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"Mad River, Marjorie Rowland, and the Quest for LGBTQ Teachers' Rights addresses an important legal case that set the stage for today's LGBTQ civil rights-a case that almost no one has heard of. Marjorie Rowland v. Mad River School District involves an Ohio guidance counselor fired in 1974 for being bisexual. Rowland's case made it to the U.S. Supreme Court, but the justices declined to consider it. In a spectacular published dissent, Justice Brennan laid out arguments for why the First and Fourteenth Amendments apply to bisexuals, gays, and lesbians. That dissent has been the foundation for LGBTQ civil rights advances since. In the first in-depth treatment of this foundational legal case, authors Margaret A. Nash and Karen L. Graves tell the story of that case and of Marjorie Rowland, the pioneer who fought for employment rights for LGBTQ educators and who paid a heavy price for that fight. It brings the story of LGBTQ educators' rights to the present, including commentary on Bostock v Clayton County, the 2020 Supreme Court case that struck down employment discrimination against LGBT workers"--

Sexual minorities in education --- Discrimination in employment --- Sexual minorities --- Law and legislation --- Cases. --- Legal status, laws, etc. --- Rowland, Marjorie H. --- Trials, litigation, etc. --- Mad River Local School District (Montgomery County, Ohio) --- LGBTQ, queer, Law, sociology, rights, legal right, civil right, teachers, workers, Marjorie Rowland, Mad River, teachers' rights, Marjorie Rowland v. Mad River School District, discrimination, Justice Brennan, Supreme Court, LGBTQ civil rights, employment rights, Bostock v Clayton County, First Amendment, Fourteenth Amendment, I Amendment, XIV Amendment, coming out, closet, history, change, Ohio, policy, politics, culture wars, education, school counselor, guidance counselor.

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Post-Capital: A Reader is published as both a reader and a catalogue accompanying the exhibition Post-Capital: Art and the Economics of the Digital Age, curated by Michelle Cotton at Mudam Luxembourg. This richly illustrated volume documents works of sculpture, painting, photography, video, and performance by more than twenty artists from different parts of the world, all addressing production, consumption, and wealth. The images cohabit with excerpts from longer texts by some of today’s most influential thinkers on the subject of our digital age, its consequences concerning human freedoms, and the largely invisible dynamics that are driving an evolving and unequal world order.

Texts by Sarah Beaumont, James Bridle, Michelle Cotton, Heike Geissler, Clémentine Proby, Richard Seymour, Chloe Stead, Hito Steyerl, Joel Valabrega, McKenzie Wark, Lauren Wetmore, Shoshana Zuboff

kunst --- 7.039 --- information design --- informatietechnologie --- 7.01 --- kunst en politiek --- kunst en economie --- economie --- neoliberalisme --- kapitalisme --- postkapitalisme --- eenentwintigste eeuw --- Exhibitions --- Art --- sculpture [visual works] --- photography [process] --- capitalism --- wealth --- video art --- performance art --- easel paintings [paintings by form] --- globalization --- consumers --- Arakawa, Ei --- Bourouissa, Mohammed --- Cao Fei --- Denny, Simon --- Favaretto, Lara --- Hiorns, Roger --- Laric, Oliver --- Relph, Nick --- Steyerl, Hito --- Guan, Xiao --- Novitskova, Katja --- Perry, Sondra --- Turato, Nora --- Syms, Martine --- Allah, Shadi Habib --- Laser, Liz Magic --- Pattison, Yuri --- Pryde, Josephine --- Rowland, Cameron --- Owens, Laura --- GCC --- anno 2010-2019 --- anno 2020-2029 --- paintings [visual works]

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Duane P. Schultz, Sydney Ellen Schultz --- psychologie --- naslagwerk --- geschiedenis --- filosofie --- Descartes René --- empirisme --- fysiologie --- von Helmholtz Hermann --- Weber Ernst --- fechner Gustav Theodor --- Wundt Wilhelm --- Ebbinghaus Hermann --- Müller Georg Elias --- Brentano Franz --- Stumpf Franz --- Külpe Oswald --- Würzburger Schule --- Titchener Edward Bradford --- evolutietheorie --- Darwin Charles --- Galton Francis --- functionalisme --- Spencer Herbert --- James William --- Chicago School --- Dewey John --- Angell James Rowland --- Carr Harvey A. --- Woodworth Robert S. --- toegepaste psychologie --- Hall Granvill Stanley --- Cattell James MCKeen --- Binet Lafred --- Wittmer Lightner --- klinische psychologie --- Scott Walter Dill --- Münsterberg Hugo --- behaviorisme --- Thorndike Edward Lee --- Pavlov Ivan Petrovitch --- Bekhterev Vladimir M. --- Watson John --- Holt Edwin B. --- neobehaviorisme --- Tolman Edward Chace --- Guthrie Edwin Ray --- Hull Clark leonard --- Skinner B.F. --- Bandura Albert --- Rotter Julian --- gestaltpsychologie --- Wertheimer Max --- Koffka Kurt --- Köhler Wolfgang --- Lewin Kurt --- psychoanalyse --- Freud Sigmund --- Freud Anna --- Jung Garl Gustav --- Adler Alfred --- Horney Karen --- Allport Gordon --- Murray Henry --- Erikson Erik --- Maslow Abraham --- Rogers Carl --- cognitieve psychologie --- humanistische psychologie --- Miller George --- Neisser Ulric --- feminisme --- antiracisme --- Woolley Helen Bradford Thompson --- Hollingworth Leta Stetter --- Summer Francis Cecil --- Clark Kenneth B. --- multiculturele psychologie --- 159.9 --- Psychology --- History --- Bekhterev Vladimir M --- Carr Harvey A --- Clark Kenneth B --- Holt Edwin B --- Skinner B.F --- Woodworth Robert S --- Behavioral sciences --- Mental philosophy --- Mind --- Science, Mental --- Human biology --- Philosophy --- Soul --- Mental health

