An intoxicating debut novel that will leave you questioning what is real and why we escape into fantasy, perfect for fans of Belzhar by Meg Wolitzer and Falling into Place by Amy Zhang. Secrets are con artists: they trick you into letting them out. Sadie loves her rocker boyfriend Henry and her running partner and best friend Lucie, but no one can measure up to her truest love and hero, the dazzling and passionate George. George, her secret. When something goes wrong and Sadie is taken to the hospital calling out for George, her hidden life may be exposed. Now she must confront the truth of the past, and protect a world she is terrified to lose. "A teen learns to use her rich interior world to fight trauma, but is this the only way out? This honest, heartfelt tale is deep and mysterious as imagination itself." --Judy Blundell, author of What I Saw and How I Lied and Strings Attached "You'll inhale as you skid into the first chapter and only exhale as you cling to the last. A beautiful book about longing and loss . . . and what is real." --Teresa Toten, author of The Hero of Room 13B, winner of the Governor General Award, and Beware That Girl

Celebrates the resilience of American cultural institutions in the face of national crises and challenges On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. Dazed soldiers and worried citizens could only watch as the flames engulfed the museum’s castle. Rare objects and valuable paintings were destroyed. The flames at the Smithsonian were not the first—and certainly would not be the last— disaster to upend a museum in the United States. Beset by challenges ranging from pandemic and war to fire and economic uncertainty, museums have sought ways to emerge from crisis periods stronger than before, occasionally carving important new paths forward in the process. The Museum explores the concepts of “crisis” as it relates to museums, and how these historic institutions have dealt with challenges ranging from depression and war to pandemic and philosophical uncertainty. Fires, floods, and hurricanes have all upended museum plans and forced people to ask difficult questions about American cultural life. With chapters exploring World War I and the 1918 influenza pandemic, the Great Depression, World War II, the 1970 Art Strike in New York City, and recent controversies in American museums, this book takes a new approach to understanding museum history. By diving deeper into the changes that emerged from these key challenges, Samuel J. Redman argues that cultural institutions can—and should— use their history to prepare for challenges and solidify their identity going forward. A captivating examination of crisis moments in US museum history from the early years of the twentieth century to the present day, The Museum offers inspiration in the resilience and longevity of America’s most prized cultural institutions.

Perspectives on race today Featuring new and engaging essays by noted anthropologists and illustrated with full color photos, RACE: Are We So Different? is an accessible and fascinating look at the idea of race, demonstrating how current scientific understanding is often inconsistent with popular notions of race. Taken from the popular national public education project and museum exhibition, it explores the contemporary experience of race and racism in the United States and the often-invisible ways race and racism have influenced laws, customs, and social institutions.

Museum exhibitions focusing on Native American history have long been curator controlled. However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. In Decolonizing Museums, Amy Lonetree examines the co

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.

American art museums share a mission and format that differ from those of their European counterparts, which often have origins in aristocratic collections. This groundbreaking work recounts the fascinating story of the invention of the modern American art museum, starting with its roots in the 1870s in the craft museum type, which was based on London’s South Kensington (now the Victoria and Albert) Museum. At the turn of the twentieth century, American planners grew enthusiastic about a new type of museum and presentation that was developed in Northern Europe, particularly in Germany, Switzerland, and Scandinavia. Called Kulturgeschichte (cultural history) museums, they were evocative displays of regional history. American trustees, museum directors, and curators found that the Kulturgeschichte approach offered a variety of transformational options in planning museums, classifying and displaying objects, and broadening collecting categories, including American art and the decorative arts. Leading institutions, including the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art in New York, adopted and developed crucial aspects of the Kulturgeschichte model. By the 1930s, such museum plans and exhibition techniques had become standard practice at museums across the country.

"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.