Ruth Addison - Böcker

Practical, complete, and trustworthy, OSCE Revision for the MRCEM covers over 100 topics in emergency medicine and is the ideal guide for OSCE preparation. Mapped to the curriculum for the Royal College of Emergency Medicine, the chapters reflect the domains in the syllabus so candidates can revise by topic knowing everything is covered. Written by two UK trained Emergency Medicine Consultants, each chapter provides general advice for the type of station and multiple practice scenarios for the reader to try. Scenarios include a pie chart to demonstrate how the marks will be assigned and a mark sheet so candidates can check if they have achieved all the crucial points. Additional teaching points and further reading help the reader to prepare fully for the examination. With chapters and scenarios covering history taking, examination, practical skills, teaching, communication, psychiatry and resuscitation scenarios, this title provides the expert foundation knowledge to manage whatever stations come up in the exam. OSCE Revision for the MRCEM will give you all the essential tips, insights, and guidance you need for thorough exam preparation and is co-authored by Rachel Goss, lead author of the popular OSCE Revision for the Final FRCEM.

In 1986, the Soviet government created a statute enabling citizens to form associations and clubs for the first time since the 1920s. This-and the 1988 law on cooperatives which permitted private enterprise-gave rise to the first official organizations created by unofficial artists, as well as the beginning of a vibrant gallery scene. Run by artists, curators, and cultural entrepreneurs, these spaces unleashed the creative energy that now characterizes early post-Soviet Russia. Access Moscow examines the key role which the first independent galleries played in the emergence of Moscow's art scene in the 1990s. Through historical texts from leading practitioners of the period-some of which are translated into English for the first time-and essays by Valentin Diaconov, Kate Fowle, Andrei Kovalev, and Elena Selina, this book provides a first-hand account of an art community in formation. A chronology of art and political events shows the development of art life in Moscow over the course of the decade. Access Moscow is the second in a new series of books by Garage Museum of Contemporary Art on research and materials in Garage Archive Collection.

Since 2001, Rashid Johnson has risen to international attention with his powerfully visual statements on contemporary culture. Working across painting, photography, sculpture, installation, video, and performance, the artist has charted a trajectory that offers fresh readings of art history, social history, psychology, and literature. This book follows the making of the artist's largest work to date: an immersive, living ecosystem where fact, fiction, history, and mythology converge. Described by the artist as a "brain" that prioritizes poetic rather than logical reason, the work offers unexpected associations between objects, video, and sound-untethered from their cultural roots-to provide nuanced readings on cliches of class, nation, and race. The first publication to follow the development of Johnson's sculptural and installation works, this volume by Garage Chief Curator Kate Fowle includes an interview with the artist and an extensive essay which investigates Johnson's influences and references.

Since the beginning of his career in the 1960s, Russian artist Erik Bulatov has investigated the potential of painting as social commentary. A founder of the school of Moscow Conceptualism-alongside Ilya Kabakov, Collective Actions, and Komar & Melamid among others-Bulatov developed what has been described as conceptual painting, using text and image to explore spatial preoccupations that mirror his understanding of social relations. This book follows the making of the artist's largest work to date: a thirty-two-feet high monumental diptych made in his trademark graphic style, reminiscent of the poet Vladimir Mayakovsky's advertising posters from the 1920s. Introducing an innovative assessment of Bulatov's oeuvre, this richly illustrated publication includes an essay by Garage curator Snejana Krasteva exploring his use of monumental scale, an interview with the artist by Hans Ulrich Obrist, and several of Bulatov's texts spanning the period 1978-2006, which are translated into English for the first time.