A contemporary analysis of the people, cultures, and society within the regions that make up Eastern Europe. Eastern Europe: An Introduction to the People, Lands, and Culture sheds light on modern-day life in the 16 nations comprising Eastern Europe. Going beyond the history and politics already well documented in other works, this unique three-volume series explores the social and cultural aspects of a region often ignored in books and curricula on Western civilization. The volumes are organized by geographic proximity and commonality in historical development, allowing the countries to be both studied individually and juxtaposed against others in the region. The first volume covers the northern tier of states, the second looks at lands that were once part of the Hapsburg empire, and the third examines the Balkan states. Each chapter profiles a single country—its geography, history, political development, economy, and culture—and gives readers a glimpse of the challenges that lie ahead. Vignettes on various topics of interest illuminate the unique character of each country.

From formative years in Toronto and Philadelphia, MacAgy became the catalyst for the advent of American abstraction, the spirit behind the modern art movement, the introducer and interpreter of European and Russian art to America, the head of the National Endowment for the Arts, and the installer of the Hirshhorn Museum and Sculpture Garden. He was on the cutting edge of modern art movements from American abstract expressionism to conceptualism and fought as an independent educator against the forces using art for political ends. “MacAgy has a place in history,”—George Rickey.

For military cartoonists the absurdity of war inspires a laugh-or-cry response and provides an endless source of un-funny amusement. Cartoons by hundreds of artists-at-arms from more than a dozen countries and spanning two centuries are included in this study--the first to consider such a broad range of military comics. War and military life are examined through the inside jokes of the men and women who served. The author analyzes themes of culture, hierarchy, enemies and allies, geography, sexuality, combat, and civilian relations and describes how comics function within a community. A number of artists included were known for their work with Disney, Marvel Comics, the New Yorker and Madison Avenue but many lesser known artists are recognized.

In Experiments in Skin Thuy Linh Nguyen Tu examines the ongoing influence of the Vietnam War on contemporary ideas about race and beauty. Framing skin as the site around which these ideas have been formed, Tu foregrounds the histories of militarism in the production of US biomedical knowledge and commercial cosmetics. She uncovers the efforts of wartime scientists in the US Military Dermatology Research Program to alleviate the environmental and chemical risks to soldiers' skin. These dermatologists sought relief for white soldiers while denying that African American soldiers and Vietnamese civilians were also vulnerable to harm. Their experiments led to the development of pharmaceutical cosmetics, now used by women in Ho Chi Minh City to tend to their skin, and to grapple with the damage caused by the war's lingering toxicity. In showing how the US military laid the foundations for contemporary Vietnamese consumption of cosmetics and practices of beauty, Tu shows how the intersecting histories of militarism, biomedicine, race, and aesthetics become materially and metaphorically visible on skin.

In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation's very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage, and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-century art and artists in Britain yet written. The author focuses closely on Sir Kenneth Clark's influential War Artists' Advisory Committee and explores topics ranging from censorship to artists' finances, from the depiction of women as war workers to the contributions of war art to evolving notions of national identity and Britishness. Lively and insightful, the book adds new dimensions to the study of British art and cultural history.