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The year 1910 marks an astonishing, and largely unrecognized, juncture in Western history. This title addresses the extraordinary intellectual achievement of the time. It probes the themes and obsessions in the work of intellectuals as diverse as Egon Schiele, Georg Trakl, Vasily Kandinsky, Georg Lukacs, Georg Simmel and Dino Campana.

Featuring essays by a multidisciplinary group of leading scholars and writers, this volume investigates the intersection of aerospace and Southern California through the lenses of anthropology, history of science and technology, labor, business, ethnicity and gender, architecture, and the environment.

Internationally renowned and a crucial classroom text, The Arts of China has been revised and expanded by the late Michael Sullivan, with Shelagh Vainker. This new, sixth, edition has an emphasis on Chinese art history, not as an assemblage of related topics, but as a continuous story. With updated attributions and dating throughout and a revised bibliography, it reflects the latest archaeological discoveries, as well as giving increased attention to modern and contemporary art and to calligraphy throughout China's history, with additional discussions of work by women artists. Visual enhancements include all new maps, and approximately one hundred new color illustrations--bringing the total to well over four hundred color illustrations. Written in the engaging and lucid style that is Sullivan's hallmark, The Arts of China is readily accessible to general readers as well as to serious students of art history. Sullivan's approach remains true to the way the Chinese themselves view art, providing readers with a sense of the sweep of history through China's dynasties. This organizational strategy makes it easy for readers to understand the distinct characteristics of each period of art and to gain a clearer view of how Chinese art has changed in relation to its historical context. With many improvements that bring it fully up to date, The Arts of China will remain the most comprehensive and widely read introduction to the history of Chinese art.

"This catalogue is published on the occasion John Waters: Indecent Exposure, an exhibition presented at The Baltimore Museum of Art, October 7, 2018-January 6, 2019, and at the Wexner Center for the Arts, The Ohio State University, February 2-April 28, 2019"--Colophon.

This complete edition of letters and documents between Arnold Schoenberg and Thomas Mann brings together two towering figures of twentieth-century music and literature, both of whom found refuge in Los Angeles during the Nazi era. Culminating in the famous dispute over Mann's novel Doctor Faustus, the correspondence, diary entries, and related articles provide a glimpse inside the private and public lives of these two great artists, the outstanding figures of the German-exile community in California. In the thicket of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make enemies of both families. Gathered here for the first time in English, the letters in this essential volume are complemented by rich primary source materials and an introduction by Germanic scholar Adrian Daub that contextualizes the impact the artists had on twentieth-century thought and culture.

"The End of Landscape in Nineteenth-Century America engages the precarious status of landscape art in the period that witnessed the closing of the frontier, the transition to finance capital, and a crisis of both subject and representational means. At once deeply grounded in the material, cultural, and discursive conditions of painting in the later nineteenth century, Cao's important book--by explaining the eccentric logic of landscape's endgames--also refigures our understanding of its beginnings and its futures. Lucidly analyzing the varied responses of landscape artists to the ever more immaterial conditions of modernization, and to the loss of a firm 'ground' for their genre, Cao's book adds to our expanding understanding of the space-time matrix--the physical, social, and historical transits--within which works of art live."--Angela Miller, Professor of Art History, Washington University in St. Louis "A brilliant and timely reinterpretation of painters wrestling with the economic and environmental conditions of modernity. Cao draws our gaze away from the canon of American landscape to focus on experimental works that betrayed the limits and inadequacies of the genre. With evocative prose and interpretive gusto, Cao offers pairings of things that delightfully surprise the reader--butterflies and rail cars, nocturnes and banknotes--thereby challenging us to see unexpected phenomena in landscape representation, from foldings and closures to wastelands and decay."--Wendy Bellion, Associate Professor of Art History, University of Delaware "As the first coherent genre in American painting, landscape has a special role in our art histories. Maggie Cao argues through incisive new readings of canonical and eccentric paintings that the demise of landscape propelled its original obsessions (stockpile or wilderness? Property or Eden?) into surprising places, where 'landscape's breaking points' crash into modernity itself. Reinvented as the 'elemental big forms' animating twentieth-century modernisms and postmodernisms in the United States, nineteenth-century landscape, in Cao's terrific telling, manifests American destiny like nothing else."--Caroline A. Jones, Professor of Art History, Massachusetts Institute of Technology "Cao's book offers a compelling exploration of American landscape painting as a genre that has never really ended but has always had an end in sight of one kind or another. By examining a number of limited cases, Cao productively reminds us that the nature of landscape painting--like the 'nature' it seems to deliver--is thoroughly constructed and contested. Her book demonstrates the importance of looking critically at landscape and seeing through its maneuvers."--Alan C. Braddock, Ralph H. Wark Associate Professor of Art History and American Studies, William & Mary