Complex, controversial, and prolific, Howard Barnstone was a central figure in the world of twentieth-century modern architecture. Recognized as Houston’s foremost modern architect in the 1950s, Barnstone came to prominence for his designs with partner Preston M. Bolton, which transposed the rigorous and austere architectural practices of Ludwig Mies van der Rohe to the hot, steamy coastal plain of Texas. Barnstone was a man of contradictions—charming and witty but also self-centered, caustic, and abusive—who shaped new settings that were imbued, at once, with spatial calm and emotional intensity. Making Houston Modern explores the provocative architect’s life and work, not only through the lens of his architectural practice but also by delving into his personal life, class identity, and connections to the artists, critics, collectors, and museum directors who forged Houston’s distinctive culture in the postwar era. Edited by three renowned voices in the architecture world, this volume situates Barnstone within the contexts of American architecture, modernism, and Jewish culture to unravel the legacy of a charismatic personality whose imaginative work as an architect, author, teacher, and civic commentator helped redefine architecture in Texas.

Winner, Good Brick Award, Preservation Houston, 2020 Just over 180 years ago, the city of Houston was nothing more than an alligator-infested swamp along the Buffalo Bayou that spread onto a flat, endless plain. Today, it is a sprawling, architecturally and culturally diverse metropolis. How did one transform into the other in such a short period? Improbable Metropolis uses the built environment as a guide to explore the remarkable evolution that Houston has undergone from 1836 to the present. Houston’s architecture, an indicator of its culture and prosperity, has been inconsistent, often predictable, sometimes bizarre, and occasionally extraordinary. Industries from cotton, lumber, sugar, and rail and water transportation, to petroleum, healthcare, biomedical research, and aerospace have each in turn brought profit and attention to Houston. Each created an associated building boom, expanding the city’s architectural sophistication, its footprint, and its cultural breadth. Providing a template for architectural investigations of other American cities, Improbable Metropolis is an important addition to the literature on Texas history.

Founded in 1836, Houston is now the country's fourth-largest city. In the early 20th century, Houston's economy shifted from agriculture to oil, fueling the city's explosive growth in the following decades. Houston grabbed the reins and saw a building boom in commercial, residential, and civic architecture redefine the city and skyline. Modernism was a new and fresh architectural expression and the perfect complement to the city's can-do entrepreneurial spirit. The 1960s brought ground-breaking ceremonies for the National Aeronautics and Space Administration's (NASA) headquarters, while residents and tourists alike lined up to tour the revolutionary new Astrodome. Building Modern Houston tells the story of Houston's architecture during its transformation from "Bayou City" to "Space City."

Today the Museum of Modern Art is widely recognized for establishing the canon of modern art; yet in its early years, the museum considered modern art part of a still unfolding experiment in contemporary visual production. By bracketing MoMA's early history from its later reputation, this book explores the ways the Museum acted as a laboratory to set an ambitious agenda for the exhibition of a multidisciplinary idea of modern art. Between its founding in 1929 and its 20th anniversary in 1949, MoMA created the first museum departments of architecture and design, film, and photography in the country, marshaled modern art as a political tool, and brought consumer culture into a versatile yet institutional context. Encompassing 14 essays that investigate the diversity of modern art, this volume demonstrates how MoMA's programming shaped a version of modern art that was not elitist but fundamentally intertwined with all levels of cultural production.

Winner, 2019 Ron Tyler Award for Best Illustrated Book, sponsored by the Texas State Historical Association (TSHA) In this expansive and vigorous survey of the Houston art scene of the 1970s and 1980s, author Pete Gershon describes the city’s emergence as a locus for the arts, fueled by a boom in oil prices and by the arrival of several catalyzing figures, including museum director James Harithas and sculptor James Surls. Harithas was a fierce champion for Texan artists during his tenure as the director of the Contemporary Arts Museum–Houston (CAM). He put Texas artists on the map, but his renegade style proved too confrontational for the museum’s benefactors, and after four years, he wore out his welcome. After Harithas’s departure from the CAM, the chainsaw-wielding Surls established the Lawndale Annex as a largely unsupervised outpost of the University of Houston art department. Inside this dirty, cavernous warehouse, a new generation of Houston artists discovered their identities and began to flourish. Both the CAM and the Lawndale Annex set the scene for the emergence of small, downtown, artist-run spaces, including Studio One, the Center for Art and Performance, Midtown Arts Center, and DiverseWorks. Finally, in 1985, the Museum of Fine Arts presented Fresh Paint: The Houston School, a nationally publicized survey of work by Houston painters. The exhibition capped an era of intensive artistic development and suggested that the city was about to be recognized, along with New York and Los Angeles, as a major center for art-making activity. Drawing upon primary archival materials, contemporary newspaper and magazine accounts, and over sixty interviews with significant figures, Gershon presents a narrative that preserves and interweaves the stories and insights of those who transformed the Houston art scene into the vibrant community that it is today.

"Flawless . . . [Makdisi] reminds us of the critical declarations of secularism which existed in the history of the Middle East."—Robert Fisk, The Independent Today's headlines paint the Middle East as a collection of war-torn countries and extremist groups consumed by sectarian rage. Ussama Makdisi's Age of Coexistence reveals a hidden and hopeful story that counters this clichéd portrayal. It shows how a region rich with ethnic and religious diversity created a modern culture of coexistence amid Ottoman reformation, European colonialism, and the emergence of nationalism. Moving from the nineteenth century to the present, this groundbreaking book explores, without denial or equivocation, the politics of pluralism during the Ottoman Empire and in the post-Ottoman Arab world. Rather than judging the Arab world as a place of age-old sectarian animosities, Age of Coexistence describes the forging of a complex system of coexistence, what Makdisi calls the "ecumenical frame." He argues that new forms of antisectarian politics, and some of the most important examples of Muslim-Christian political collaboration, crystallized to make and define the modern Arab world. Despite massive challenges and setbacks, and despite the persistence of colonialism and authoritarianism, this framework for coexistence has endured for nearly a century. It is a reminder that religious diversity does not automatically lead to sectarianism. Instead, as Makdisi demonstrates, people of different faiths, but not necessarily of different political outlooks, have consistently tried to build modern societies that transcend religious and sectarian differences.