Washington, D.C. has long been known as a frustrating and sometimes confusing city for its residents to call home. The monumental core of federal office buildings, museums, and the National Mall dominates the city’s surrounding neighborhoods and urban fabric. For much of the postwar era, Washingtonians battled to make the city their own, fighting the federal government over the basic question of home rule, the right of the city’s residents to govern their local affairs.
In Historic Capital, urban historian Cameron Logan examines how the historic preservation movement played an integral role in Washingtonians’ claiming the city as their own. Going back to the earliest days of the local historic preservation movement in the 1920s, Logan shows how Washington, D.C.’s historic buildings and neighborhoods have been a site of contestation between local interests and the expansion of the federal government’s footprint. He carefully analyzes the long history of fights over the right to name and define historic districts in Georgetown, Dupont Circle, and Capitol Hill and documents a series of high-profile conflicts surrounding the fate of Lafayette Square, Rhodes Tavern, and Capitol Park, SW before discussing D.C. today.
Diving deep into the racial fault lines of D.C., Historic Capital also explores how the historic preservation movement affected poor and African American residents in Anacostia and the U Street and Shaw neighborhoods and changed the social and cultural fabric of the nation’s capital. Broadening his inquiry to the United States as a whole, Logan ultimately makes the provocative and compelling case that historic preservation has had as great an impact on the physical fabric of U.S. cities as any other private or public sector initiative in the twentieth century.
Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.
Thematically focused analysis of modern architecture throughout Texas with gorgeous photographs illustrating works by famous and lesser-known architects.
In the mid-twentieth century, dramatic social and political change coincided with the ascendance and evolution of architectural modernism in Texas. Between the 1930s and 1980s, a state known for cowboys and cotton fields rapidly urbanized and became a hub of global trade and a heavyweight in national politics. Relentless ambition and a strong sense of place combined to make Texans particularly receptive to modern architecture’s implication of newness, forward-looking attitude, and capacity to reinterpret historical forms in novel ways. As money and people poured in, architects and their clients used modern buildings to define themselves and the state.
Illustrated with stunning photographs by architect Ben Koush, Home, Heat, Money, God analyzes buildings in big cities and small towns by world-famous architects, Texas titans, and lesser-known designers. Architectural historian Kathryn O’Rourke describes the forces that influenced architects as they addressed basic needs—such as staying cool in a warming climate and living in up-to-date housing—and responded to a culture driven by potent religiosity, by the countervailing pressures of pluralism and homogenization, and by the myth of Texan exceptionalism.
In the late 1950s, Chauncey C. Nash started collecting Inuit carvings just as the art of printmaking was being introduced in Kinngait (Cape Dorset), an Inuit community on Baffin Island in the Canadian territory of Nunavut. Nash donated some 300 prints and sculptures to Harvard’s Peabody Museum—one of the oldest collections of early modern Inuit art. The Peabody collection includes not only early Inuit sculpture but also many of the earliest prints on paper made by the women and men who helped propel Inuit art onto the world stage.
Author Maija M. Lutz draws from ethnology, archaeology, art history, and cultural studies to tell the story of a little-known collection that represents one of the most vibrant and experimental periods in the development of contemporary Inuit art. Lavishly illustrated, Hunters, Carvers, and Collectors presents numerous never-before-published gems, including carvings by the artists John Kavik, Johnniebo Ashevak, and Peter Qumalu POV Assappa. This latest contribution to the award-winning Peabody Museum Collections Series fills an important gap in the literature of Native American art.
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