History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

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Modern Contemporary

Manufacturer: The Museum of Modern Art, New York
ProductGroup: Book
Binding: Hardcover

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ASIN: 0870704915
Release Date: 2004-10-02

Book Description

Updated and Revised In a lively panorama of stimulating juxtapositions, sequences, and cross references, this new edition of Modern Contemporary provides a cornucopia of 590 works of key contemporary art (37 more than in the original edition). Thought-provoking page spreads juxtapose Jia Zhang Ke, Matthew Barney and Kara Walker; Gabriel Orozco, Chris Ofili, and Jeanne Dunning; Philippe Starck and Rineke Dijkstra; Jenny Holzer and Robert Gober; Mona Hatoum and Teiji Furuhashi; Philip-Lorca diCorcia, Juan Snchez, Raymond Pettibon, and Rosemarie Trockel; Gary Hill, General Idea and Lari Pittman; and David Wojnarowicz and Bruce Nauman, to name a few. Addressing the extensive holdings of contemporary art in the collection of The Museum of Modern Art, New York, Modern Contemporary covers an international spectrum of art in a variety of mediums, all made in the last two decades of the 20th century and the first few years of the 21st. Organized chronologically and encompassing a prime selection of painting, sculpture, architecture, design, photography, drawings, prints, film, and video, this rich and varied array of art from 1980 until now offers a virtual compendium of the visual culture of our own time.

Globalism: Market Ideology Meets Terrorism (Globalization)

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Globalism: Market Ideology Meets Terrorism (Globalization)
Manfred B. Steger
Manufacturer: Rowman & Littlefield Publishers, Inc.
ProductGroup: Book
Binding: Paperback

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ASIN: 0742530906

Picturing the Modern Amazon (New Museum Books)

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Amazing Amazons
An Intelligent and Sensitive Testimony to Strong Women

Picturing the Modern Amazon (New Museum Books)
Joanna Frueh , Laurie Fierstein , and Judith Stein
Manufacturer: Rizzoli International Publications
ProductGroup: Book
Binding: Hardcover

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ASIN: 0847822478
Release Date: 2000-05-01

Book Description

Pictured in two centuries of images, the hypermuscular and physically strong woman is studied here for the first time as a major player in popular culture and contemporary art. Using the bodybuilder as prototype, a rich variety of authors engage with her particular physicality, and how it resonates with social issues such as female pleasure and gender stereotypes. From the sublime to the gritty, this volume presents modern amazons as a culture with a history, a dazzling and transgressive current phenomenon, and avatars of the future.

Packed with illustrations, Picturing the Modern Amazon investigates the representation of hypermuscular women in a range of visual sources. Historical images and archival materials dating from the late 1700s through the present century illustrate older notions of female strength, providing a solid base of comparison for the modern materials. Contemporary art explores a diversity of issues surrounding the physically strong woman; artists represented include Matthew Barney, Louise Bourgeois, Nicole Eisenman, Annie Leibovitz, Alison Saar, Andre Serrano, Cindy Sherman, and Nancy Spero. Comic artists address the amazon through comic strips, comic books, and unique art works that focus on muscular female characters and superheros; artists include Robert Crumb, Diane DiMassa, Roberta Gregory, John Howard, and Turtel Onli. Photographs of some of today's top bodybuilding competitors capture the stunning strength and definition of the hypermuscular woman.

Co-edited by Joanna Frueh, Laurie Fierstein, and Judith Stein, the volume's contributors are Michael Cunningham, Nathalie Gassel, Leslie Heywood, Irving Lavin, Maxine Sheets-Johnstone, Al Thomas, Jan Todd, Steve Wennerstrom, and Carla Williams. Interviews with noted bodybuilders-both the sport's pioneers and today's top competitors-provide a personal perspective.

Customer Reviews:

Amazing Amazons.......2002-04-23

A great compendium of pictures and information -- you don't get this stuff often. This book talks to your inner Terminatrix -- not only guys get muscles. Gals can be hardbody beautiful too!

