Exile and migration played a critical role in the diffusion and development of modernism around the globe, yet have long remained largely understudied phenomena within art historiography. Focusing on the intersections of exile, artistic practice and urban space, this volume brings together contributions by international researchers committed to revising the historiography of modern art. It pays particular attention to metropolitan areas that were settled by migrant artists in the first half of the 20th century. These arrival cities developed into hubs of artistic activities and transcultural contact zones where ideas circulated, collaborations emerged, and concepts developed. Taking six major cities as a starting point – Bombay (now Mumbai), Buenos Aires, Istanbul, London, New York, and Shanghai –the authors explore how urban topographies and landscapes were modified by exiled artists re-establishing their practices in metropolises across the world. Questioning the established canon of Western modernism, Arrival Cities investigates how the migration of artists to different urban spaces impacted their work and the historiography of art. In doing so, it aims to encourage the discussion between international scholars from different research fields, such as exile studies, art history, social history, architectural history, architecture, and urban studies.

In the present report, David Brugge, a National Park Service anthropologist and a recognized authority on the Athabaskans of the Southwest, carefully and meticulously details the history of the Navajo people of the Chaco area. Brugge's account is fundamentally descriptive and consciously impartial. Yet at times he presents us alternative views to the published accounts of historical events of the area, offering the "Navajo version" as gleaned from interviews with the old people themselves.

The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.

Why are the paleolithic Venus of Willendorf, Michelangelo's Sistine Chapel frescoes, and Marcel Duchamp's ready-made urinal all considered works of art? Why, strictly speaking, is a Cindy Sherman photograph more "art-like" than a Da Vinci portrait? How did the painters and sculptors of the Renaissance see their creations? And who decides what art is today? In the tradition of Marshall McLuhan and John Berger, this learned and deliciously subversive book gives us a new way of seeing our artistic heritage. Believing Is Seeing is a work of multicultural scope and glittering intelligence that bridges the gulf between classical Japanese painting and the films of Spike Lee, between high theory and pop culture. Probing beyond the rhetorical surface of standard art histories and drawing on a panoramic array of illustrative material, Mary Anne Staniszewski throws a fresh light on individual works and the often mystifying criteria by which they are valued.