This is not a story about art. Although Malvina Hoffman was known as America’s Rodin, her story is one of adventure, intrigue, and life among the greatest artists and powerbrokers during the early to mid-twentieth century. Every action Malvina undertook broke glass ceilings. She smashed through her fears to achieve the impossible, many times over. She was an inspiration to all.

In 1930, Chicago's Field Museum of Natural History commissioned sculptor Malvina Hoffman to produce three-dimensional models of racial types for an anthropology display called the Races of Mankind. In this exceptional study, Marianne Kinkel measures the colossal impact of the ninety-one bronze and stone sculptures on perceptions of race in twentieth-century visual culture, tracing their exhibition from their 1933 debut and nearly four decades at the Field Museum to numerous reuses, repackagings, reproductions, and publications that reached across the world. Employing a keen interdisciplinary approach, Kinkel taps archival sources and period publications to construct a cultural biography of the Races of Mankind sculptures. She examines how Hoffman's collaborations with curators and anthropologists transformed the commission from a traditional physical anthropology display to a fine art exhibit. She also tracks influential exhibitions of statuettes in New York and Paris and photographic reproductions in atlases, maps, and encyclopedias. The volume concludes with the dismantling of the exhibit at the Field Museum in the late 1960s and the redeployment of some of the sculptures in new educational settings. Kinkel demonstrates how the Races of Mankind sculptures participated in various racial paradigms by asserting fixed racial types and racial hierarchies in the 1930s, promoting the notion of a Brotherhood of Man in the 1940s, and engaging Afrocentric discourses of identity in the 1970s. Despite the enormous role the sculptures played in representing race in American visual culture, their history has been largely unrecognized until now. The first sustained examination of this influential group of sculptures, Races of Mankind: The Sculptures of Malvina Hoffman examines how the veracity of race is continually renegotiated through collaborative processes involved in the production, display, and circulation of visual representations.

This book explores how physical anthropologists struggled to understand variation in bodies and cultures in the twentieth century, how they represented race to professional and lay publics, and how their efforts contributed to an American formulation of race that has remained rooted in both bodies and cultures, as well as heredity and society.

Never tell a woman where she doesn't belong. In 1932, Roy Chapman Andrews, president of the men-only Explorers Club, boldly stated to hundreds of female students at Barnard College that "women are not adapted to exploration," and that women and exploration do not mix. He obviously didn't know a thing about either... The Girl Explorers is the inspirational and untold story of the founding of the Society of Women Geographers—an organization of adventurous female world explorers—and how key members served as early advocates for human rights and paved the way for today's women scientists by scaling mountains, exploring the high seas, flying across the Atlantic, and recording the world through film, sculpture, and literature. Follow in the footsteps of these rebellious women as they travel the globe in search of new species, widen the understanding of hidden cultures, and break records in spades. For these women dared to go where no woman—or man—had gone before, achieving the unthinkable and breaking through barriers to allow future generations to carry on their important and inspiring work. The Girl Explorers is an inspiring examination of forgotten women from history, perfect for fans of bestselling narrative history books like The Radium Girls, The Woman Who Smashed Codes, and Rise of the Rocket Girls.

Offers advice on using tools and constructing armatures as well as shaping human figures, portrait heads, and bas reliefs from clay, plaster, wood, stone, and metal

Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.