A general guide to the 2020 American Revolutionary War in the West museum exhibit presented by French Colonial America at the Centre for French Colonial Life in Ste. Genevieve, Missouri.

How did China's Communist revolution transform the nation's political culture? In this rich and vivid history of the Mao period (1949–1976), Denise Y. Ho examines the relationship between its exhibitions and its political movements. Case studies from Shanghai show how revolution was curated: museum workers collected cultural and revolutionary relics; neighborhoods, schools, and work units mounted and narrated local displays; and exhibits provided ritual space for ideological lessons and political campaigns. Using archival sources, ephemera, interviews, and other materials, Ho traces the process by which exhibitions were developed, presented, and received. Examples under analysis range from the First Party Congress Site and the Shanghai Museum to the 'class education' and Red Guard exhibits that accompanied the Socialist Education Movement and the Cultural Revolution. Operating in two modes - that of a state in power and that of a state in revolution - Mao era exhibitionary culture remains part of China's revolutionary legacy.

A lavishly illustrated volume marking the defining point in American history. The American Revolution reshaped the political map of the world, and led to the birth of the United States of America. Yet these outcomes could have scarcely been predicted when the first shots were fired at Lexington and Concord. American rebel forces were at first largely a poorly trained, inexperienced and disorganized militia, pitted against one of the most formidable imperial armies in the world. Yet following a succession of defeats against the British, the rebels slowly rebounded in strength under the legendary leadership of George Washington. The fortunes of war ebbed and flowed, from the humid southern states of America to the frozen landscapes of wintry Canada, but eventually led to the catastrophic British defeat at Yorktown in 1781 and the establishment of an independent United States of America. The Improbable Victory is a revealing and comprehensive guide to this seminal conflict, from the opening skirmishes, through the major pitched battles, up to the Treaty of Paris in 1783. Impressively illustrated with photographs and artwork, it provides an invaluable insight into this conflict from the major command decisions down to the eye level of the front-line soldier. Published to coincide with the official opening of the new American Revolution Museum at Yorktown.

"Brilliant and beautiful. Now this book exists, it’s hard to know how we did without it." –China Miéville, author of October A cultural and intellectual balance-sheet of the twentieth century's age of revolutions This book reinterprets the history of nineteenth and twentieth-century revolutions by composing a constellation of "dialectical images": Marx's "locomotives of history," Alexandra Kollontai's sexually liberated bodies, Lenin's mummified body, Auguste Blanqui's barricades and red flags, the Paris Commune's demolition of the Vendome Column, among several others. It connects theories with the existential trajectories of the thinkers who elaborated them, by sketching the diverse profiles of revolutionary intellectuals--from Marx and Bakunin to Luxemburg and the Bolsheviks, from Mao and Ho Chi Minh to José Carlos Mariátegui, C.L.R. James, and other rebellious spirits from the South--as outcasts and pariahs. And finally, it analyzes the entanglement between revolution and communism that so deeply shaped the history of the twentieth century. This book thus merges ideas and representations by devoting an equal importance to theoretical and iconographic sources, offering for our troubled present a new intellectual history of the revolutionary past.

Using archaeological finds to tell the story of the growth of Philadelphia in microcosm

Using a masterful combination of “artistry and accuracy” (New York Times),nationally renowned historical artist Don Troiani has dedicated much of his career to transforming the modern understanding of what the Revolutionary War truly looked like. His research-based paintings capture the reality and drama of crucial moments such as the 1775 Battle of Bunker Hill, General Washington’s daring 1776 attack on Trenton, and the American and French victory at Yorktown in 1781. Liberty: Don Troiani’s Paintings of the Revolutionary War, the book that serves as catalog for the exhibit of Troiani’s work at the Museum of the American Revolution, highlights the most pivotal events of America’s fight for independence and reveals Troiani’s research-based artistic process. For the first time in a museum, this special exhibition brings together over forty of Troiani’s original Revolutionary War paintings and pairs them with forty artifacts from his personal collection, that of the Museum, and several private collectors. https://www.amrevmuseum.org/exhibits/liberty-or-death-don-troiani-s-paintings-of-the-revolutionary-war The exhibit and the book unveil Troiani’s latest canvas, a painting of the young African American sailor and Philadelphian James Forten witnessing Black and Native American troops in the ranks of the Continental Army as they march past Independence Hall on their way to Yorktown, Virginia.The painting was commissioned in 2019 by the Museum with funding provided by the Washington-Rochambeau Revolutionary Route National Historic Trail of the National Park Service. The exhibit will be open from October 16, 2021 to September 5, 2022.

Stuart Brisley is a pioneering multi-media and performance artist who developed performance art as a form of social action in the 1960s and 1970s. This book assesses his seminal influence on British art through a focus on his lifelong engagement with the histories and imaginaries of revolution. Linking revolutionary history with material from a critical dialogue established with Brisley over the last decade, the book recognises Brisley's corpus as a fascinating stage for addressing important questions about the relationship of art, politics and history. How do we make sense of politically committed art in a contemporary context where revolution has supposedly died or is deemed impossible? What can the afterlives of performance art tell us about the historical past, including the promises and contradictions of revolutionary time?