Brilliant photographs of scholars' rocks, or Chinese ornamental stones, from a leading collection Shaped by nature and selected by man, scholars' rocks, or gongshi, have been prized by Chinese intellectuals since the Tang dynasty, and are now sought after by Western collectors as well. They are a natural subject for the photographer Jonathan Singer, most recently acclaimed for his images of those other remarkable hybrids of art and nature, Japanese bonsai. Here Singer turns his lens on some 150 fine gongshi, ancient and modern, from the world-class collection of Kemin Hu, a recognized authority on this art form. In his photographs, Singer captures the spiritual qualities of these stones as never thought possible in two dimensions; he shows us that scholars' rocks truly are, in Hu's words, "condensations of the vital essence and energy of heaven and earth." Hu contributes an introductory essay on the history and aesthetics of scholars' rocks, explaining the traditional terms of stone appreciation, such as shou (thin), zhou (wrinkled), lou (channels), and tou (holes). She also provides a narrative caption for each stone, describing its history and characteristics.

From the 1880s to 1940, French colonial officials, businessmen and soldiers, returning from overseas postings, brought home wooden masks and figures from Africa. This imperial and cultural power-play is the jumping-off point for a story that travels from sub-Saharan Africa to Parisian art galleries; from the pages of fashion magazines, through the doors of the Louvre, to world fairs and international auction rooms; into the apartments of avant-garde critics and poets; to the streets of Harlem, and then full-circle back to colonial museums and schools in Dakar, Bamako, and Abidjan. John Warne Monroe guides us on this journey, one that goes far beyond the world of Picasso, Matisse, and Braque, to show how the Modernist avant-garde and the European colonial project influenced each other in profound and unexpected ways. Metropolitan Fetish reveals the complex trajectory of African material culture in the West and provides a map of that passage, tracing the interaction of cultural and imperial power. A broad and far-reaching history of the French reception of African art, it brings to life an era in which the aesthetic category of "primitive art" was invented.

In this volume, Gordon Morris Bakken traces the distinctive development of western legal history. The contributors' essays provide succinct descriptions of major cases, legislation, and individual western states' constitutional provisions that are unique in the American legal system. To assist the reader, the volume is organized by subject, including natural resources, municipal authority, business regulation, American Indian sovereignty and water rights, women, and Mormons. Contributors are: Roy H. Andes, Dana Blakemore, Richard Griswold del Castillo, Susan Badger Doyle, James W. Ely, Jr., Brenda Gail Farrington, Dale D. Goble, Neil Greenwood, Vanessa Gunther, Louise A Halper, Claudia Hess, Kenneth Hough, Paul Kens, Shenandoah Grant Lynd, Thomas C. Mackey, Nicholas George Malavis, Timothy Miller, Danelle Moon, Andrew P. Morriss, Keith Pacholl, Laurie Caroline Pintar, Michael A. Powell, Ion Puschilla, Emily Rader, Peter L. Reich, John Phillip Reid, Lucy E. Salyer, Susan Sanchez, Janet Schmelzer, Howard Shorr, Paul Reed Spitzzeri, John Joseph Stanley, Donald L. Stelluto, Jr., Timothy A. Strand, Imre Sutton, Nancy J. Taniguchi, and Lonnie Wilson.

A collection of essays that reflect the breadth of twentieth-century scholarship in art history. Kleinbauer has sought to illustrate the variety of methods scholars have developed for conveying the unfolding of the arts in the Western world. Originally published by Holt, Rinehart, and Winston, 1971.