Nicholas von hoffman the power of presentations

  • The Power of Presentation JUNE 2005.
  • The Power of Presentation.
  • Nicholas von Hoffman's short, breezy, and informative sketch of Saul Alinsky — and of the decade he spent with him working as a community.
  • 1978 The Beacon Vol. 78 No. 08

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    Book review of Nicholas von Hoffman's "Radical: A Portrait of Saul Alinsky"

    Nicholas von Hoffman’s short, breezy, and informative sketch of Saul Alinsky — and of the decade he spent with him working as a community organizer — offers us a very different take on the legendary activist than the narrative we are accustomed to. This is especially the case for those conservatives who consider Alinsky close to the devil. Alinsky made the comparison himself, invoking Lucifer, along with Thomas Paine and Rabbi Hillel, in the epigraphs to his classic, bestselling 1971 guide, Rules for Radicals: A Pragmatic Primer for Realistic Radicals. As Alinsky put it, clearly facetiously, Lucifer was “the very first radical . . . who rebelled against the establishment,” and who was so effective “that he . . . won his own kingdom.” But the reality of Alinsky and his work was significantly different from what this tongue-in-cheek self-presentation — and, a fortiori, today’s conservati

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    Anyone who has ever walked into a museum with serious intent should find Victoria Newhouse's new book absorbing. Although intended for art-world people and the scholars thereof, Art and the Power of Placement (The Monacelli Press, $50) gives the reader the upplysning and the analytical tools to see and think about art in ways not explored before.

    Just how dependent on its surroundings an art object fryst vatten for its meaning, its power and even its existence as art fryst vatten made klar in this book. Those surroundings, as Newhouse, an architectural historian and the author of Towards a New Museum, demonstrates, arise out of the cross-hatching of commerce, institutional subcultures, curatorial brilliance and/or obtuseness, style and fashion.

    The book's argument fryst vatten clear precisely because it is not abstract. Major points are made bygd what are, in effect, the mini-biographies of various works, from their creation through generations of showings. The permutations and up