The uneasy relationship between the arts, US art museums, and the federal government has not been thoroughly explored by scholars. This book focuses on the development of “national diplomacy exhibitions” during World War II and the early Cold War and explains how the War provided the government with an impetus to create a national arts policy. It discusses how national diplomacy exhibitions on US soil were deployed as persuasive tools to influence public opinion, to reconcile discrepancies between high art and democracy, and to resolve America’s lagging art status and difficulties with “the foreign.” The type of soft diplomacy that art museums provide by initiating national diplomacy exhibitions has not received emphasis in the scholarly community and art museums have essentially been ignored in cultural studies of the early Cold War. Scholarly analysis of museum exhibitions in the last quarter of the 20th century is now a popular topic, but investigations of exhibitions between 1939-1960 have been thin. By scrutinizing major exhibitions during those formative years this book takes a new perspective and examines the foundational development of the so-called “blockbuster” exhibition stimulated by World War II. The book will interest readers in visual studies, history, museums, cultural affairs, government, and international diplomacy.

All Canadians are taught about Vimy Ridge. But that celebrated victory was just one battle among many to shape the country’s experience of the First World War. Portraits of Battle brings together biography, battle accounts, and historiographical analysis to examine the lives of a cross-section of Canadians who served in the war. Contributors to this thoughtful collection consider the range of Canadians touched by war – soldiers and their loved ones, deserters, nurses, Indigenous people, those injured in body or mind – raising fundamental questions about the nature of conflict and memory. These portraits of the formerly faceless men and women honoured on war memorials fill in what is often missing from accounts of the Great War. In the process, they provide a more nuanced perspective on the complex legacy of that war in Canadian history.

Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.

A record of literary properties sold at auction in the United States.

American Library Association Index, (to 1900) A. L. A. I. Supplement, 1901-1910 A. L. A. Supp. Annual Literary Index (1892-1904) A. L. I. Continued as Annual Library Index, 1905-1910 A. L. I. Dramatic Index, 1909- D. I. Published with Annual Magazine Subject Index. Magazine Subject Index: Boston, 1908 M. S. I. Continued by Annual Magazine Subject Index, 1909- A. S. I. Poole’s Index to Periodical Literature, 1802-1881 Poole Supplements, 1882-1906; 1907-1908 Poole Supp. Reader’s Guide to Periodical Literature, 1900- R. G. Supplement, 1907-1915, 1916-1919 R. G. Supp. Continued as International Index to Periodicals, 1921- I. I. P. Periodicals