Is there a Jewish art? Is there a single "Jewish experience"? Matthew Baigell, the acknowledged American expert on Jewish art, offers the first book ever on the history of Jewish American art from the early settlements to the present.

America's National Gallery of Art, a 75th-anniversary history of the nation's art museum, founded by Andrew W. Mellon and opened to the public on March 17, 1941. Presenting an overview of the Gallery's first fifty years and a thematic look at the transformation the museum has undergone since 1992, the book offers extensive photographic essays that highlight the West Building, newly renovated East Building, and Sculpture Garden as well as the magnificent art collection and selected special exhibitions. The book includes accounts of the founding benefactors and four directors--David Finley, John Walker, J. Carter Brown, and now Earl A. Powell III--and discusses the Gallery's historic 2014 agreement to accept custody of the collections of the Corcoran Gallery of Art.

In this uniquely wide-ranging book, David Craven investigates the extraordinary impact of three Latin American revolutions on the visual arts and on cultural policy. The three great upheavals - in Mexico (1910-40), in Cuba (1959-89), and in Nicaragua (1979-90) - were defining moments in twentieth-century life in the Americas. Craven discusses the structural logic of each movement's artistic project - by whom, how, and for whom artworks were produced -- and assesses their legacies. In each case, he demonstrates how the consequences of the revolution reverberated in the arts and cultures far beyond national borders. The book not only examines specific artworks originating from each revolution's attempt to deal with the challenge of 'socializing the arts,' but also the engagement of the working classes in Mexico, Cuba, and Nicaragua with a tradition of the fine arts made newly accessible through social transformation. Craven considers how each revolution dealt with the pressing problem of creating a 'dialogical art' -- one that reconfigures the existing artistic resource rather than one that just reproduces a populist art to keep things as they were. In addition, the author charts the impact on the revolutionary processes of theories of art and education, articulated by such thinkers as John Dewey and Paulo Freire. The book provides a fascinating new view of the Latin American revolutionaries -- from artists to political leaders -- who defined art as a fundamental force for the transformation of society and who bequeathed new ways of thinking about the relations among art, ideology, and class, within a revolutionary process.

More than 150 key social issues confronting the United States today are covered in this eight-volume set: from abortion and adoption to capital punishment and corporate crime; from obesity and organized crime to sweatshops and xenophobia.

The social and political climate in which Wood's art flourished bears certain striking similarities to America today, as national identity and the tension between urban and rural areas reemerge as polarizing issues in a country facing the consequences of globalization and the technological revolution. Wood portrayed the tension and alienation of contemporary experience. By fusing meticulously observed reality with fables of childhood, he crafted unsettling images of estrangement and apprehension that pictorially manifest the anxiety of modern life.

Vol. for 1867 includes Illustrated catalogue of the Paris Universal Exhibition.

Restoring a gifted art photographer to his place in the American canon and, in the process, reshaping and expanding our understanding of early 20th-century American photography Clarence H. White (1871–1925) was one of the most influential art photographers and teachers of the early 20th century and a founding member of the Photo-Secession. This beautiful publication offers a new appraisal of White’s contributions, including his groundbreaking aesthetic experiments, his commitment to the ideals of American socialism, and his embrace of the expanding fields of photographic book and fashion illustration, celebrity portraiture, and advertising. Based on extensive archival research, the book challenges the idea of an abrupt rupture between prewar, soft-focus idealizing photography and postwar “modernism” to paint a more nuanced picture of American culture in the Progressive era. Clarence H. White and His World begins with the artist’s early work in Ohio, which shares with the nascent Arts and Crafts movement the advocacy of hand production, closeness to nature, and the simple life. White’s involvement with the Photo-Secession and his move to New York in 1906 mark a shift in his production, as it grew to encompass commercial portraiture and an increasing commitment to teaching, which ultimately led him to establish the first institutions in America to combine instruction in both technical and aesthetic aspects of photography. The book also incorporates new formal and scientific analysis of White’s work and techniques, a complete exhibition record, and many unpublished illustrations of the moody outdoor scenes and quiet images of domestic life for which he was revered.

This Guide to the Study and Use of Military History is designed to foster an appreciation of the value of military history and explain its uses and the resources available for its study. It is not a work to be read and lightly tossed aside, but one the career soldier should read again or use as a reference at those times during his career when necessity or leisure turns him to the contemplation of the military past.