Charles Green – författare

Beside talent and a sterling portfolio, what can world-class consultants like Deloitte & Touche, Societe General and Towers Perrin boast has helped them achieve success in our entrepreneurial economy? They all have the inside track on the indispensable ""Trusted Advisor"" model for client relationships, created by renowned experts Charles Green and Robert Galford. Now Green and Galford have teamed up with the acclaimed David Maister in order to help their latest high-profile, fast-forward client: you. In this straightforward guide, Maister, Green and Galford show readers that the key to professional success goes well beyond technical mastery or expertise. Today, it's all about the vital ability to earn the client's trust and thereby win the ability to influence them. In these high risk times, trust is more valuable than gold. With this critical, highly detailed and accessible resource, readers will learn the five crucial steps for developing, managing and improving client confidence. For both emerging and established entrepreneurs and consultants, THE TRUSTED ADVISOR is the first truly indispensable business book of the decade.

Common stereotypes portray black fathers as being largely absent from their families. Yet while black fathers are less likely than white and Hispanic fathers to marry their child's mother, many continue to parent through cohabitation and visitation, providing caretaking, financial, and other in-kind support. This volume captures the meaning and practice of black fatherhood in its many manifestations, exploring two-parent families, cohabitation, single custodial fathering, stepfathering, noncustodial visitation, and parenting by extended family members and friends. Contributors examine ways that black men perceive and decipher their parenting responsibilities, paying careful attention to psychosocial, economic, and political factors that affect the ability to parent. Chapters compare the diversity of African American fatherhood with negative portrayals in politics, academia, and literature and, through qualitative analysis and original profiles, illustrate the struggle and intent of many black fathers to be responsible caregivers.This collection also includes interviews with daughters of absent fathers and concludes with the effects of certain policy decisions on responsible parenting.

Common stereotypes portray black fathers as being largely absent from their families. Yet while black fathers are less likely than white and Hispanic fathers to marry their child's mother, many continue to parent through cohabitation and visitation, providing caretaking, financial, and other in-kind support. This volume captures the meaning and practice of black fatherhood in its many manifestations, exploring two-parent families, cohabitation, single custodial fathering, stepfathering, noncustodial visitation, and parenting by extended family members and friends. Contributors examine ways that black men perceive and decipher their parenting responsibilities, paying careful attention to psychosocial, economic, and political factors that affect the ability to parent. Chapters compare the diversity of African American fatherhood with negative portrayals in politics, academia, and literature and, through qualitative analysis and original profiles, illustrate the struggle and intent of many black fathers to be responsible caregivers.This collection also includes interviews with daughters of absent fathers and concludes with the effects of certain policy decisions on responsible parenting.

A definitive user's guide to the U.S. National CAD Standard The Architect's Guide to the U.S. National CAD Standard helps make the National CAD Standard (NCS) more accessible to architects by presenting:* Clear and succinct explanations of concepts and options in the NCS* A step-by-step approach to seamlessly implement standardized drawings in any size firm* Successful strategies design firms can use to best take advantage of the NCS requirements The Architect's Guide to the U.S. National CAD Standard presents an informative overview of the NCS, including illustrations and frequently asked questions. It shows architects how to minimize immediate costs and downtime, how to reap immediate benefits, and how best to learn the system at an individualized pace. Used side by side with the Standard, this authoritative guide offers helpful insight into how the NCS is likely to be interpreted and presents a variety of available options for meeting the standardization requirements. Interior designers, construction managers, urban planners, as well as owners, engineers, and facility managers will also find this authoritative reference to be invaluable!

