This stunning collection of 284 rare designs is a bonanza for artists and craftspeople seeking distinctive patterns with a South American Indian flavor. The carefully adapted, authentic motifs include animal and totemic designs, geometric and rectilinear figures, abstracts, grids, and many other styles in a wide range of shapes and sizes.

For more than one hundred years, the Conquest of the Desert (1878–1885) has marked Argentina’s historical passage between eras, standing at the gateway to the nation’s “Golden Age” of progress, modernity, and—most contentiously—national whiteness and the “invisibilization” of Indigenous peoples. This traditional narrative has deeply influenced the ways in which many Argentines understand their nation’s history, its laws and policies, and its cultural heritage. As such, the Conquest has shaped debates about the role of Indigenous peoples within Argentina in the past and present. The Conquest of the Desert brings together scholars from across disciplines to offer an interdisciplinary examination of the Conquest and its legacies. This collection explores issues of settler colonialism, Indigenous-state relations, genocide, borderlands, and Indigenous cultures and land rights through essays that reexamine one of Argentina’s most important historical periods.

273 great 19th-century woodcuts: crimes, miracles, skeletons, ads, portraits, news cuts. Table of contents includes Calaveras; Disasters; National Events; Religion and Miracles; Don Chepito Marihuano; Chapbook Covers; Chapbook Illustrations; and Everyday Life.

The comprehensive book on Indian petroglyphs in the Southwest.

Extremely pliable yet amazingly durable, metal offers infinite decorative options. Here are 1,000 prime examples of French metal masterworks, painstakingly reproduced from an extremely rare and valuable edition. From the everyday to the ornate, items include: Weather vanes Tiles Waterspouts Trims Basins Pike heads You'll also find hundreds of other images, offering a wealth of inspiration and useful historical designs.

Full-page reproductions of drawings from the early 15th century to the end of the 18th century, all beautifully reproduced and representing the finest efforts of the great masters of Western art. Includes works by Rembrandt, Michelangelo, Dürer, Fragonard, Urs Graf, Wouwerman, and many others. A first-rate browse and an excellent model book for artists.

Co-Winner, 2023 Chidananda Dasgupta Award for the Best Writing on Cinema, Chidananda Dasgupta Memorial Trust Shortlisted, 2022 MSA Book Prize, Modernist Studies Association Longlisted, 2022 Moving Image Book Award, Kraszna-Krausz Foundation The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term “art film” and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines key works of Indian art cinema to demonstrate how film emerged as a mode of doing history and that, in so doing, it anticipated some of the most influential insights of postcolonial thought. Majumdar details how filmmakers as well as a host of film societies and publications sought to foster a new cinematic culture for the new nation, fueled by enthusiasm for a future of progress and development. Good films would help make good citizens: art cinema would not only earn global prestige but also shape discerning individuals capable of exercising aesthetic and political judgment. During the 1960s, however, Satyajit Ray, Mrinal Sen, and Ritwik Ghatak—the leading figures of Indian art cinema—became disillusioned with the belief that film was integral to national development. Instead, Majumdar contends, their works captured the unresolvable contradictions of the postcolonial present, which pointed toward possible, yet unrealized futures. Analyzing the films of Ray, Sen, and Ghatak, and working through previously unexplored archives of film society publications, Majumdar offers a radical reinterpretation of Indian film history. Art Cinema and India’s Forgotten Futures offers sweeping new insights into film’s relationship with the postcolonial condition and its role in decolonial imaginations of the future.