An Intelligent and Sensitive Testimony to Strong Women.......2000-07-09

This museum-quality, coffee-table book is outstanding in every respect. Produced to accompany the New Museum of Contemporary Art exhibit, the book faithfully recaptures the power and immediacy of the exhibit photographs and art reproductions. The authors gathered the finest images from the long history of strong women, spanning the worlds of circus, of cartoons, of classical sculpture, and of modern bodybuilding. The illustrations and their captions convey a story in themselves, without ever needing to read the text. But what a storehouse of information is contained in the text! As a professional female bodybuilder myself, I have read nearly everything about my sport. This book gives an honest portrayal of the sport and of the ways in which female bodybuilders are presented to, and perceived by, the dominant culture. It effectively conveys the Catch-22 that enmeshes women of strength. Would a female sprinter be told, "Run fast, but not too fast. Don't try to run as fast as the men." How this situation came to be, and its effect on the sport's top competitors is carefully and responsibly presented here. The interviews with five very diverse representatives of women's bodybuilding are, in themselves, worth the price of the book. In addition, the authors present essays by the sports' acknowledged top historian, Steve Wennerstrom, and the sports' premiere sociologist, Leslie Heywood. The essays are daring, provocative, and brilliantly illustrated. Issues of race and class are addressed head-on. This is a strong book that doesn't apologize for itself or its subjects. This book will be enjoyed by anyone who has a fascination with women and strength.

The Girl With the Gallery: Edith Gregor Halpert And the Making of the Modern Art Market

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Good Read For Any Small Business Owner. It's Fascinating History As Well!
Excellent Book
Portrait of a Titan of American Modern Art

The Girl With the Gallery: Edith Gregor Halpert And the Making of the Modern Art Market
Lindsay Pollock
Manufacturer: PublicAffairs
ProductGroup: Book
Binding: Hardcover

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ASIN: 1586483021

Book Description

In an era when American artists didn't count and women were expected to stay home, Edith Gregor Halpert burst onto the fledgling New York gallery scene, defying all cultural and societal rules. In 1926, Halpert, just twenty-six years old, opened one of the first art galleries in Greenwich Village and set about turning the art world upside down. Her Downtown Gallery, which she ran for forty-four years, laid the groundwork for the art market's modern era, and its aggressive promotion and sales tactics. Halpert cultivated the most illustrious art collectors of the day, invented the market for folk art, and pushed the first group of American artists working in a modern vernacular into the history books, including Stuart Davis, Jacob Lawrence, Georgia O'Keeffe, Ben Shahn, and Arthur Dove. Despite all this, Edith Halpert herself has been lost to history. Until now.

In The Girl with the Gallery, journalist Lindsay Pollock brings Halpert and her era vividly back to life, tracing the story of how this remarkable woman, who started out a penniless Jewish immigrant, made it her mission to fight for American art and artists. Illlustrated with eight pages of full color photographs, this is biography at its finest, an unforgettable story of class, money, vanity, jealousy, and tragic loss.

Customer Reviews:

Good Read For Any Small Business Owner. It's Fascinating History As Well!.......2007-03-22

I had a lot of trouble putting aside the book so that I could take care of my normal daily chores and business. It was interesting to me from a variety of points. One of them was the excellent introduction information about how the author first learned of Edith Gegor Halpet and then how surpirsed she was to discover a treasure trove of available research material including an oral history that included more than 800 transcrbed pages. While I'm not in the gallery business, I do enjoy art and I found the book a very interesting story of how tough a business the marketing of art really is. Halpert's struggles opening and running a gallery have valuable lessons for any small business owner. Some of her sales techniques could be applied to almost any business with great success. The book is a great read and provides glimpses into the world of art, artists, patrons,museums, and the important contributions women have made to the art fields over the years. It's another example of how women have come into their own.

Excellent Book.......2007-01-23

Fascinating bio and first rate discussion of the strange intersection of high-art and commerece. Shows how much artists owe to the people who support and believe in them.

Portrait of a Titan of American Modern Art.......2006-12-15

The title here is just a little bit misleading. Yes Edith was the girl with the gallery, but there were a lot of girls that had galleries. What Edith built was THE Gallery, at least so far as modern American art was concerned. Furthermore she did it from the outside, she was born Russian, coming to America when she was six, and at the young age of 26 founding the Downtown Gallery in Greenwich Village.

There was at the time no American art movement. The few painters of the time had great difficulty selling their work. Edith changed that. Her gallery specialized in the work of these New York locals, combined agressive selling with a devotion to this style that remained for forty four years.

It was largely because of her that there is an American art scene. This book is a fine tribute to her life that has largely been forgotten.

The Power of Display: A History of Exhibition Installations at the Museum of Modern Art

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The Power of Display: A History of Exhibition Installations at the Museum of Modern Art
Mary Anne Staniszewski
Manufacturer: The MIT Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0262194023

Book Description

Art historians, traditionally, have implicitly accepted the autonomy of the artwork and ignored what Mary Anne Staniszewski calls "the power of display." In this groundbreaking examination of installation design as an aesthetic medium and cultural practice, Staniszewski offers the first history of exhibitions at the most powerful and influential modern art museum--The Museum of Modern Art in New York. Focusing on over two hundred photographs of the visually rich but overlooked history of exhibitions, Staniszewski documents and deciphers an essential chapter of twentieth-century art and culture and provides a historical and theoretical framework for a primary area of contemporary aesthetic practice--installation-based art.

