Bøger af Jacqueline Francis

What would you do if you received an invitation from an Oracle?Deep within the labyrinthine of the Money Maze, where fortune shimmers and debt lurks, was the Oracle. With whispers of a chosen one, Grace, a twelve-year-old girl, destined to find the paths to money mastery so wealth can be built for all, not just the privileged.She plants seeds of hope as she conquers each path in the maze and the wise words of wisdom from all she encounters.Her adventurous journey inspires others to rise with her, building a future where wealth blossoms for all. In a world where wealth whispered its secrets only to the few, Grace's journey proved that true riches lay in the courage to learn, the will to dream, and the heart to share.This book is not just a story; it's a revolution! It equips kids with the financial tools to challenge the status quo, break free from the gilded cage, and become architects of their own financial destiny.

On the themes found in the work of Lorraine O'Grady: Black female subjectivity, intersectional feminism, institutional critique, music, and translation. Is Now the Time for Joyous Rage? is the fourth book in the annual series A Series of Open Questions published by CCA Wattis Institute for Contemporary Arts and Sternberg Press. This fourth issue is informed by themes found in the work of Lorraine O'Grady, including diaspora, Black female subjectivity, racial hybridity, translation, intersectional feminism, institutional critique, Black representation in the art world, archives, music, Conceptualism, and performance art. ContributorsSelam Bekele, Martin Bernal, Camille Chedda, Gabrielle Civil, Kathleen Collins, Erica Deeman, Jeanne Finley, Jacqueline Francis, Édouard Glissant, Rujeko Hockley, Bec Imrich, E. Jane, Charles Lee, Darrell M. Mcneill, Denise Murrell, John Muse, Sawako Nakayasu, Lorraine O'Grady, Yétúndé Olagbaju, Hsu Peng, Lara Putnam, Trina Michelle Robinson, Legacy Russell, David Scott, Peter Simensky, Maud Sulter, Carrie Mae Weems, Judith Wilson, Alisha B. Wormsley, Allison Yasukawa Published by CCA Wattis Institute for Contemporary Arts and Sternberg Press

The Relationship Jigsaw is an introductory educational self-help book, that goes beneath the superficial level of personal and family relationships.Are you new to a relationship? Are you already in a relationship or post-relationship?If the answer is yes, then this book is for you.In all walks of life, many reside in relationships where an 'invisible abuse' is taking place. Living with acts or patterns of assaults, intimidation, and humiliation known as coercive control.Forming healthy happy relationships, whether it's with an intimate partner, family member or a co-worker, as a society we must educate, engage in dialogue to set boundaries to preserve one's mental, physical, emotional and spiritual wellbeing and self-worth.The Relationship Jigsaw will: Describe what coercive controlling behaviour is and how it can be identified and remedied. Provide you with the tools and strategies to safeguard your relationship. Identify stakeholders such as parents, authorities, communities, employers who must be made accountable to support healthy relationships so individuals do not suffer in silence. Demonstrate how to piece together all your puzzle pieces to create your healthy happy Relationship Jigsaw.This easy to read self-help book will show you how by developing assertiveness skills your relationship will become more valuable. The Relationship Jigsaw will help utilise the subtle but powerful skills required to nurture your relationship, leaving you feeling empowered knowing that you have chosen the right pieces for your relationship.

How W.E.B. Du Bois combined photographs and infographics to communicate the everyday realities of Black lives and the inequities of race in AmericaAt the 1900 Paris Exposition the pioneering sociologist and activist W.E.B. Du Bois presented an exhibit representing the progress of African Americans since the abolition of slavery. In striking graphic visualisations and photographs (taken by mostly anonymous photographers) he showed the changing status of a newly emancipated people across America and specifically in Georgia, the state with the largest Black population. This beautifully designed book reproduces the photographs alongside the revolutionary graphic works for the first time, and includes a marvelous essay by two celebrated art historians, Jacqueline Francis and Stephen G. Hall. Du Bois' hand-drawn charts, maps and graphs represented the achievements and economic conditions of African Americans in radically inventive forms, long before such data visualization was commonly used in social research. Their clarity and simplicity seems to anticipate the abstract art of the Russian constructivists and other modernist painters to come. The photographs were drawn from African American communities across the United States. Both the photographers and subjects are mostly anonymous. They show people engaged in various occupations or posing formally for group and studio portraits. Elegant and dignified, they refute the degrading stereotypes of Black people then prevalent in white America. Du Bois' exhibit at the Paris Exposition continues to resonate as a powerful affirmation of the equal rights of Black Americans to lives of freedom and fulfilment. Black Lives 1900 captures this singular work. American sociologist, historian, author, editor and activist W.E.B. Du Bois (1868-1963) was the most influential Black civil rights activist of the first half of the 20th century. He was a protagonist in the founding of the National Association for the Advancement of Colored People (NAACP) in 1909, and his 1903 bookThe Souls of Black Folk remains a classic and a landmark of African American literature.

Sharon likes to read short stories because she can easily understand them. Long stories are more difficult for her to comprehend and she gets discouraged when she does not understand. Most people who don't have a good education do not like to read. If they would only try to do it, they will slowly increase their reading skills, they will feel so motivated to continue, and they will want to do it more often. When people start reading Sharon's story, it is her hope that they understand the story, identify where she is coming from and not feel ashamed of their own disability anymore.

From the outside, Valencia Lawson Jarrett's life looks perfect. She has a great job, lives in a posh part of London and has the love of her long-term boyfriend, Liam.But looks can be deceiving. Beneath the surface, Val's insecurities begin to eat away at their happiness. Does Liam really love her enough? Why, just for once, can't he prioritise her before his work?As the cracks begin to show, she finds herself drawn to the charming and strikingly handsome Jac Sealer. He is a serial entrepreneur, who showers her with all the attention and affection she is looking for.It seems like a dream come true, but as Val finds out to her cost, dreams can quickly become nightmares.

"Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher.

A history of a past phenomenon - racial art - which has ramifications for the present