Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn

When most people think of the prohibition era, they think of speakeasies, gin runners, and backwoods fundamentalists railing about the ills of strong drink. In other words, in the popular imagination, it is a peculiarly American event.Yet, as Mark Lawrence Schrad shows in Smashing the Liquor Machine, the conventional scholarship on prohibition is extremely misleading for a simple reason: American prohibition was just one piece of a global wave of prohibition laws that occurred around the same time. Schrad's counterintuitiveglobal history of prohibition looks at the anti-alcohol movement around the globe through the experiences of pro-temperance leaders like Thomas Masaryk, founder of Czechoslovakia, Vladimir Lenin, Leo Tolstoy, and anti-colonial activists in India. Schrad argues that temperance wasn't "Americanexceptionalism" at all, but rather one of the most broad-based and successful transnational social movements of the modern era. In fact, Schrad offers a fundamental re-appraisal of this colorful era to reveal that temperance forces frequently aligned with progressivism, social justice, liberalself-determination, democratic socialism, labor rights, women's rights, and indigenous rights. By placing the temperance movement in a deep global context, he forces us to fundamentally rethink all that we think we know about the movement. Rather than a motley collection of puritanical Americanevangelicals, the global temperance movement advocated communal self-protection against the corrupt and predatory "liquor machine" that had become exceedingly rich off the misery and addictions of the poor around the world, from the slums of South Asia to central Europe to the Indian reservations ofthe American west.Unlike many traditional "dry" histories, Smashing the Liquor Machine gives voice to minority and subaltern figures who resisted the global liquor industry, and further highlights that the impulses that led to the temperance movement were far more progressive and variegated than American readers havebeen led to believe.

The ideas, people, and events that developed art education are described and analyzed so that art educators and educators in general will have a better understanding of what has happened (and is happening) to visual art in the schools. Peter Smith raises the issue of art education's inordinate emphasis on Eurocentric art. He challenges the often expressed notion that the field of education is the cause of art education's problems and proposes that confused conceptions within the art world are just as much a root of the difficulty. No other book in art education history gives such close and analytical attention to the careers of women in the field. The materials on Germanic cultural and historical influences are unequaled as is the scholarly treatment of Viktor Lowenfeld, probably the most influential single figure in 20th-century American art education.