The key to advancing gender equality? Men. Women are at a disadvantage. At home, they often face an unequal division of household chores and childcare, and in the workplace, they deal with lower pay, lack of credit for their contributions, roadblocks to promotion, sexual harassment, and more. And while organizations are looking to address these issues, too many gender-inclusion initiatives focus on how women themselves should respond, reinforcing the perception that these are "women's issues" and that men—often the most influential stakeholders in an organization—don't need to be involved. Gender-in-the-workplace experts David G. Smith and W. Brad Johnson counter this perception. In this important book, they show that men have a crucial role to play in promoting gender equality at work. Research shows that when men are deliberately engaged in gender-inclusion programs, 96 percent of women in those organizations perceive real progress in gender equality, compared with only 30 percent of women in organizations without strong male engagement. Good Guys is the first practical, research-based guide for how to be a male ally to women in the workplace. Filled with firsthand accounts from both men and women, and tips for getting started, the book shows how men can partner with their female colleagues to advance women's leadership and equality by breaking ingrained gender stereotypes, overcoming unconscious biases, developing and supporting the talented women around them, and creating productive and respectful working relationships with women.

Looks at David Smiths sculptural work

The Forgings, the groundbreaking series of industrially forged steel sculptures that the artist produced in 1955 and 1956, are brought together in one book for the first time, alongside complementary sketchbook drawings of the sculptures. This catalogue, documenting an exhibition at Gagosian Gallery, New York, is the first time that all ten Forgings have been on view together since 1956. The sculptures are accompanied by a series of works on paper leading up to The Forgings, as well as sketchbook drawings of the completed sculptures. With the The Forgings, David Smith translated the spontaneity of a brushed line drawing into sculptural form, manipulating thin steel bars to achieve expressive vertical abstractions. The Forgings were unprecedented as works created solely through an industrial machined process, but were perhaps even more radical as pre-Minimalist forms intended to provoke discrete responses in each viewer.

For David Smith (19061965), widely considered one of the foremost American abstract expressionist sculptors of the 20th century, there was no conceptual boundary between mediums. Focusing on works from the late 1950s until the artists untimely death in 1965, this oversized but trim exhibition catalog charts the development of 21 stunning works couched among historic images culled from the artists archive. The physical qualities of Smiths welded-steel sculptures transmit a strong industrial presence but part of their impact and power derives from their gestural and tactile surfaces that give painting and drawing and sculpture the same visual impact and spatial weight. Smith paved the way for such artists as John Chamberlain, Mark di Suvero and Richard Serra by moving the site of sculptures construction from the 19th-century confines of the artists atelier and fine-art foundry into the expansive, industrial context of the 20th century. Essay by Menil Collection curator Michelle White.

In Teaching and Christian Practices several university professors describe and reflect on their efforts to allow historic Christian practices to reshape and redirect their pedagogical strategies. Whether allowing spiritually formative reading to enhance a literature course, employing table fellowship and shared meals to reinforce concepts in a pre-nursing nutrition course, or using Christian hermeneutical practices to interpret data in an economics course, these teacher-authors envision ways of teaching and learning that are rooted in the rich tradition of Christian practices, as together they reconceive classrooms and laboratories as vital arenas for faith and spiritual growth.

In the half-light of early morning on October 7, 1965, 17-year-old David Smith called Hyde police from a telephone box on Hattersley overspill estate in Manchester. The story that he had to tell--of the brutal murder he had witnessed the previous evening--set in motion the detection of Britain's most infamous serial killings: the Moors Murders. Despite standing as chief prosecution witness at the subsequent trial, David Smith was vilified and hated by a public who knew nothing of the facts behind the accusations thrown at Smith by the killers themselves in an attempt to gain lesser sentences. Myra Hindley's own confession, 20 years later, that she and Ian Brady had lied about Smith's involvement in their crimes, did little to diminish the slurs against his name. For almost 45 years, David Smith has been asked by writers and filmmakers to tell his story. With the exception of no more than a handful of very brief interviews, he has refused. Carol Ann Lee met Smith during her research for One of Your Own, her critically acclaimed biography of Hindley, following which he finally agreed to reveal all regarding the case and his involvement in it. In Witness, interviews, archival research, and, most significantly, David Smith's own vivid memories are fused to create an unforgettable, often harrowing account of his life before, during, and after the Moors Murders.

"Examines the development of the work of the distinguished American artist."--GoogleBooks.