Staniszewski treats installations as creations that manifest values, ideologies, politics, and of course aesthetics. Incorporating analysis of display techniques used in department stores, natural history museums, non-Western art galleries, and the international avant-gardes' exhibitions of the first half of the century, she makes visible both the explicit and covert meanings found in exhibitions. Some of the questions she addresses are: What sorts of viewers do different types of installations "create"? How do exhibition designs affect the meanings and receptions of specific objects, images, artifacts, and buildings when they are displayed? How do installations shape the viewer's experience of the cultural ritual of a museum visit? How does an amnesia regarding exhibition design affect art history, the art world, and collective cultural memories?

Among the artists, designers, architects, and curators whose installations the author features are Dennis Adams, Alfred H. Barr, Jr., Herbert Bayer, RenÃ© d'Harnoncourt, Ray and Charles Eames, Hans Haacke, David Hammons, Philip Johnson, Frederick Kiesler, Barbara Kruger, Louise Lawler, El Lissitzky, Adrian Piper, Lilly Reich, William Rubin, Paul Rudolph, Edward Steichen, Giuseppe Terragni, and Kirk Varnedoe.

Albers and Moholy-Nagy: From the Bauhaus to the New World

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Albers and Moholy-Nagy: From the Bauhaus to the New World

Manufacturer: Yale University Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 030012032X

Book Description

This beautifully illustrated book highlights the contrasts and correspondences in the lives and work of two of Modernism’s greatest innovators, Josef Albers (1888–1976) and László Moholy-Nagy (1895–1947). Beginning in the 1930s, Albers and Moholy-Nagy each developed a rigorously abstract language that condensed art to its visual fundamentals: line, color, texture, light, and form. This language experienced a creative explosion during their Bauhaus years, when both artists moved freely between media and disciplines. Essays by leading scholars follow the artists’ separate paths through to their emigration to the United States, where each continued to push tirelessly the conventions of artistic practice—Albers at Black Mountain College in North Carolina and then at Yale University, and Moholy-Nagy in Chicago at the New Bauhaus School and the Institute of Design. As highly influential teachers, Albers and Moholy-Nagy became important catalysts for the transmission of Modernist ideas from Europe to America.
Spanning four decades and featuring works in a variety of media, including painting, collage, glass, moving sculpture, photography, film, furniture, and graphic design, Albers and Moholy-Nagy reveals for the first time the range of achievement of these two important figures and is essential to our understanding of the evolution of Modernism.

Guggenheim Museum Collection: A to Z (Guggenheim Museum Publications)

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Guggenheim redux

Guggenheim Museum Collection: A to Z (Guggenheim Museum Publications)

Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover

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ASIN: 0810969300

Amazon.com

C is for Cézanne (and Chagall, Cornell, collaboration, and cultural activism) in the revised, redesigned handbook of the Guggenheim Museum's New York collection. The format is unorthodox: it's a little encyclopedia on topics from action (illustrated by de Kooning's 1955 Composition and 300 words by high-IQ critic Dore Ashton) to Gilberto Zorio (with a photo of the Italian artist's star-and-javelin sculpture and two helpful paragraphs by Guggenheim contemporary art curator Nancy Spector explaining what stars and javelins symbolize in his work). The reproductions are smallish but mostly eye-delighting, capturing at a glance, for instance, Picasso's leap from his first Paris painting Le Moulin de la Galette (done at 19 in 1900), vibrant in a Manet-meets-Munch way, to his still-startling cubist breakthroughs. Even the book's superb wraparound cover is a work of art: the Guggenheim by night, lit up by Dan Flavin's neon sculptures in exuberant surfer hues.

The entries range from more traditional thumbnail descriptions of artists and objects in the celebrated collection to some fairly arcane sections devoted to concepts like the fourth dimension (illustrated by a Braque cubist painting). The formidable art theorist Rosalind Krauss writes an entry on informe, elucidating French philosopher Bataille's principle of "formlessness": "Although Bataille's analogue for the informe was the crushed spider or the blob of spittle, and though Miró's detour from painting took the form of working with trash, Giacometti's example of formlessness cannily assumed a highly polished, even geometrically simple set of shapes." If you're up on art, you're intrigued; if Krauss confuses you, don't panic--simply turn to the accessible entry on Giacometti, which is more straightforwardly biographical.