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Pictures that are made, not taken, are the focus of this exciting collection of works by 90 American artists who are using appropriation, computer technology, performance, and numerous other sources of inspiration to stretch the limits and expand the possibilities of photographic art. 

"Perhaps in the future," Man Ray suggested to Duchamp, "photography would replace all art." The Photography of Invention hints at that future by documenting a decade of startling new work in American photography: work that challenges the accepted hierarchy of the arts and, arguably, establishes photography as the equal of the other arts. Pictures that are made, not taken, are the focus of this exciting collection of works by 90 American artists who are using appropriation, computer technology, performance, and numerous other sources of inspiration to stretch the limits and expand the possibilities of photographic art. The selection of nontraditional pictures includes works by some of the decade's most interesting experimenters—Cindy Sherman, Sherrie Levine, Richard Prince, Barbara Kruger, William Christenberry, Louise Lawler, Stefan Roloff, and others who create or manipulate the subject photographed. Photography has traditionally been used to capture experience and create images; these works, however, examine preexisting images or image styles that dominate our culture. As Joshua Smith points out "mass media and popular culture advertising, fashion movies, television, video, and other electronic media have made the world photographic, become the common language, and shaped a generation's visual and critical viewpoint." Rather than commenting on or representing life, photography is now an independent art form that has expanded the creative vocabulary of contemporary artists. These "made" pictures encompass a variety of styles and techniques: the artists may fabricate or arrange the subject matter for the camera; invent or subvert traditional styles; present themselves in fictive roles invoking allegory or myth, fantasy and illusion; reassemble existing art objects in new contexts; make the psychic appear real and the real hyperreal. Many pictures are made in the usual optical/chemical manner, creating a tension between the obviously manipulated subject and the inherent "truth" of the photographic print; while others are made by the unconventional use of equipment, processes, and materials that intentionally deny the perfect print There are photograms, photocollages, light drawings, chemical images, marked or painted on negatives, photosilkscreens and photolithographs, and new high tech computer-generated imagery.

Photography, Artistic --- Stillman Steel --- Syrop Mitchell --- Thorne-Thomsen Ruth --- Tracey Andrée --- twintigste eeuw --- Verenigde staten --- Wasow Oliver --- Watts Todd --- Weiss Jeff --- Winokur Neil --- Witkin Joel-Peter --- Wodiczko Krzysztof --- Wood Brian --- 77.038 --- Adams Dennis --- Akin Gwen --- Augeri Lynne --- Barney Tina --- Bell Dianne --- Berman Zeke --- Bernard Cindy --- Brooks Ellen --- Bryant Elizabeth --- Bunn David --- Burson Nancy --- Callis Jo Ann --- Carey Ellen --- Carlson Lance --- Casebere James --- Charlesworth Bruce --- Charlesworth Sarah --- Chong Albert --- Christenberry William --- Clegg & Guttmann --- Coleman Judy --- Coplans John --- Cowin eileen --- Cypis Dorit --- De Sana James --- Divola John --- Dunning Jeanne --- Essay by Joshua P.Smith ; Intr. by Merry A. Foresta --- Ess Barbara --- Evergon --- Farrell John W --- fotografie --- Frailey Stephen --- Fuss Adam --- Galgiani Philip --- Gerlovina Rimma --- Goldring Nancy --- Gonzalez Maria --- Haber Sandra --- Hayden Jacqueline --- Hellebrand Nancy --- Jaar Alfredo --- Johnson Larry --- Kasten Barbara --- Kolbowski Sylvia --- Kruger Barbara --- Laster Paul --- Lawler Louise --- Leatherdale Marcus --- Legrady George --- Lemieux Annette --- Levine Sherrie --- Levinthal David --- Ludwig Allan --- Majore Frank --- Maul Tim --- McCollum Allan --- Nagatani Patrick --- Neidich Warren --- Novak Lorrie --- Perlman Hirsch --- Perna Luciano --- Potter Tina --- Prince Richard --- Rankaitis Susan --- Robbins David --- Rodan Ron --- Rodriguez Geno --- Roloff Stefan --- Rowland Anne --- Rubenstein Meridel --- Salinger Adrienne --- Sandrow Hope --- Schlesinger John --- Schrager Victor --- Schwartz Elliot --- Serrano Andres --- Sherman Cindy --- Simmons Laurie --- Skoglund Sandy --- Stark Sandra --- Starn Doug --- Starn Mike --- Exhibitions --- Photography --- photographers --- Smithsonian Institution [Washington, D.C.] --- anno 1980-1989 --- United States --- artistieke fotografie --- United States of America