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Michigan's Capitol: Construction and Restoration is the history of a great American landmark, one among fifty statehouses. Construction of Michigan's State Capitol began in 1871, six years after the close of the Civil War, and was brought to completion less than a decade later. It has survived for more than a century to become the object of one of America's most authentic restorations. This volume allows the reader to chronicle the building and restoration of Michigan's Capitol through words and magnificent color and black-and-white photographs. An archive of treasured historical images, beginning with a group scene at the time the cornerstone was placed, is also included alongside original architectural drawings and sketches.

Michigan's Capitol: Construction and Restoration is not only the history of a great vision realized, but a celebration of the rediscovery and revival of that vision in the 1980s and 1990s culminating in one of the most comprehensive restorations ever carried out on an American building. The author, William Seale, a part of the restoration team for Michigan's Capitol from the start, has written extensively about many American buildings, including the White House.

Written in a lively, narrative style accessible to readers of all ages, Michigan's Capitol: Construction and Restoration is an especially useful introduction to the art of building as well as the politics of public building.

John Fedynsky documents in narrative and photos every county courthouse of Michigan's eighty-three counties, as well as the Michigan Hall of Justice. These buildings are symbols: physically they stand, but figuratively they speak. They embody the purposes for which they were created: law, order, justice, and the promise of a better tomorrow.

Fedynsky tells the story of each building. For Michigan, the typical evolution begins in the cabin, tavern, or hotel of a prominent local settler and progresses through incarnations of simple log or wooden clapboard, and then opulent stone or brick, before the structure arrives in modern and utilitarian form. But there are myriad exceptions to this rule, and they add to the diversity of Michigan's county courthouses.

In Fedynsky's descriptions, verifiable facts and local lore weave together in dramatic tales of outrageous crime, courtroom intrigue, backroom dealing, jury determination, and judicial prerogative. Released jail inmates assist with evacuating and extinguishing a courthouse fire, residents during a natural disaster seek and find physical refuge behind the sure walls of the courthouse, and vigilant legions of homebound defenders are stationed in wartime throughout the courthouse towers scanning the skies for signs of foreign aircraft.

Then there are the homey touches that emphasize the "house" half of Michigan's courthouses: local folks dropping off plants in the courthouse atrium to use it as a winter greenhouse, cows grazing on the public square, county fairs in or near the courthouse, and locally made artwork hanging in public hallways. The courthouses bear within their walls a richness of soul endowed by the good people who make each one special.

Cover design by Heidi Dailey

Cover photos: John Fedynsky

The history of Michigan is a fascinating story of breathtaking geography enriched by an abundant water supply, of bold fur traders and missionaries who developed settlements that grew into major cities, of ingenious entrepreneurs who established thriving industries, and of celebrated cultural icons like the Motown sound. It is also the story of the exploitation of Native Americans, racial discord that resulted in a devastating riot, and ongoing tensions between employers and unions. Michigan: A History of Explorers, Entrepreneurs, and Everyday People recounts this colorful past and the significant role the state has played in shaping the United States. Well-researched and engagingly written, the book spans from Michigan’s geologic formation to important 21st-century developments in a concise but detailed chronicle that will appeal to general readers, scholars, and students interested in Michigan’s past, present, and future.

Don Vasco de Quiroga (1470-1565) was the first bishop of Michoacán in Western Mexico. Driven by the desire to convert the native Purhépecha-Chichimec peoples to a purified form of Christianity, free of the corruptions of European Catholicism, he sought to establish New World Edens in Michoacán by congregating the people into pueblo-hospital communities, where mendicant friars could more easily teach them the fundamental beliefs of Christianity and the values of Spanish culture.

In this broadly synthetic study, Bernardino Verástique explores Vasco de Quiroga's evangelizing project in its full cultural and historical context. He begins by recreating the complex and not wholly incompatible worldviews of the Purhépecha and the Spaniards at the time of their first encounter in 1521. With Quiroga as a focal point, Verástique then traces the uneasy process of assimilation and resistance that occurred on both sides as the Spaniards established political and religious dominance in Michoacán. He describes the syncretisms, or fusions, between Christianity and indigenous beliefs and practices that arose among the Purhépecha and relates these to similar developments in other regions of Mexico.

Written especially for students and general readers, this book demonstrates how cultural and geographical environments influence religious experience, while it adds to our understanding of the process of indigenous appropriation of Christian theological concepts in the New World.

An interdisciplinary study charting the war against microbial futures leads to a new theory of contemporary vision and visuality
 

In 1989, a group of U.S. government scientists met to discuss some surprising findings: new diseases were appearing around the world, and viruses that they thought long vanquished were resurfacing. Their appearance heralded a future perpetually threatened by unforeseeable biological risks, sparking a new concept of disease: the “emerging microbe.” With the Cold War nearing its end, American scientists and security experts turned to confront this new “enemy,” redirecting national security against its risky horizons. In order to be fought, emerging microbes first needed to be made perceptible; but how could something immaterial, unknowable, and ever mutating be coaxed into visibility, knowability, and operability?

Microbial Resolution charts the U.S.-led war on the emerging microbe to show how their uncertain futures were transformed into objects of global science and security. Moving beyond familiar accounts that link scientific knowledge production to optical practices of visualizing the invisible, Gloria Chan-Sook Kim develops a theory of “microbial resolution” to analyze the complex problematic that arises when dealing with these entities: what can be seen when there is nothing to see? Through a syncretic analysis of data mining, animal-tracking technologies, media networks, computer-modeled futures, and global ecologies and infrastructures, she shows how a visual impasse—the impossibility of seeing microbial futures—forms the basis for new modes of perceiving, knowing, and governing in the present.

Timely and thought provoking, Microbial Resolution opens up the rich paradoxes, irreconcilabilities, and failures inherent in this project and demonstrates how these tensions profoundly animate twenty-first-century epistemologies, aesthetics, affects, and ecologies.

Winner, Award of Merit for Non-Fiction, The Philosophical Society of Texas, 2015

Before Abstract Expressionism of New York City was canonized as American postwar modernism, the United States was filled with localized manifestations of modern art. One such place where considerable modernist activity occurred was Texas, where artists absorbed and interpreted the latest, most radical formal lessons from Mexico, the East Coast, and Europe, while still responding to the state’s dramatic history and geography. This barely known chapter in the story of American art is the focus of Midcentury Modern Art in Texas.

Presenting new research and artwork that has never before been published, Katie Robinson Edwards examines the contributions of many modernist painters and sculptors in Texas, with an emphasis on the era’s most abstract and compelling artists. Edwards looks first at the Dallas Nine and the 1936 Texas Centennial, which offered local artists a chance to take stock of who they were and where they stood within the national artistic setting. She then traces the modernist impulse through various manifestations, including the foundations of early Texas modernism in Houston; early practitioners of abstraction and non-objectivity; the Fort Worth Circle; artists at the University of Texas at Austin; Houston artists in the 1950s; sculpture in and around an influential Fort Worth studio; and, to see how some Texas artists fared on a national scale, the Museum of Modern Art’s “Americans” exhibitions.

The first full-length treatment of abstract art in Texas during this vital and canon-defining period, Midcentury Modern Art in Texas gives these artists their due place in American art, while also valuing the quality of Texan-ness that subtly undergirds much of their production.