This book focuses on the life and artistic activities of Emilio Sanchez (1921–1999) in New York, and Latin America in the 1940s and 1950s. More specifically, the book will consider Sanchez in the wider context of mid-century Cuban artists, and cross-cultural exchange between New York, Cuba, and the Caribbean. The book reflects on why Sanchez chose to be a mobile observer of the American and Caribbean vernacular at a time when such an approach seemed at odds with the mainstream avant-garde. The book includes a foreword by Dr. Ann Koll, former Executive Director/Curator of the Emilio Sanchez Foundation, and an introduction by Dr. Nathan J. Timpano, University of Miami Department of Art and Art History. This book will be of interest to scholars in modern art, Caribbean studies, architectural history, and Latin American and Hispanic studies.

- A selection of visually unique paintings, watercolors, drawings, and etchings by the 20th-century Cuban American artist Emilio Sanchez - A cabinet of wonders that include letters, photographs and ephemera associated with the life and work of Sanchez - A collection of works by friends and contemporaries of the artist from both Cuba and North America - A celebration of the US Postal Service's selection of Sanchez as part of their "Forever Series" of stamps - Includes provocative essays that challenge our understanding of Sanchez's role within 20th-century Cuban, and Latin American modern art Emilio Sanchez Fonts (1921-1999) was a Cuban American artist known for his architectural paintings, drawings, and graphic prints of New York, Latin America, and the Caribbean. As a realist artist, he was attracted to folklore and the vernacular, with architectural scenes of everyday life taking preference over the great historical narratives of western civilization. His keen eye and remarkable ability to edit incidental elements also made him a painter of dreamlike architectural enigmas, as if the buildings he depicted existed only in memory. Sanchez's work is in the permanent collections of many institutions, including the Metropolitan Museum of Art (New York), the Boston Museum of Fine Arts, the Brooklyn Museum of Art, the Hirshhorn Museum and Sculpture Garden (Washington DC), the Museo Nacional de Bellas Artes de La Habana (Havana), the Museo de Arte Moderno (Bogotá), and the Philadelphia Museum of Art. He received First Prize at the 1974 San Juan Biennial in, Puerto Rico, and was awarded the CINTAS Fellowship in the Visual Arts (1989-90). His remarkable story, like that of his tragic country, is a tale of powerful contrasts, intense light, and mysteriously penetrating shadows.

Explores how one group of Latin American artists express their relationship to American art, history and culture.

The Suspension of Seriousness engages the Mexican philosopher Jorge Portilla (1919–1963), taking note of Portilla's philosophical methodology, insights, and contributions to our understanding of value, being, and subjectivity. Portilla lived a short, troubled life and never held a teaching appointment, but his works, though few in number, were nevertheless philosophically penetrating. He is a legendary character in the Mexican popular imagination of the 1940s and '50s, but little has been written about him or his philosophy. His posthumously published Fenomenología del relajo is a phenomenological analysis of what Portilla calls "relajo" or the state we assume when we do not want to do what is seriously being asked of us—what is demanded of us. It is, Portilla says, "the suspension of seriousness." Carlos Alberto Sánchez uses Portilla's Fenomenología del relajo as a point of departure to consider the dangers both of our uncritical adherence to values as well as our urge to reject values altogether. He argues that Portilla provides a framework in which to situate the modern condition, ourselves, and our future. The first authorized English translation of Portilla's Fenomenología del relajo is included.

In the 20th century, modern architecture thrived in Cuba and a wealth of buildings was realized prior to the revolution 1959 and in its wake. The designs comprise luxurious nightclubs and stylish hotels, sports facilities, elegant private homes and apartment complexes. Drawing on the vernacular, their architects defined a way to be modern and Cuban at the same time – creating an architecture oscillating between tradition and avantgarde. Audacious concrete shells, curving ramps, elegant brises-soleils and a fluidity of interior and exterior spaces are characteristic of an airy, often colorful architecture well-suited to life in the tropics. New photographs and drawings were specially prepared for this publication. A biographical survey portraits the 40 most important Cuban architects of the era.

A stunning behind-the-curtain look into the last years of the illegal transatlantic slave trade in the United States Long after the transatlantic slave trade was officially outlawed in the early nineteenth century by every major slave trading nation, merchants based in the United States were still sending hundreds of illegal slave ships from American ports to the African coast. The key instigators were slave traders who moved to New York City after the shuttering of the massive illegal slave trade to Brazil in 1850. These traffickers were determined to make Lower Manhattan a key hub in the illegal slave trade to Cuba. In conjunction with allies in Africa and Cuba, they ensnared around two hundred thousand African men, women, and children during the 1850s and 1860s. John Harris explores how the U.S. government went from ignoring, and even abetting, this illegal trade to helping to shut it down completely in 1867.

"He Raped. . . Altemio Sanchez was a modern-day Jekyll and Hyde—a family man who resided in Buffalo, New York, with a wife and two sons, worked nights as a machinist, and concealed a terrible secret. Once a year, after his shift, he'd make a side trip to a secluded spot where women would ride bikes and jog. He was called ""The Bike Path Rapist""—until he crossed the line from rape to murder. He Killed. . . For fourteen years, the Bike Path Killer mercilessly raped and murdered his prey, eluding police every step of the way. Then, the killings stopped. People wondered whether he'd left town, had been locked up in prison for another crime, or maybe even died. But when another woman's corpse with the same lethal signature surfaced, authorities knew the Bike Path Killer was back. And He Almost Got Away With It. Now, for the first time, two award-winning reporters follow a depraved killer's bloody trail of terror to the bitter end: his horrifying confession. . . Includes 16 pages of shocking photos. "