National Treasures explores the fate of French art and heritage during the Nazi occupation of France, revealing the roots of contemporary cultural policy in the Vichy era and exposing a hidden convergence of resistance and collaboration in French museology.

A richly illustrated look at some of the most important photobooks of the 20th century France experienced a golden age of photobook production from the late 1920s through the 1950s. Avant-garde experiments in photography, text, design, and printing, within the context of a growing modernist publishing scene, contributed to an outpouring of brilliantly designed books. Making Strange offers a detailed examination of photobook innovation in France, exploring seminal publications by Brassaï, Henri Cartier-Bresson, Robert Frank, Pierre Jahan, William Klein, and Germaine Krull. Kim Sichel argues that these books both held a mirror to their time and created an unprecedented modernist visual language. Sichel provides an engaging analysis through the lens of materiality, emphasizing the photobook as an object with which the viewer interacts haptically as well as visually. Rich in historical context and beautifully illustrated, Making Strange reasserts the role of French photobooks in the history of modern art.

Catalogs the Hilprecht collection of bronzes at the museum. Entries on individual pieces include physical descriptions and notes on ancient symbolism and the piece's relationship with similar items in this and other collections. Bandw photos of pieces are all grouped at the end of the volume. No index. Annotation copyrighted by Book News, Inc., Portland, OR

This text tells the story of French statues and monuments that were melted down and shipped to Nazi munitions factories during the Second World War.

Walk into any European museum today and you will see the curated spoils of Empire. They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objectsare all stolen. Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of brass plaques and carved ivory tusks depicting the history of the Royal Court of the Obas of BeninCity, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections. The story of the Benin Bronzes sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. In The Brutish Museums, Dan Hicks makes a powerful case for the urgent return of such objects, as part of a wider project of addressing the outstanding debt of colonialism.