In this highly original study, Jeremy Braddock focuses on collective forms of modernist expression—the art collection, the anthology, and the archive—and their importance in the development of institutional and artistic culture in the United States. Using extensive archival research, Braddock's study synthetically examines the overlooked practices of major American art collectors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He reveals the way collections were devised as both models for modernism's future institutionalization and culturally productive objects and aesthetic forms in themselves. Rather than anchoring his study in the familiar figures of the individual poet, artist, and work, Braddock gives us an entirely new account of how modernism was made, one centered on the figure of the collector and the practice of collecting. Collecting as Modernist Practice demonstrates that modernism's cultural identity was secured not so much through the selection of a canon of significant works as by the development of new practices that shaped the social meaning of art. Braddock has us revisit the contested terrain of modernist culture prior to the dominance of institutions such as the Museum of Modern Art and the university curriculum so that we might consider modernisms that could have been. Offering the most systematic review to date of the Barnes Foundation, an intellectual genealogy and analysis of The New Negro anthology, and studies of a wide range of hitherto ignored anthologies and archives, Braddock convincingly shows how artistic and literary collections helped define the modernist movement in the United States.

Combining aesthetic and political history, explores the influence of Chinese people and objects on American visual culture. In Collecting Objects / Excluding People, Lenore Metrick-Chen demonstrations an unknown impact of Chinese immigration upon nineteenth-century American art and visual culture. The American ideas of “Chineseness” ranged from a negative portrayal to an admiring one and these varied images had an effect on museum art collections and advertising images. They brought new ideas into American art theory, anticipating twentieth-century Modernism. Metrick-Chen demonstrates that efforts to construct a cultural democracy led to the creation of unforeseen new categories for visual objects and unanticipated social changes. Collecting Objects / Excluding People reveals the power of images upon culture, the influence of media representation upon the lives of Chinese immigrants, and the impact of political ideology upon the definition of art itself.

In 1883, Frederick Law Olmsted Sr. moved from New York City to Brookline, Massachusetts, a Boston suburb that annointed itself the “richest town in the world.” For the next half century, until his son Frederick Law Olmsted Jr. relocated to California in 1936, the Olmsted firm received over 150 local commissions, serving as the dominant force in the planned development of this community. From Fairsted, the Olmsteds’ Brookline home and office, the firm collaborated with an impressive galaxy of suburban neighbors who were among the regional and national leaders in the fields of architecture and horticulture, among them Henry Hobson Richardson and Charles Sprague Sargent. Through plans for boulevards and parkways, residential subdivisions, institutional commissions, and private gardens, the Olmsted firm carefully guided the development of the town, as they designed cities and suburbs across America. While Olmsted Sr. used landscape architecture as his vehicle for development, his son and namesake saw Brookline as grounds for experiment in the new profession of city and regional planning, a field that he was helping to define and lead. Little has been published on the importance of Brookline as a laboratory and model for the Olmsted firm’s work. This beautifully illustrated book provides important new perspective on the history of planning in the United States and illuminates an aspect of the Olmsted office that has not been well understood.

In the Western world the period from the mid-eighteenth through the nineteenth century was a time of expanding historical consciousness, a period that saw the birth of modern historiography, a profusion of historical novels and paintings, and the widespread production of historical plays. Historical buildings, in themselves already of intense interest to people of the day, also found their way into the multiplying cultural forms as concrete presences anchoring a novelist’s, poet’s, painter’s, or, eventually, filmmaker’s vision of the past. In recent years a number of blockbuster films have used historically significant buildings as filming locations because buildings can concretely bring a former era or fictional world closer to contemporary viewers. Conjuring the Real traces the genealogy of this representational role of architecture, going back through the history of film and then further in literature, art, and theater. The contributors examine the ways in which authors, artists, and stage managers used complex depictions of buildings to feed and shape the audience’s historical imagination. How can we understand the significance of architecture, not through its original design and construction but through the ways in which the public experiences, perceives, and understands it? The contributors pursue this question through the ideas of secondary portrayers of historical buildings, such as writers and artists, and then through the responses of those who read and view these creations.

Connecticut women have long been noted for their creation of colorful and distinctive needlework, including samplers and family registers, bed rugs and memorial pictures, crewel-embroidered bed hangings and garments, silk-embroidered pictures of classical or religious scenes, quilted petticoats and bedcovers, and whitework dresses and linens. This volume offers the first regional study, encompassing the full range of needle arts produced prior to 1840. Seventy entries showcase more than one hundred fascinating examples--many never before published--from the Connecticut Historical Society's extensive collection of this early American art form. Produced almost exclusively by women and girls, the needle arts provide an illuminating vantage point for exploring early American women's history and education, including family-based traditions predating the establishment of formal academies after the American Revolution. Extensive genealogical research reveals unseen family connections linking various types of needlework, similar to the multi-generational male workshops documented for other artisan trades, such as woodworking or metalsmithing. Photographs of stitches, reverse sides, sketches, design sources, and related works enhance our understanding and appreciation of this fragile art form and the talented women who created it. An exhibition of needlework in this book will be held at the Connecticut Historical Society in late fall, 2010. Funding for this project has been provided by the Coby Foundation, Ltd., and the National Endowment for the Arts.

