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American art museums flourished in the late twentieth century, and the impresario leading much of this growth was J. Carter Brown, director of the National Gallery of Art in Washington, DC, from 1969 to 1992.  Along with S. Dillon Ripley, who served as Smithsonian secretary for much of this time, Brown reinvented the museum experience in ways that had important consequences for the cultural life of Washington and its visitors as well as for American museums in general. In Capital Culture, distinguished historian Neil Harris provides a wide-ranging look at Brown’s achievement and the growth of museum culture during this crucial period.

Harris combines his in-depth knowledge of American history and culture with extensive archival research, and he has interviewed dozens of key players to reveal how Brown’s showmanship transformed the National Gallery. At the time of the Cold War, Washington itself was growing into a global destination, with Brown as its devoted booster. Harris describes Brown’s major role in the birth of blockbuster exhibitions, such as the King Tut show of the late 1970s and the National Gallery’s immensely successful Treasure Houses of Britain, which helped inspire similarly popular exhibitions around the country. He recounts Brown’s role in creating the award-winning East Building by architect I. M. Pei and the subsequent renovation of the West building. Harris also explores the politics of exhibition planning, describing Brown's courtship of corporate leaders, politicians, and international dignitaries.

In this monumental book Harris brings to life this dynamic era and exposes the creation of Brown's impressive but costly legacy, one that changed the face of American museums forever.

Lester A. Walton was a well-known public figure in his day. An African American journalist, cultural critic, diplomat, and political activist, he was an adviser to presidents and industrialists in a career that spanned the first six decades of the twentieth century. He was a steadfast champion of democracy and lived to see the passage of major civil rights legislation. But one word best describes Walton today: forgotten.

Exploring the contours of this extraordinary life, Susan Curtis seeks to discover why our collective memory of Walton has failed. In a unique narrative of historical research, she recounts a fifteen-year journey, from the streets of Harlem and “The Ville” in St. Louis to scattered archives and obscure public records, as she uncovers the mysterious circumstances surrounding Walton’s disappearance from national consciousness. And despite numerous roadblocks and dead ends in her quest, she tells how she came to know this emblematic citizen of the American Century in surprising ways.

In this unconventional book—a postmodern ghost story, an unprecedented experiment in life-writing—Curtis shares her discoveries as a researcher. Relating her frustrating search through long-overlooked documents to discover this forgotten man, she offers insight into how America’s obsession with race has made Walton’s story unwelcome. She explores the treachery, duplicity, and archival accidents that transformed a man dedicated to the fulfillment of American democracy into a shadowy figure.

Combining anecdotal memories with the investigative instincts of the historian, Curtis embraces the subjectivity of her research to show that what a society forgets or suppresses is just as important as what it includes in its history.  Colored Memories is a highly original work that not only introduces readers to a once-influential figure but also invites us to reconsider how we view, understand, and preserve the past.

Raised among Mexican American farmworkers, singer-songwriter Cris Plata spoke Spanish, ate Mexican food, and heard Mexican music played by family and friends. He also spoke English, went to school with mostly white children for at least half the year, and grew more familiar with mainstream American culture. Until he was seven, he and his family lived and worked on a ranch near Poteet, Texas. The family became migrant farmworkers, moving from Indiana to Arkansas and Florida before finally settling in Wisconsin in 1966 to work at an Astico farm.
 
This dual language book shares the Plata’s family story of migrant farming, music, and family amid the constant change and uncertainty of migrant life. While hardships—from poor working conditions and low wages to racial prejudice—were constant in Cris Plata’s upbringing, so too was the music that bonded and uplifted his family. After long days in the fields, Cris’s family spent their small amount of free time playing and singing songs from Mexico and South Texas. Cris learned to play the guitar, accordion, and mandolin, beginning to strum when he was just five years old. Today, he writes his own music, performs songs in English and Spanish, and records albums with his band, Cris Plata with Extra Hot.
 
Following Cris Plata’s journey from farm fields to musical stages, the story explores how a migrant, and the son of an immigrant, decided to make Wisconsin his home.