Samantha Friedman – författare

The Housing Divide examines the generational patterns in New York City's housing market and neighborhoods along the lines of race and ethnicity. The book provides an in-depth analysis of many immigrant groups in New York, especially providing an understanding of the opportunities and discriminatory practices at work from one generation to the next. Through a careful read of such factors as home ownership, housing quality, and neighborhood rates of crime, welfare enrollment, teenage pregnancy, and educational achievement, Emily Rosenbaum and Samantha Friedman provide a detailed portrait of neighborhood life and socio-economic status for the immigrants of New York.The book paints an important, if disturbing, picture. The authors argue that not only are Blacks—regardless of generation—disadvantaged relative to members of other racial/ethnic groups in their ability to obtain housing in high-quality neighborhoods, but that housing and neighborhood conditions actually decline over generations. Rosenbaum and Friedman's findings suggest that the future of racial inequality in this country will increasingly isolate Blacks from all other groups. In other words, the "color line" may be shifting from a line separating Blacks from Whites to one separating Blacks from all non-Blacks.

One day, the French artist Henri Matisse cut a small bird out of a piece of paper. It looked lonely all by itself, so he cut out more shapes to join it. Before he knew it, Matisse had transformed his walls into larger-than-life gardens, filled with brightly colored plants, animals, and shapes of all sizes! Featuring cut-paper illustrations and interactive foldout pages, Matisse’s Garden is the inspiring story of how the artist’s never-ending curiosity helped turn a small experiment into a radical new form of art.

What Degas Saw looks at the world through a beloved artist’s eyes and provides insight into his creative process. Walking through the streets of Paris with cape and cane, the French artist Edgar Degas observes the world around him, finding inspiration at every turn. From the blurry faces of passersby glimpsed through a bus window to the sun-dappled landscape seen from a moving train, from the hunched profiles of laundresses at work to light-bathed ballerinas on the opera house stage, the artist—with open eyes and a curious mind—collects impressions of the people and places he sees. Accompanies major MoMA exhibition, Edgar Degas: A Strange New Beauty, on view March 26 through July 24, 2016.

"Recalling a charcoal she made in 1916, Georgia O'Keeffe later wrote, 'I have made this drawing several times--never remembering that I had made it before--and not knowing where the idea came from.' These drawings, and the majority of O'Keeffe's works incharcoal, watercolor, pastel and graphite, belong to series in which she develops and transforms motifs that lie between observation and abstraction. In the formative years of 1915 to 1918, she made as many works on paper as she would in the next 40 years, producing sequences in watercolor of abstract lines, organic landscapes and nudes, along with charcoal drawings she would group according to the designation "specials." While her practice turned increasingly toward canvas in subsequent decades, important series on paper reappeared--including charcoal flowers of the 1930s, portraits of the 1940s and aerial views of the 1950s."--