During the three decades Coote examines, Ayres designed nearly two hundred homes in the fashionable San Antonio suburbs of Monte Vista, Olmos Park, and Terrell Hills, homes that even now rank among the most charming in the area.".

Meet the challenge of operating a successful art library! The Twenty-First Century Art Librarian examines the unique challenges and vital administrative issues that are at the forefront of current art librarianship. Librarians working in a variety of settings (art, academics, architecture, visual resources, and museums) address professional change and technological challenges, including inadequate staffing and the need to wear multiple “hats” to cope with day-to-day responsibilities. The book focuses on common practices in the field as well as the individuals who work in art libraries and the collections they maintain. Instead of the standard primer on art librarianship, this book is an insightful look at how art librarians are unique in terms of the clientele they serve, their subject knowledge, and the variety of environments in which they work. The Twenty-First Century Art Librarian examines pressing everyday issues, including operational management, staff recruitment and training, managing collections, public service and patrons, and developing a “personal care plan.” The Twenty-First Century Art Librarian also addresses setting-specific topics, such as: developing staffing standards at all levels working solo in small art museum libraries integrating digitization into visual resource libraries handling special collections in architecture libraries how culture and mission distinguish academic art libraries from their museum counterparts and much more! The Twenty-First Century Art Librarian provides library professionals and academics with a unique look at current trends in art, architecture, and visual resources librarianship.

Aureliano Urrutia, a prominent physician in Mexico City, built Miraflores garden after immigrating to Texas during the Mexican Revolution. A man of science, he valued nature, art, literature, history, and community. The garden, whose name roughly translates to “behold the flowers,” was built primarily from 1921 to 1945. Its plants, architecture, sculpture, and artisanship formed a cultural landscape reflecting Urrutia’s love for and memory of his homeland. Though recent decades have rendered much of the garden decayed and barely recognizable, it is now part of San Antonio’s historic Brackenridge Park. Miraflores: San Antonio’s Mexican Garden of Memory recounts the garden’s history and celebrates the importance of the cultural, historical, and artistic meaning of a place.

This interdisciplinary study explores how US Mexicana and Chicana authors and artists across different historical periods and regions use domestic space to actively claim their own histories. Through “negotiation”—a concept that accounts for artistic practices outside the duality of resistance/accommodation—and “self-fashioning,” Marci R. McMahon demonstrates how the very sites of domesticity are used to engage the many political and recurring debates about race, gender, and immigration affecting Mexicanas and Chicanas from the early twentieth century to today. Domestic Negotiations covers a range of archival sources and cultural productions, including the self-fashioning of the “chili queens” of San Antonio, Texas, Jovita González’s romance novel Caballero, the home economics career and cookbooks of Fabiola Cabeza de Baca, Sandra Cisneros’s “purple house controversy” and her acclaimed text The House on Mango Street, Patssi Valdez’s self-fashioning and performance of domestic space in Asco and as a solo artist, Diane Rodríguez’s performance of domesticity in Hollywood television and direction of domestic roles in theater, and Alma López’s digital prints of domestic labor in Los Angeles. With intimate close readings, McMahon shows how Mexicanas and Chicanas shape domestic space to construct identities outside of gendered, racialized, and xenophobic rhetoric.

In sixty-seven exquisite watercolors and drawings, nationally famous architect Eugene Aubry captures on paper the sensibilities, the memories, and the grace that evokes Galveston, especially for those who are BOI (“born on the island”). Commissioned by the Galveston Historical Foundation, these works of art are intended to enhance the visual record of the buildings and the unique local architectural style that so many have appreciated over the years. In the aftermath of Hurricane Ike, Galvestonians became more aware than ever of the treasure of the island’s historical architecture and the vulnerability of this heritage to forces beyond human control. Aubry’s art captures the almost palpable sense of past glories these buildings bring to mind. Aubry—himself BOI—has fashioned these pieces in a way that resonates with those who love the island’s ethos. With a fine eye to the artist’s intent and a mastery of detail, architectural historian Stephen Fox expertly and eloquently introduces the work as a whole and, in discursive captions that accompany each image, informs the reader’s appreciation of Aubry’s art. So much more than a tribute, Born on the Island: The Galveston We Remember stands as a loving homage to Galveston—one that will call its readers home to the island, even if they have never ventured there before.

"This ambitious study of Staub's work by architectural historian Stephen Fox goes beyond a description of Staub's houses. Fox analyzes the roles of space, structure, and decoration in creating, defining, and maintaining social class structures and expectations and shows how Staub was able to incorporate these elements and understandings into the elegant buildings he designed for his clients. In the process, he contributes greatly to a fuller understanding of Houston's emergence as a premier American city."--BOOK JACKET.