I'm not sure an alphabetical listing is the best way to put the Guggenheim's awesome 20th-century masterworks in the clearest possible context. But this handbook is concise, lively, handsome, and a bit perverse. --Victoria Ellison

Book Description

Revised, expanded, and completely redesigned, this new edition of the Guggenheim Museum's popular guide to its New York collection is a beautifully produced volume, not only a handy overview of the museum's holdings but a concise, engaging primer on 20th-century art. Organized alphabetically, the book consists of entries on individual artists (ranging in date from Camille Pissarro to Matthew Barney) as well as definitions of key terms and concepts of modern art from ìAction “to ìInstallation. “Reflecting the exciting recent growth in the Guggenheim's permanent collection, this 2001 edition includes new entries on such artists as Francesco Clemente, Ann Hamilton, Robert Mapplethorpe, and Cindy Sherman, among others. The text is by the museum's curators as well as prominent authors and scholars including Dore Ashton, Rosalind Krauss, and Brian Wallis.

Customer Reviews:

Guggenheim redux.......2007-09-12

A good introduction to the collection of one of the most interesting museums in NY, this book lists in an alphabetic order the majority of the artists represented in the collection, giving a short biography and illustrating at least one work with a concise explanation of it. It also begins with a history of the building and of the collection, which gives a good insight on some of the most active art patrons of the XXth century.

As it is often difficult to get a glimpse of these works (most of them are rarely displayed), this guide is worth keeping in one's library.

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Monster Movies 2007 Wall Calendar
Universe Publishing , and New York Museum Of Modern Art
Manufacturer: Universe Publishing
ProductGroup: Book
Binding: Calendar

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ASIN: 0789314649

Encounters With Modern Art: The Reminiscences of Nannette F. Rothschild : Works from the Rothschild Family Collections

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Close encounters of the modern kind

Encounters With Modern Art: The Reminiscences of Nannette F. Rothschild : Works from the Rothschild Family Collections
National Gallery of Art (U. S.)
Manufacturer: Philadelphia Museum of Art
ProductGroup: Book
Binding: Hardcover

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ASIN: 087633107X

Book Description

The memoirs of Nannette Rothschild are the basis for this unique exhibition catalogue, which chronicles the formation of Herbert and Nannette Rothschild's distinguished collection of early twentieth-century art. Tales of their adventures and evolving friendships with artists, dealers, fellow collectors, conservators, and curators in Europe and America paint their own picture of the challenges facing collectors at the midpoint of this century. Guided in their choices by their daughter Judith, herself a painter, the Rothschilds affirmed their inexhaustible enthusiasm for Cubist, Futurist, Dadaist, and Surrealist works, as well as for the artists themselves. With an introductory essay that places the Rothschilds' involvement in a broader context, the resulting volume is a provocative and uncommonly personal glimpse into the world of art collecting. Bibliography. Index.

Customer Reviews:

Close encounters of the modern kind.......2005-10-02

This is a lovely book, a work of art in and of itself. From the cover with images of Brancusi's 'The Muse' and Mondrian's 'Tableau No. IV', through the full-colour plates, single-colour dividing pages, black-and-white personal photographs, gracious layout with generous white space, to the gold-on-black printed back cover, this book is a delight to read, a delight to look at, and a delight to hold.

The story is really a trek through modern art in America and Europe, seen through the eyes of the Rothschilds, Herbert, Nannette and Judith. Judith Rothschild was a painter; her parents Herbert and Nannette were avid students, admirers and collectors of art, following their daughter's career as well as expanding beyond this to encompass the whole range of modern art. The Rothschilds built an impressive collection, supporting many artists and providing art for museums and exhibitions regularly.

This was not just a passion for art, but also a building of personal relationships. 'Very often and not surprisingly, the passion for collecting art by living artists was (and still is) fueled by friendship with artists themselves.' The reminiscences of Nanette go through artist by artist - Diego Rivera, Pablo Picasso, Wassily Kandinsky, and many other artists are featured, together with a memory of special events and trips. There is a good combination of the personal and the artistic in these writings, a journal of very intimate appreciation.

Finally, the Catalogue of the artworks from the Rothschilds' collections is a real treat. Herbert and Nannette left the bulk of their collection to their daughter Judith, with some items going to their other two children; Judith in turn left her collection (that of Herbert and Nannette together with pieces she had acquired herself) to a Foundation to support underappreciated American artists. This catalogue is a wonder to behold, with very high production values in the reprinting of artwork, including painting, sculpture, and other media.

A wonderful collection.

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