African fashion is as diverse and dynamic as the continent and the people who live there. While experts have long recognized the importance of clothing as a marker of ethnic identity, life stages, political affiliation, and social class, they have only just begun to discover African fashion. Contemporary African Fashion puts Africa at the intersection of world cultures and globalized identities, displaying the powerful creative force and impact of newly emerging styles. Richly illustrated with color photographs, this book showcases haute couture for the African continent. The visual impact of fashion created and worn today in Africa comes to life here, beautifully and brilliantly.

The topic of the border wall between the United States and Mexico continues to be broadly and hotly debated: on national news media, by local and state governments, and even in coffee shops and over the dinner table. By now, broad segments of the population have heard widely varying opinions about the wall’s effect on illegal immigration, international politics, and the drug war. ?But what about the wall’s effect on the Sonoran pronghorn antelope herds and the kit fox? On the Mexican gray wolf, the ocelot, the jaguar, and the bighorn sheep??In unforgettable images and evocative text, Continental Divide: Wildlife, People, and the Border Wall helps readers understand all that is at stake. ?As Krista Schlyer explains,  the remoteness of this region from most US citizens’ lives, coupled with the news media’s focus on illegal immigration and drug violence, has left many with an incomplete picture. As she reminds us, this largely isolated natural area, stretching from the Pacific Ocean to the Gulf of Mexico, hosts a number of rare ecosystems: Arizona’s last free-flowing river, the San Pedro; the grasslands of New Mexico, some of the last undeveloped prairies on the continent; the single most diverse birding area in the US, located along the lower Rio Grande River in Texas; and habitat and migration corridors for some of both nations’ most imperiled species.?In documenting the changes to the ecosystems and human communities along the border while the wall was being built, Schlyer realized that the impacts of immigration policy on wildlife, on landowners, and on border towns were not fully understood by either policy makers or the general public. The wall not only has disrupted the ancestral routes of wildlife; it has also rerouted human traffic through the most pristine and sensitive of wildlands, causing additional destruction, conflict, and death—without solving the original problem.

The traditional costumes worn by people in the Andes—women’s woolen skirts, men’s ponchos, woven belts, and white felt hats—instantly identify them as natives of the region and serve as revealing markers of ethnicity, social class, gender, age, and so on. Because costume expresses so much, scholars study it to learn how the indigenous people of the Andes have identified themselves over time, as well as how others have identified and influenced them.  Costume and History in Highland Ecuador assembles for the first time for any Andean country the evidence for indigenous costume from the entire chronological range of prehistory and history. The contributors glean a remarkable amount of information from pre-Hispanic ceramics and textile tools, archaeological textiles from the Inca empire in Peru, written accounts from the colonial period, nineteenth-century European-style pictorial representations, and twentieth-century textiles in museum collections. Their findings reveal that several garments introduced by the Incas, including men’s tunics and women’s wrapped dresses, shawls, and belts, had a remarkable longevity. They also demonstrate that the hybrid poncho from Chile and the rebozo from Mexico diffused in South America during the colonial period, and that the development of the rebozo in particular was more interesting and complex than has previously been suggested. The adoption of Spanish garments such as the pollera (skirt) and man’s shirt were also less straightforward and of more recent vintage than might be expected.

Since the mid-1980s, whimsical, brightly colored wood carvings from the Mexican state of Oaxaca have found their way into gift shops and private homes across the United States and Europe, as Western consumers seek to connect with the authenticity and tradition represented by indigenous folk arts. Ironically, however, the Oaxacan wood carvings are not a traditional folk art. Invented in the mid-twentieth century by non-Indian Mexican artisans for the tourist market, their appeal flows as much from intercultural miscommunication as from their intrinsic artistic merit. In this beautifully illustrated book, Michael Chibnik offers the first in-depth look at the international trade in Oaxacan wood carvings, including their history, production, marketing, and cultural representations. Drawing on interviews he conducted in the carving communities and among wholesalers, retailers, and consumers, he follows the entire production and consumption cycle, from the harvesting of copal wood to the final purchase of the finished piece. Along the way, he describes how and why this "invented tradition" has been promoted as a "Zapotec Indian" craft and explores its similarities with other local crafts with longer histories. He also fully discusses the effects on local communities of participating in the global market, concluding that the trade in Oaxacan wood carvings is an almost paradigmatic case study of globalization.