Catalogue of an exhibition held at the Museum of Modern Art, New York, June 9-Sept. 6, 1994.

Winner of the Labriola Center American Indian National Book Award One of the American West’s bloodiest—and least-known—massacres is searingly re-created in this generation-spanning history of native-white intermarriage. National Book Award–winning histories such as The Hemingses of Monticello and Slaves in the Family have raised our awareness about America’s intimately mixed black and white past. Award-winning western historian Andrew R. Graybill now sheds light on the overlooked interracial Native-white relationships critical in the development of the trans-Mississippi West in this multigenerational saga. Beginning in 1844 with the marriage of Montana fur trader Malcolm Clarke and his Piegan Blackfeet bride, Coth-co-co-na, Graybill traces the family from the mid-nineteenth century, when such mixed marriages proliferated, to the first half of the twentieth, when Clarke ’s children and grandchildren often encountered virulent prejudice. At the center of Graybill’s history is the virtually unexamined 1870 Marias Massacre, on a par with the more infamous slaughters at Sand Creek and Wounded Knee, an episode set in motion by the murder of Malcolm Clarke and in which Clarke ’s two sons rode with the Second U.S. Cavalry to kill their own blood relatives.

"This volume chronicles the Museum's story from its opening, ten days after the stock market crash of 1929, in a few rented rooms in a midtown office building, up to the present day, in its new building on West Fifty-third and Fifty-fourth streets. The book presents a pictorial and documentary review of each year, and each important period, of the Museum's history. It tells the story of how The Museum of Modern Art, New York, began as a small set of art galleries inaugurated by three ladies of means who had a passion for modern art. Through a selection of photographs, official documents, letters, quotations, newspaper clippings, cartoons, and other ephemera, the complex and multilayered history of the Museum unfolds in a visual march through time, revealing the extraordinary vision of a determined group of individuals who had the ability and courage to translate their vision into reality" -- OhioLink Library Catalog.

This reference provides biographical, historical, and critical information on Neo-Impressionist painting and its most significant painters. Neo-Impressionism, also called Divisionism and Pointillism, was one of the most innovative and startling late 19th-century French avant-garde styles. Over 2,000 books, articles, manuscripts, and audiovisual materials as well as chronologies, biographical sketches, and exhibition lists are cited. Also provided are both primary and secondary bibliographies for each artist. Secondary bibliographies capture details about each artist's life and career, relationships with other artists, work in various media, iconography, critical reception and interpretation, archival sources and more. Art scholars will appreciate the comprehensive bibliographic research contained in this one volume. Entries on Neo-Impressionism in general, on exhibitions, and the primary and secondary bibliographies of artists follow an introduction about Neo-Impressionism and a Neo-Impressionism chronology that spans the years 1881 to 1905. An index of art works and an index of personal names complete the volume.

Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.