216-page, hardcover book detailing the special architectural features fround in the Dallas metropolitan area. The book features beautifully reproduced photography and incisive editorial illustrating the exceptional examples of unique architecture found in this Texas community

The first book by AD 100 designer Emily Summers, featuring interiors that celebrate a new idea of American modernism. Weaving mid-century Continental furniture and modern art by the likes of Frank Stella and Jasper Johns into important American homes, Summers has created a vast collection of cohesive, covetable interiors notable for their streamlined beauty. From a contemporary city penthouse to a 1940s ranch, from Summers' Round House, to her 60s Palm Springs getaway, the homes featured range in period and style, but all will serve as inspiration to readers looking to decorate in a Modernist tradition. Summers shares her building blocks of a great modernist house: how the interior should reflect its setting; how to combine fine art with design; why the interior and architecture must be linked; how to build collections; how to modernize traditional houses; and how to restore existing modernist houses. This is essential reading for fans of modernism and minimalism.

Everett Spruce came to Texas from his Arkansas home in 1925 to study at the Dallas Art Institute. Over the next seven decades, he became one of the most important painters and teachers in the region. One of the “Dallas Nine,” a group of influential Texas Regionalists that included Jerry Bywaters, Otis Dozier, William Lester, and others, Spruce was among the artists who lobbied the Texas Centennial Commission for a greater role in the Centennial Exposition of 1936. These efforts, though unsuccessful, nevertheless led to greater recognition and influence for Texas art and artists. Spruce was assistant director and taught art at the Dallas Museum of Fine Arts until 1940 when he joined the faculty of the University of Texas at Austin. He painted and taught at the university for the next 38 years, guiding and shaping the next generation of Texas artists, including Roger Winter, William Hoey, and others. Spruce died in 2002 at the age of 94. Texas Made Modern: The Art of Everett Spruce traces Spruce’s artistic evolution from his early experimental work of the 1920s through the mysterious, surrealist-imbued landscapes of the 1930s. The work addresses his boldly expressionistic imagery of the 1940s and his abstract expressionist–inspired paintings of the mid-twentieth century. Departing from previous accounts of Spruce, which label him a prototypical regionalist, this study reveals the nuanced meanings behind the artist’s shifting approaches to Texas subject matter and resituates his artwork within the broader narrative of American art.

This catalogue presents the artwork of three fictitious Russian artists, all inventions of Ilya Kabakov, and intervviews of Ilya Kabakov.

'Text me when you get home.' After joyful nights out together, female friends say this to one another as a way of cementing their love. It's about safety but, more than that, it's about solidarity. A validation of female friendship unlike any that's ever existed before, Text Me When You Get Home is a mix of historical research, the author's own personal experience, and conversations about friendships with women across the country. Everything Schaefer uncovers reveals that these ties are making us, both as individuals and as society as a whole, stronger than ever before.

"The first winner of the Lou Halsell Rodenberger Prize in Texas History and Literature; chronicles Dallas's Page Boy Maternity Clothing and its enterprising founders, Edna Frankfurt Ravkind, Elsie Frankfurt Pollock, and Louise Frankfurt Gartner"--

From dusty prairie village to one of the nation's ten largest cities, Dallas has been defined by bold personalities and big buildings. They are all here in this book-the bankers, oil men, cotton brokers, merchants, and insurance titans who created the future and built the monumental structures that relected their success. Today, gleaming new office towers nestle comfortably with century-old residential conversations. The architectural diversity and rich past of the city are brought to life in this lavishly illustrated volume by a native Dallasite.

Before Abstract Expressionism of New York City was canonized as American postwar modernism, the United States was filled with localized manifestations of modern art. One such place where considerable modernist activity occurred was Texas, where artists absorbed and interpreted the latest, most radical formal lessons from Mexico, the East Coast, and Europe, while still responding to the state's dramatic history and geography. This barely known chapter in the story of American art is the focus of Midcentury Modern Art in Texas. Presenting new research and artwork that has never before been published, Katie Robinson Edwards examines the contributions of many modernist painters and sculptors in Texas, with an emphasis on the era's most abstract and compelling artists. Edwards looks first at the Dallas Nine and the 1936 Texas Centennial, which offered local artists a chance to take stock of who they were and where they stood within the national artistic setting. She then traces the modernist impulse through various manifestations, including the foundations of early Texas modernism in Houston; early practitioners of abstraction and non-objectivity; the Fort Worth Circle; artists at the University of Texas at Austin; Houston artists in the 1950s; sculpture in and around an influential Fort Worth studio; and, to see how some Texas artists fared on a national scale, the Museum of Modern Art's "Americans" exhibitions. The first full-length treatment of abstract art in Texas during this vital and canon-defining period, Midcentury Modern Art in Texas gives these artists their due place in American art, while also valuing the quality of Texan-ness that subtly undergirds much of their production.

Why is Dallas the fastest growing city in America? Find the answers in Dallas Got It Right!