Explore the vast range of titles available.

Published for a major exhibition at The Museum of Modern Art, this catalog reveals new perspectives on the work of Frank Lloyd Wright. Structured as a series of inquiries into the Frank Lloyd Wright Foundation Archives at Taliesin West, Arizona, the book is a collection of scholarly explorations rather than an attempt to construct a master narrative. Each chapter centers on a key object from the archive that aninvited author has \"unpacked\" -- tracing its meanings and connections, and juxtaposing it with other works from the archive, from MoMA, or from outside collections. The publication aims to open up Wright's work to questions, interrogations and debates, and to highlight interpretations by contemporary scholars, both established Wright experts and others considering this iconic figure from new and illuminating perspectives.

Dogs are as ubiquitous in American culture as white picket fences and apple pie, embracing all the meanings of wholesome domestic life—family, fidelity, comfort, protection, nurturance, and love—as well as symbolizing some of the less palatable connotations of home and family, including domination, subservience, and violence. In Picturing Dogs, Seeing Ourselves, Ann-Janine Morey presents a collection of antique photographs of dogs and their owners in order to investigate the meanings associated with the canine body. Included are reproductions of 115 postcards, cabinet cards, and cartes de visite that feature dogs in family and childhood snapshots, images of hunting, posed studio portraits, and many other settings between 1860 and 1950. These photographs offer poignant testimony to the American romance with dogs and show how the dog has become part of cultural expressions of race, class, and gender. Animal studies scholars have long argued that our representation of animals in print and in the visual arts has a profound connection to our lived cultural identity. Other books have documented the depiction of dogs in art and photography, but few have reached beyond the subject's obvious appeal. Picturing Dogs, Seeing Ourselves draws on animal, visual, and literary studies to present an original and richly contextualized visual history of the relationship between Americans and their dogs. Though the personal stories behind these everyday photographs may be lost to us, their cultural significance is not.

The Coloniaje Exhibition, held in September 1873 in Santiago, Chile, represents a milestone in the history of Chilean museums. As the first retrospective display of the history of the Chilean nation, it was an important precedent for the collections that led to the construction of the National Historical Museum in 1911. By examining the ideas associated with the history of the colonial era and the museography related to the exhibition, this article analyses the ambiguous ways in which the Coloniaje Exhibition mobilised the colonial past in the context of the ascendancy of liberalism and the transformation of Santiago's urban social life. Situated between alienation and identification – between critiquing the colonial system and celebrating its imprint on Chilean society – the Coloniaje Exhibition is important for the understanding of postcolonial societies in Latin America. La Exposición del Coloniaje de septiembre de 1873 en Santiago de Chile representa un hito en la historia de los museos chilenos. Siendo el primer despliegue retrospectivo de la historia de la nación chilena, fue un precedente importante para las colecciones que llevaron a la edificación del Museo Histórico Nacional en 1911. Al examinar las ideas asociadas con la historia del periodo colonial y la museografía relacionada con la exposición, este artículo analiza las formas ambiguas en las que la Exposición del Coloniaje movilizó el pasado colonial en el contexto del ascenso del liberalismo y la transformación de la vida social urbana de Santiago. Situado entre alienación e identificación – entre criticando al sistema colonial y celebrando su marca en la sociedad chilena – la Exposición del Coloniaje es importante para el entendimiento de las sociedades postcoloniales en América Latina. A Mostra Coloniaje, ocorrida em Setembro de 1873 em Santiago no Chile, representa um marco na história dos museus chilenos. Foi a primeira retrospectiva da história da nação chilena e estabeleceu um importante precedente para as coleções que levariam à construção do Museu Histórico Nacional em 1911. Através da análise das ideias associadas à história da era colonial e da museografia relacionada à exibição, este artigo explora a maneira ambígua com a qual a Mostra Coloniaje mobilizou o passado colonial no contexto da ascendência do liberalismo e da transformação da vida social urbana de Santiago. Situada entre alienação e identificação – entre críticas ao sistema colonial e celebração de sua marca na sociedade chilena – a Mostra Coloniaje é importante para o entendimento das sociedades pós-coloniais na América Latina.

What does it mean to turn the public library or museum into a civic forum?Made in Newarkdescribes a turbulent industrial city at the dawn of the twentieth century and the ways it inspired the library's outspoken director, John Cotton Dana, to collaborate with industrialists, social workers, educators, and New Women.This is the story of experimental exhibitions in the library and the founding of the Newark Museum Associationùa project in which cultural literacy was intertwined with civics and consumption. Local artisans demonstrated crafts, connecting the cultural institution to the department store, school, and factory, all of which invoked the ideal of municipal patriotism. Today, as cultural institutions reappraise their relevance,Made in Newarkexplores precedents for contemporary debates over the ways the library and museum engage communities, define heritage in a multicultural era, and add value to the economy.

This essay examines Julia Escalante's \"Graziella\" and the 1881 \"El Lechero\" (The Milkman) as a case study of the ways in which the art of a Mexican woman artist instantiates aspects of Porfirian modernity. In the context of the academic hierarchy that existed through much of the nineteenth century, these scenes of everyday life, that is, genre scenes, done by a woman artist, would have been seemingly unremarkable. Different from most works by a woman artist, these paintings were exhibited in two very different spaces in downtown Mexico City: the National Academy in 1879 and 1881, and later in the Hotel del Jardín in 1888. I will suggest that these exhibition spaces define an architecture of legibility for the paintings inflecting the critical reception of the painting, opening onto the process of Porfirian modernity.

This paper interprets the \"buying craze\" among American tycoons between 1870 and the Second World War concerning mainly Renaissance art, particularly paintings, with the emphasis on the process of this transfer rather than on the art works and the resulting collections. It analyzes the roles of the House of Duveen, the art expert Bernard Berenson and other agents that acted as dominant intermediaries instrumental to the American Renaissance in fine art. Their efforts produced outstanding private collections and eminent art museums. Original American art, however, was crowded out, slowing down its further development for quite some time. The paper shows a slice of Thorstein Veblen's world and of its leisure-class elite engaged in conspicuous consumption and honorific expenditures in search of pecuniary decency.

Review of Idurre Alonso and Maristella Casciato, The Metropolis in Latin America, 1830–1930, Los Angeles: Getty Research Institute, 2021, 324 pages (ISBN 978-1-60606-694-2). This large-format book traces the history of the metropolitan transformations of the great Latin American cities and is accompanied by an impressive corpus of historical images.

A chapter on fair midways adds interesting insight about popular culture and the bowing of exhibition organizers to attendees' desire for garish entertainment in addition to cultural exposure and commercial and agricultural information. [...]the appalling often seems to suffer neglect at the hands of the more mundane in several of Harvey's chapters. Noting the use of African American convict labor at the fair site in Atlanta, for example, Harvey lets the public-relations problem that their presence presented for African American organizers somewhat override the degree to which the labor amounted to a repurposing of bondage under the guise of incarceration.