Despite the economic utopianism brought on by globalization, effective solutions to the persistent plight of urban blacks throughout the African diaspora continue to elude scholars, politicians, and community leaders. Charles Green brings a decade of research and original fieldwork in Africa, the Caribbean, and the United States to investigate the interface of the historic racism faced by these urban communities and contemporary trends of globalization. Green pays particular attention to the condition of the youth, whose aspirations, vulnerabilities, and insights into their own conditions are central to the future prospects for their communities as a whole. Considering the impacts of economic restructuring and cultural diffusion alike, his analysis asserts the importance of both global ties and local distinctiveness. Ultimately, Manufacturing Powerlessness aims to encourage the formation of alliances throughout the diaspora so that urban black communities can manufacture a future of empowerment. Visit the author's web page

Links the plight of contemporary urban dwellers of African descent across North America, Europe, the Caribbean, Latin America, and sub-Saharan Africa, examines their coping strategies, and advocates social policies sensitive to their cultural and societal differences.This volume draws attention to the plight of urban blacks in the contemporary world and links their situation across five key global regions. It argues that while the world's population is predominantly urban, persons of African descent are disproportionately urbanized and impoverished, and it shows how significant changes in the global arena, among them new information technology, the increased hegemony of market structures, and the resulting socioeconomic instability, have altered the material circumstances of these and other poor and working-class urban dwellers. The book argues further that although the problems triggered by the late-twentieth-century challenge appear to impact blacks uniformly, the societal and cultural-specific dimensions of their plight should not be overlooked. Its findings and implications buttress the need for greater unity among urban blacks in the diaspora, as well as offer solutions that are sensitive to their societal and cultural differences.

A major reevaluation of collaboration’s role in art since 1968.The lone artist is a worn clichÉ of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples-like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovi´c and Ulay-who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.

This is the story of one of the richest archaeological finds of all times: a ship containing the treasure of a king who was probably the last of the pagan rulers of East Anglia. This unique collection, now largely restored and displayed in a place of honor at the British Museum, tells us much concerning this least documented and most elusive period in English history.This new, revised edition tells the dramatic story of the actual excavation, gives a detailed description of the finds, and appraises the gains to our knowledge of the period. The text has been rewritten to take into account new information, and the original black and white drawings and maps have been supplemented by color plates.

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.

This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or 'biennials', has influenced global contemporary art since the 1950s. Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990sIntroduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York’s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art sceneUses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art

This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or 'biennials', has influenced global contemporary art since the 1950s. Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990sIntroduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York’s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art sceneUses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art

Since the Second World War and the formalisation of the international refugee regime, forced displacement has been marked by a set of aesthetic, practical, and institutional concerns. Understanding Displacement Aesthetics examines how visual culture and art practice constructs and challenges ideas about forced displacement and refugees. The novel framework for ‘displacement aesthetics’ moves beyond conventional understandings of aesthetics as merely representational, demonstrating the entanglement of visual culture, art practices, and forced displacement in postmigrant contexts. Bringing together the fields of cultural history, art history, and curatorial studies, Understanding Displacement Aesthetics identifies four areas for consideration: visual tropes of refugeedom; language and identity; institutional and artistic responses to displacement; and lived experiences of artists with backgrounds of displacement. Through archival research, visual culture and art, interviews, and collaborative curatorship, Understanding Displacement Aesthetics offers new insight into overcoming the limitations that contexts of displacement can present for artists, art galleries and institutions addressing refugeedom and its legacies.

Charles Green tells here the dramatic story of the initial excavation of Sutton Hoo, one of the richest archaeological finds of all time. In the Sutton Hoo burial grounds scientists unearthed a ship containing the treasures of a king who was most likely the last of the pagan rulers of East Anglia.Green guides us through the scientific significance of the Sutton Hoo discovery: the beautiful jewelry indicates the high level of Anglo-Saxon artistic culture, the royal insignia offers clues to the organization of the East Anglican kingdom and its relations with neighboring regimes, while the burial ships themselves inspire new hypotheses regarding Anglo-Saxon immigration routes. Any reader will be irresistibly drawn to learn more of this archaeological dig which has uncovered such intriguing relics of our medieval ancestors.This edition takes into account discoveries that have been made since the publication of the original edition. Barbara Green, an archaeologist in East Anglia and Charles Green’s daughter, has revised and updated the original text of her father’s book.