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.

Was modern primitivism complicit with the ideologies of colonialism, or was it a multivalent encounter with difference? Examining race and modernism through a wider and more historically contextualized study, Sweeney brings together a variety of published and new scholarship to expand the discussion on the links between modernism and primitivism. Tracing the path from Dada and Surrealism to Josephine Baker and Nancy Cunard's Negro: An Anthology, she shows the development of négrophilie from the interest in black cultural forms in the early 1920s to a more serious engagement with difference and representations in the 1930s. Considering modernism, race, and colonialism simultaneously, this work breaks from traditional boundaries of disciplines or geographic areas. Why was the primitive so popular in this era? Sweeney shows how high, popular, and mass cultural contexts constructed primitivism and how black diasporic groups in Paris challenged this construction. Included is research from original archival material from black diasporic publications in Paris, examining their challenges to primitivism in French literature and state-sponsored exoticism. The transatlantic movement of modernism and primitivism also is part of this broad comparative study.

In this new work, Paul Jackson examines the decade that saw the move from the old house uptown to the technological marvel at Lincoln Center. There Rudolf Bing's final six years give way to four seasons of management turmoil until 1976, when James Levine was named music director and took hold of the Met's artistic future.

Diva Claudia guides both the aspiring and established sensualists through New York City's complex Fetish underground. Detailed here are the hottest and coolest places in New YOrk: fetish shops and boutiques; toy stores; clubs, parties and yearly events; designers' workshops; eateries; and much more. Included are names, addresses, fee requirements and services offered by these sometimes hard-to-find establishments. From tiaras to toe-sucking, lingerie to latex, and more, Claudia describes and rates them all acording to her unique Stiletto System. Includes local maps.

The history of modernism has generally been written as a story of artists and their creations alongside the collectors, gallerists, and curators who supported them. This is especially true of Cubism, where the received narrative centers on a tightly circumscribed group of artists and agents connected to the dealer Daniel-Henry Kahnweiler. Léonce Rosenberg’s Cubism shakes up the canon, revealing its artificial nature and pointing to a different, more inclusive understanding of the development of Cubism. Kahnweiler’s Cubism was narrowly focused. In contrast, Giovanni Casini shows us, the influential art dealer Léonce Rosenberg bought virtually any piece that could be labeled “Cubist” and proposed a radically different understanding of the movement. At Rosenberg’s Galerie L’Effort Moderne in Paris, artists such as Joseph Csáky, Auguste Herbin, Jean Metzinger, Diego Rivera, Gino Severini, and Georges Valmier were accorded the same treatment as Pablo Picasso or Georges Braque. In this book, Casini considers Rosenberg’s contribution to the history of Cubism, reflecting on the ways in which artistic movements are manufactured—and interpretive paradigms adopted. Deftly weaving biography with a scholarly analysis built on extensive archival research, Léonce Rosenberg’s Cubism is a fresh look at the history of interwar modernism and the definitive study of a figure who has been unjustly sidelined in the history of art. It will be compulsory reading for scholars of Cubism and Modernism.

(Sub)Urban Sexscapes brings together a collection of theoretically-informed and empirically rich case studies from internationally renowned and emerging scholars highlighting the contemporary and historical geographies and regulation of the commercial sex industry. Contributions in this edited volume examine the spatial and regulatory contours of the sex industry from a range of disciplinary perspectives—urban planning, urban geography, urban sociology, and, cultural and media studies—and geographical contexts—Australia, the UK, US and North Africa. In overall terms, (Sub)urban Sexscapes highlights the mainstreaming of commercial sex premises—sex shops, brothels, strip clubs and queer spaces—and products—sex toys, erotic literature and pornography—now being commonplace in night time economy spaces, the high street, suburban shopping centres and the home. In addition, the aesthetics of commercial and alternative sexual practices—BDSM and pornography—permeate the (sub)urban landscape via billboards, newspapers and magazines, television, music videos and the Internet. The role of sex, sexuality and commercialized sex, in contributing to the general character of our cities cannot be ignored. In short, there is a need for policy-makers to be realistic about the historical, contemporary and future presence of the sex industry. Ultimately, the regulation of the sex industry should be informed by evidence as opposed to moral panics. *** Winner of the Planning Institute of Australia (WA) 2015 Award for Excellence in Cutting Edge Research and Teaching ***

This is the first thorough investigation of the Brummer brothers’ remarkable career as dealers in antiques, curiosities and modernism in Paris and New York over six decades (1906-1964). A dozen specialists aggregate their expertise to explore extant dealer records and museum archives, parse the wide-ranging Brummer stock, and assess how objects were sourced, marketed, labelled, restored, and displayed. The research provides insights into emerging collecting fields as they crystallised, at the crossroads between market and museum. It questions the trope of the tastemaker; the translocation of material culture, and the dealers’ prolific relationships with illustrious collectors, curators, scholars, artists, and fellow dealers.