A revelatory new volume on the American modernist's lesser-known works on paper, reuniting many serial works for the first time Recalling a charcoal she made in 1916, Georgia O'Keeffe later wrote, "I have made this drawing several times--never remembering that I had made it before--and not knowing where the idea came from." These drawings, and the majority of O'Keeffe's works in charcoal, watercolor, pastel and graphite, belong to series in which she develops and transforms motifs that lie between observation and abstraction. In the formative years of 1915 to 1918, she made as many works on paper as she would in the next 40 years, producing sequences in watercolor of abstract lines, organic landscapes and nudes, along with charcoal drawings she would group according to the designation "specials." While her practice turned increasingly toward canvas in subsequent decades, important series on paper reappeared--including charcoal flowers of the 1930s, portraits of the 1940s and aerial views of the 1950s. Published in conjunction with an exhibition at the Museum of Modern Art, New York, this richly illustrated volume highlights the drawings of an artist better known as a painter, and reunites individual sheets with their contextual series to illuminate O'Keeffe's persistently sequential practice. Born in Sun Prairie, Wisconsin, Georgia O'Keeffe(1887-1986) first received critical attention when her breakthrough charcoal drawings were exhibited in New York in 1916. Two years later, she moved to the city to work full time on her art. Beginning in 1929, O'Keeffe spent summers in New Mexico, where she would relocate in 1949. The most famous female artist of her age, she thought of herself not as "the best woman painter" but as "one of the best painters."

O'Keeffe's 1927 painting expresses her defiant commitment to abstraction and the influences of Kandinsky, Dove and others During the 1920s, Georgia O'Keeffe (1887-1986) became widely known for her paintings of enlarged flowers. But she regularly returned to abstraction, and indeed found it "surprising how many people separate the objective from the abstract." Executed in 1927, Abstraction Blueillustrates that belief, retaining the glowing color, careful modulation and zoomed-in view of the artist's contemporaneous blooms, while forgoing any obligation toward representation. In this latest volume of the MoMA One on One series, curator Samantha Friedman considers how these and other factors converged in the creation of this composition.

This is an examination of the generational patterns in New York City's housing market and neighbourhoods along the lines of race and ethnicity. The text provides an analysis of many immigrant groups in New York, providing an understanding of the opportunities and discriminatory practices at work from one generation to the next.

The research on social discourse in societies, firms, and organizations written by researchers working in fields such as Management, Corporate Governance, Accounting and Finance, Strategy, Sociology, and Politics often make reference to the term 'stakeholder'. Yet the concept of the 'stakeholder' is unclear, and research around it often muddled. This book provides an analysis, classification, and critique of the various strands of theory about stakeholders. The authors place these theories both in the context of their philosophical underpinnings, and their practical and policy implications. Practical examples based on new data are used to examine a diverse range of stakeholders, and the relationships stakeholders have with their organizations. This is the first book on stakeholder theory to propose a critical analysis, both at the macro and micro level, that is framed and guided by theory. Written to provide both order and clarity to research into the concept of the stakeholder, the book is also written as an introduction for students. It includes chapter introductions, useful tables and figures, short vignettes on key concepts and issues, and discussion questions.

Reconsiders the cut-outs, including the materials and methods, the artist's environmental ambitions for them, tensions between art and decoration and between drawing and color.

One day, Henri Matisse (1869-1954) cut a small bird out of a piece of white paper. It was a simple shape, but he liked the way it looked and didn't want to throw it away, so he pinned it to the wall of his room. But the bird looked lonely all by itself, so he cut out more shapes to join it, and before he knew it, he had transformed his walls into larger-than-life gardens filled with brightly coloured plants and animals and shapes of all sizes. Featuring colourful cut-paper illustrations and Matisse's own cut-outs, Matisse's Garden is the inspiring story of how the artist's never-ending curiosity and continuous process of trying new things helped turn a small experiment into a radical new form of art. Children will see how Matisse used nothing but paper and scissors to create simple shapes like squares, leaves and birds, and experimented with scraps of leftover paper and new colour combinations to create lush gardens on his studio walls.

Presents works from six key years in the history of modern art: 1913, 1929, 1950, 1961, and 1988. These include paintings, sculptures, drawings, multiples, photographs, graphic design, film and video.

"Published in conjunction with the exhibition Picasso to Warhol: Fourteen Modern Masters (October 15, 2011-April 29, 2012)"-- T.p. verso.

Brings together many of the artists who transformed modern art. Employing subjects once thought of as traditional - landscape, still life, and portrait - these artists pioneered groundbreaking visual languages to depict the people, places, and things particular to their own times. Drawn entirely from The Museum of Modern Art's collection, the paintings, sculptures, drawings, photographs, prints, and media works gathered here reflect the shifting attitudes toward everyday subjects from the late nineteenth century to today