Agreement, written by conceptual art curator Seth Siegelaub with attorney Robert Projansky in New York in 1971. Widely known among artists as the Artist's Contract, this enduringly controversial legal agreement was devised to "remedy inequities" in the field by securing ongoing economic and property rights for artists in their sold works. By asserting that art was "no ordinary chattel," the Artist's Contract called on collectors and museums to reflect critically on the ways in which they use art as property (e.g., for speculation, for status), and attend to the welfare of the artist and to the artist's agency. It also acknowledged the economic interdependence of artist and collector, and more so, aimed to reposition that bond as one of interpersonal trust. In doing so, it challenged market and legal standards, sparking key debates: Who owns artworks-producers or purchasers? What responsibilities does ownership entail? Whose "rights" count, and who decides? My extensive archival research in art and legal history sources, and interviews with artists, dealers, legislators, and attorneys revealed the origins of the Contract in conceptual art practices, the anti-war, civil rights, and feminist movements, influence from professionals in finance and law, European concepts of artists' rights, as well as new art market regulations. Though never widely used, the Artist's Contract remains frequently cited and reproduced by art and legal scholars as a model for how property and contractual relations might be reconfigured along alternate principles of reciprocity, in art and beyond. The dissertation's introduction examines the growing subfield of Art and Legal Studies while positioning the Artist's Contract as a social artifact of a period of abundant activism, art market growth, and a changing legal discourse interested more in "law in action" than "law on the books." Chapter 1 examines the activities of Seth Siegelaub from 1964-69 as a young dealer and organizer of conceptual art exhibitions. In these years he introduced radical new models for the circulation of art while also orchestrating complex patronage relationships behind the scenes. I illuminate Siegelaub's experiments with art gallery business models, and his relationships with patrons who were professionals in finance and law as key influences behind the Contract. Chapter 2 examines the practices of the artists with whom Siegelaub most closely collaborated from 1967-70: Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner. Here I foreground the ways in which each artist experimented with alternate models of ownership through terms accompanying their works. I argue that this experimentation-present among peer artists as well-was another strand of influence behind the Contract. In Chapter 3 I examine the rhetoric and platforms of artists' advocating for greater rights in their work in 1969-70, as well as changes in legislation through the later 1960s regulating the art market and granting artists increased rights in their work. These movements further informed the Contract. Chapter 4 traces the actual writing of the Contract as recorded in Siegelaub's dense notes documenting the process. Here I uncover overlooked but important voices that molded its terms, repositioning the Contract as an amalgamation of various art world constituencies: art dealers, attorneys, artists, curators, accountants, and more. In doing so, I argue that the contradictions within the Contract render it less a "failed" project-as previous art historians have concluded-than an encapsulation of these figures' varying interests and views. Here, the Contract no longer appears to deliver any singular notion of property rights, but instead is designed to elevate the relational dimensions of agreements, and to ...

Paul Schick was only six years old when Germany invaded and occupied his homeland of Czechoslovakia. He was too young to remember many of the changes the Nazis brought to his hometown of Brno and to the Jews living there. He also didn't understand all that his parents risked when they escaped and eventually voyaged to America. When he returned more recently to Brno and to other sites involved in the Holocaust, he realized how close his family had come to thedangers of the time. Read Paul's unforgettable memories, then and now.

Paul Schick was only six years old when Germany invaded and occupied his homeland of Czechoslovakia. He was too young to remember many of the changes the Nazis brought to his hometown of Brno and to the Jews living there. He also didn't understand all that his parents risked when they escaped and eventually voyaged to America. When he returned more recently to Brno and to other sites involved in the Holocaust, he realized how close his family had come to the dangers of the time. Read Paul's unforgettable memories, then and now.

Sur le point de fonder une famille, Jonas et Sarah pensaient avoir atteint le bonheur suprême. C’était sans compter de nouveaux obstacles. Quand la vie de Sarah est en danger, Jonas peut compter sur le soutien de Josh et Kat. Sauf qu’il est une nouvelle fois confronté à ses vieux démons... Saura-t-il enfin surmonter ses traumatismes et profiter de la vie au côté de Sarah ? Dans ce grand final de la saga des frères Faraday, Lauren Rowe nous livre les derniers secrets de couples devenus mythiques ! Traduit de l’anglais par Eva Roques