Modern is a word much used, but hard to pin down. In Inventing Modern, John H. Lienhard uses that word to capture the furious rush of newness in the first half of 20th-century America. An unexpected world emerges from under the more familiar Modern. Beyond the airplanes, radios, art deco, skyscrapers, Fritz Lang's Metropolis, Buck Rogers, the culture of the open road--Burma Shave, Kerouac, and White Castles--lie driving forces that set this account of Modern apart. One force, says Lienhard, was a new concept of boyhood--the risk-taking, hands-on savage inventor. Driven by an admiration of recklessness, America developed its technological empire with stunning speed. Bringing the airplane to fruition in so short a time, for example, were people such as Katherine Stinson, Lincoln Beachey, Amelia Earhart, and Charles Lindbergh. The rediscovery of mystery powerfully drove Modern as well. X-Rays, quantum mechanics, and relativity theory had followed electricity and radium. Here we read how, with reality seemingly altered, hope seemed limitless. Lienhard blends these forces with his childhood in the brave new world. The result is perceptive, engaging, and filled with surprise. Whether he talks about Alexander Calder (an engineer whose sculptures were exercises in materials science) or that wacky paean to flight, Flying Down to Rio, unexpected detail emerges from every tile of this large mosaic. Inventing Modern is a personal book that displays, rather than defines, an age that ended before most of us were born. It is an engineer's homage to a time before the bomb and our terrible loss of confidence--a time that might yet rise again out of its own postmodern ashes.

Inventing Modern America profiles 35 inventors who exemplify the rich technological creativity of the United States over the past century. The inventors profiled include such well-known figures as George Washington Carver, Henry Ford, and Steve Wozniak.

Published on the occasion of the exhibition Inventing the Modern World: Decorative Arts at the World's Fairs, 1851-1939 held at the Nelson-Atkins Museum of Art, Kansas City, April 14-August 19, 2012, Carnegie Museum of Art, Pittsburgh, October 13, 2012- February 24, 2013, New Orleans Museum of Art, April 12- August 4, 2013 and Mint Museum, Charlotte, North Carolina, September 9, 2013 - January 19, 2014.

In Inventing Modern Adolescence Sarah E. Chinn follows the roots of American teenage identity further back, to the end of the nineteenth and beginning of the twentieth centuries. Addressing the intersecting issues of urban life, race, gender, sexuality, and class consciousness, Inventing Modern Adolescence is an authoritative and engaging look at a pivotal point in American history and the intriguing, complicated, and still very pertinent teenage identity that emerged from it.

Sarah Burns tells the story of artists in American society during a period of critical transition from Victorian to modern values, examining how culture shaped the artists and how artists shaped their culture. Focusing on such important painters as James McNeill Whistler, William Merritt Chase, Cecilia Beaux, Winslow Homer, and Albert Pinkham Ryder, she investigates how artists reacted to the growing power of the media, to an expanding consumer society, to the need for a specifically American artist type, and to the problem of gender.

Drawing on the museum collections represented by the Science and Society Picture Library as well as the legendary resources of the Hulton Getty Picture Collection, 'Inventing the Modern World' explains in almost 500 images and vivid text the ever-changing relationship between technical change and industry, science and technology, and people and objects.

This book explores the development of abstraction from the moment of its declaration around 1912 to its establishment as the foundation of avant-garde practice in the mid-1920s. The book brings together many of the most influential works in abstractions early history to draw a cross-media portrait of this watershed moment in which traditional art was reinvented in a wholesale way. Works are presented in groups that serve as case studies, each engaging a key topic in abstractions first years: an artist, a movement, an exhibition or thematic concern. Key focal points include Vasily Kandinskys ambitious Compositions V, VI and VII; a selection of Piet Mondrians work that offers a distilled narrative of his trajectory to Neo-plasticism; and all the extant Suprematist pictures that Kazimir Malevich showed in the landmark 0.10 exhibition in 1915.0Exhibition: MoMA, New York, USA (23.12.2012-15.4.2013).

A narrative history of the founding of the Louvre that also explores the ideological underpinnings, pedagogical aims, and aesthetic criteria of this, the first great national art museum.

Why does the world speak English? Why does every country at least pretend to aspire to representative government, personal freedom, and an independent judiciary? In The New Road to Serfdom, British politician Daniel Hannan exhorted Americans not to abandon the principles that have made our country great. Inventing Freedom is a much more ambitious account of the historical origin and spread of those principles, and their role in creating a sphere of economic and political liberty that is as crucial as it is imperiled. According to Hannan, the ideas and institutions we consider essential to maintaining and preserving our freedoms—individual rights, private property, the rule of law, and the institutions of representative government—are not broadly "Western" in the usual sense of the term. Rather they are the legacy of a very specific tradition, one that was born in England and that we Americans, along with other former British colonies, inherited. The first English kingdoms, as they emerged from the Dark Ages, already had unique characteristics that would develop into what we now call constitutional government. By the tenth century, a thousand years before most modern countries, England was a nation-state whose people were already starting to define themselves with reference to inherited common-law rights. The story of liberty is the story of how that model triumphed. How, repressed after the Norman Conquest, it reasserted itself; how it developed during the civil wars of the seventeenth and eighteenth centuries into the modern liberal-democratic tradition; how it was enshrined in a series of landmark victories—the Magna Carta, the English Civil War, the Glorious Revolution, the U.S. Constitution—and how it came to defeat every international rival. Yet there was nothing inevitable about it. Anglosphere values could easily have been snuffed out in the 1940s. And they would not be ascendant today if the Cold War had ended differently. Today we see those ideas abandoned and scorned in the places where they once went unchallenged. The current U.S. president, in particular, seems determined to deride and traduce the Anglosphere values that the Founders took for granted. Inventing Freedom explains why the extraordinary idea that the state was the servant, not the ruler, of the individual evolved uniquely in the English-speaking world. It is a chronicle of the success of Anglosphere exceptionalism. And it is offered at a time that may turn out to be the end of the age of political freedom.

Reveals the facts behind the deceiving myths that have been professed about Columbus and his time.