Charles Green – författare

"Every entrepreneur should read this book, ideally before they start their next business. The insights into finance and financial planning should help the entrepreneur not make many of the mistakes I did!"Jim Beach, Director of Education at The Entrepreneur School and author of School for Start-Ups

"An exhaustive and invaluable resource for companies seeking funding at any stage of their life cycle."Donald J. Mullineaux, DuPont Chair in Banking and Financial Services, Gatton College of Business and Economics, University of Kentucky

“Get Financing Now is a must for every entrepreneur starting a business or growing a business. . . . Although an easy and enjoyable read, the information and insight Charles Green provides isn’t sugar coated. It is relevant and timely in today’s economic challenging times. It seemed that every page had at least one ‘golden nugget’ that an entrepreneur could literally ‘take to the bank.’”Karen Rands, strategic advisor to entrepreneurs regarding access to capital and coordinator of an Atlanta based angel investor group

”Charles Green’s new book Get Financing Now is a real-world description of what small-business owners must know to fund startup or growth, and improves the probability for small-business owners to get the funding they need.”Jerry Chautin, national business columnist, former entrepreneur, SCORE business mentor and SBA’s 2006 national Journalist of the Year

“Charles Green is a change agent for entrepreneurs in the field of acquiring financing and capital. He has written the premier guide to help entrepreneurs through the changes needed to acquire capital in the new marketplace thrust upon us by the great recession. I highly recommend Get Financing Now.”Larry Tyler, author of Romancing the Loan

"A fantastic read! To the point and explains business terms for laymen—helps grasping the concept easily. Love it!”Colethea Jenkins, Build Grow and Enjoy

This book is a portrait of the period when modern art became contemporary art. It explores how and why writers and artists in Australia argued over the idea of a distinctively Australian modern and then postmodern art from 1962, the date of publication of a foundational book, Australian Painting 1788–1960, up to 1988, the year of the Australian Bicentennial.

Across nine chapters about art, exhibitions, curators and critics, this book describes the shift from modern art to contemporary art through the successive attempts to define a place in the world for Australian art. But by 1988, Australian art looked less and less like a viable tradition inside which to interpret ‘our’ art. Instead, vast gaps appeared, since mostly male and often older White writers had limited their horizons to White Australia alone. National stories by White men, like borders, had less and less explanatory value. Underneath this, a perplexing subject remained: the absence of Aboriginal art in understanding what Australian art was during the period that established the idea of a distinctive Australian modern and then contemporary art.

This book reflects on why the embrace of Aboriginal art was so late in art museums and histories of Australian art, arguing that this was because it was not part of a national story dominated by colonial, then neo-colonial dependency. It is important reading for all scholars of both global and Australian art, and for curators and artists.

This book is a portrait of the period when modern art became contemporary art. It explores how and why writers and artists in Australia argued over the idea of a distinctively Australian modern and then postmodern art from 1962, the date of publication of a foundational book, Australian Painting 1788–1960, up to 1988, the year of the Australian Bicentennial.

Across nine chapters about art, exhibitions, curators and critics, this book describes the shift from modern art to contemporary art through the successive attempts to define a place in the world for Australian art. But by 1988, Australian art looked less and less like a viable tradition inside which to interpret ‘our’ art. Instead, vast gaps appeared, since mostly male and often older White writers had limited their horizons to White Australia alone. National stories by White men, like borders, had less and less explanatory value. Underneath this, a perplexing subject remained: the absence of Aboriginal art in understanding what Australian art was during the period that established the idea of a distinctive Australian modern and then contemporary art.

This book reflects on why the embrace of Aboriginal art was so late in art museums and histories of Australian art, arguing that this was because it was not part of a national story dominated by colonial, then neo-colonial dependency. It is important reading for all scholars of both global and Australian art, and for curators and artists.