The de la Torre brothers combine exquisitely ornate blown and flame-worked glass works with cheap, mass-produced knickknacks, plastic flowers, fake fur, painted coins, and other found objects. Their art is a skillful combination of disparate elements, appropriating content, meaning, and materials from both high and low cultures. This intersection of contrasting elements reflects their dual residence in Mexico and the United States. The de la Torres describe themselves as "Mexican-American bicultural artists," influenced by "the morbid humor of Mexican folk art, the absurd pageantry of Catholicism, and machismo" on the one hand, and fascinated by "the American culture of excess" on the other. These artists do not hesitate to confront preconceived notions about artistic materials, cultural identity, and political borders. Dividing their time between the studios they share in San Diego and San Antonio de las Minas, they cross the international border several times a week, which provides them with a "parallel appreciation of both cultures." Their status as both insider and outsider, neither Mexican nor American, underpins their artistic discourse. Einar and Jamex de la Torre includes an essay on the artists' work by Tina Oldknow, curator of modern glass at the Corning Museum of Glass in New York, and an original interview with the artists by Gronk, a Los Angeles-based artist best known for his large-scale, site-specific murals.

"La Obra is the first of two catalogs representing Einar and Jamex de la Torre's exhibition, Fall of Empire, which was held at Cal State Fullerton's Main Art Gallery in the spring of 2005. La Obra focuses on the artwork from the exhibition, along with essays by Cal State Fullerton Glass Program Director and exhibition curator John Leighton, and Cal State Fullerton Main Art Gallery Director Mike McGee."--Amazon

**NAMED ONE OF THE BEST ART BOOKS OF THE DECADE BY ARTNEWS** The first and definitive biography of the celebrated collectors Dominique and John de Menil, who became one of the greatest cultural forces of the twentieth century through groundbreaking exhibits of art, artistic scholarship, the creation of innovative galleries and museums, and work with civil rights. Dominique and John de Menil created an oasis of culture in their Philip Johnson-designed house with everyone from Marlene Dietrich and René Magritte to Andy Warhol and Jasper Johns. In Houston, they built the Menil Collection, the Rothko Chapel, the Byzantine Fresco Chapel, the Cy Twombly Gallery, and underwrote the Contemporary Arts Museum. Now, with unprecedented access to family archives, William Middleton has written a sweeping biography of this unique couple. From their ancestors in Normandy and Alsace, to their own early years in France, and their travels in South America before settling in Houston. We see them introduced to the artists in Europe and America whose works they would collect, and we see how, by the 1960s, their collection had grown to include 17,000 paintings, sculptures, drawings, photographs, rare books, and decorative objects. And here is, as well, a vivid behind-the-scenes look at the art world of the twentieth century and the enormous influence the de Menils wielded through what they collected and built and through the causes they believed in.

The essayist and cultural commentator Ilan Stavans and the analytic philosopher Jorge J. E. Gracia share long-standing interests in the intersection of art and ideas. Here they take thirteen pieces of Latino art, each reproduced in color, as occasions for thematic discussions. Whether the work at the center of a particular conversation is a triptych created by the brothers Einar and Jamex de la Torre, Andres Serrano's controversial Piss Christ, a mural by the graffiti artist BEAR_TCK, or Above All Things, a photograph by María Magdalena Campos-Pons, Stavans and Gracia's exchanges inevitably open out to literature, history, ethics, politics, religion, and visual culture more broadly. Autobiographical details pepper Stavans and Gracia's conversations, as one or the other tells what he finds meaningful in a given work. Sparkling with insight, their exchanges allow the reader to eavesdrop on two celebrated intellectuals—worldly, erudite, and unafraid to disagree—as they reflect on the pleasures of seeing.

This volume juxtaposes for the first time two striking bodies of work by Delhi-based and internationally recognized contemporary artist Vivan Sundaram. Gagawaka, the first project, consists of twenty-seven sculptural garments made from a bizarre assortment of recycled materials including foam cups, surgical masks, tire tubes, tampons, X-ray film, bandages, bras, foil pill wrappers, and drain pipes. These garments evoke a relationship both playful and subversive to fashion, haute couture, the runway, and the brand. The second project, Postmortem, is a collection of haunting sculptural objects composedof mannequins, tailor's dummies, wooden props, and models of human organs and bones. Postmortem questions the spectacle of Gagawaka with a wider set ofcommentaries about the human body and social concerns related to aging, illness, and death.