Offers an in-depth look at pre-Columbian sources of modern art.

A completely new and revealing story of Pre- and Post-Columbian art as told through over sixty extraordinary artefacts now in the Jay I. Kislak Collection at the Library of Congress.

This volume accompanies a major international loan exhibition featuring more than three hundred works of art, many rarely or never before seen in the United States. It traces the development of gold working and other luxury arts in the Americas from antiquity until the arrival of Europeans in the early sixteenth century. Presenting spectacular works from recent excavations in Peru, Colombia, Panama, Costa Rica, Guatemala, and Mexico, this exhibition focuses on specific places and times—crucibles of innovation—where artistic exchange, rivalry, and creativity led to the production of some of the greatest works of art known from the ancient Americas. The book and exhibition explore not only artistic practices but also the historical, cultural, social, and political conditions in which luxury arts were produced and circulated, alongside their religious meanings and ritual functions. Golden Kingdoms creates new understandings of ancient American art through a thematic exploration of indigenous ideas of value and luxury. Central to the book is the idea of the exchange of materials and ideas across regions and across time: works of great value would often be transported over long distances, or passed down over generations, in both cases attracting new audiences and inspiring new artists. The idea of exchange is at the intellectual heart of this volume, researched and written by twenty scholars based in the United States and Latin America.

This book will explore past, current, and future policies and trends concerning the sale of antiquities from Mesoamerica. Having outlined gaps in our knowledge, this book seeks to identify the substantive steps that the academic community can take toward affecting transparency, accountability, and ethical practice within the Pre-Columbian antiquities market.

Mesoamerican communities past and present are characterized by their strong inclination toward color and their expert use of the natural environment to create dyes and paints. In pre-Hispanic times, skin was among the preferred surfaces on which to apply coloring materials. Archaeological research and historical and iconographic evidence show that, in Mesoamerica, the human body—alive or dead—received various treatments and procedures for coloring it. Painting the Skin brings together exciting research on painted skins in Mesoamerica. Chapters explore the materiality, uses, and cultural meanings of the colors applied to a multitude of skins, including bodies, codices made of hide and vegetal paper, and even building “skins.” Contributors offer physicochemical analysis and compare compositions, manufactures, and attached meanings of pigments and colorants across various social and symbolic contexts and registers. They also compare these Mesoamerican colors with those used in other ancient cultures from both the Old and New Worlds. This cross-cultural perspective reveals crucial similarities and differences in the way cultures have painted on skins of all types. Examining color in Mesoamerica broadens understandings of Native religious systems and world views. Tracing the path of color use and meaning from pre-Columbian times to the present allows for the study of the preparation, meanings, social uses, and thousand-year origins of the coloring materials used by today’s Indigenous peoples. Contributors: María Isabel Álvarez Icaza Longoria Christine Andraud Bruno Giovanni Brunetti David Buti Davide Domenici Élodie Dupey García Tatiana Falcón Álvarez Anne Genachte-Le Bail Fabrice Goubard Aymeric Histace Patricia Horcajada Campos Stephen Houston Olivia Kindl Bertrand Lavédrine Linda R. Manzanilla Naim Anne Michelin Costanza Miliani Virgina E. Miller Sélim Natahi Fabien Pottier Patricia Quintana Owen Franco D. Rossi Antonio Sgamellotti Vera Tiesler Aurélie Tournié María Luisa Vázquez de Ágredos Pascual Cristina Vidal Lorenzo

From the 1970s through the mid-1980s, the Chicago Outfit dominated organized crime in Las Vegas. To ensure the smooth flow of cash, the gangsters installed a front man with no criminal background, Allen R. Glick, as the casino owner of record, Frank “Lefty” Rosenthal as the real boss of casino operations, and Tony Spilotro as the ultimate enforcer, who’d do whatever it took to protect their interests. It wasn’t long before Spilotro, also in charge of Vegas street crime, was known as the “King of the Strip.” Federal and local law enforcement, recognizing the need to rid the casinos of the mob and shut down Spilotro’s rackets, declared war on organized crime. The Battle for Las Vegas relates the story of the fight between the tough guys on both sides, told in large part by the agents and detectives who knew they had to win.

A Pulitzer Prize Winner and landmark book from one of the truly original scholars of our time: a magnificent revelation of turn-of-the-century Vienna where out of a crisis of political and social disintegration so much of modern art and thought was born. "Not only is it a splendid exploration of several aspects of early modernism in their political context; it is an indicator of how the discipline of intellectual history is currently practiced by its most able and ambitious craftsmen. It is also a moving vindication of historical study itself, in the face of modernism's defiant suggestion that history is obsolete." -- David A. Hollinger, History Book Club Review "Each of [the seven separate studies] can be read separately....Yet they are so artfully designed and integrated that one who reads them in order is impressed by the book's wholeness and the momentum of its argument." -- Gordon A. Craig, The New Republic "A profound work...on one of the most important chapters of modern intellectual history" -- H.R. Trevor-Roper, front page, The New York Times Book Review "Invaluable to the social and political historian...as well as to those more concerned with the arts" -- John Willett, The New York Review of Books "A work of original synthesis and scholarship. Engrossing." -- Newsweek

More than 200 million years ago, geological forces split apart the continents. Isolated from each other, the two halves of the world developed totally different suites of plants and animals. Columbus's voyages brought them back together--and marked the beginning of an extraordinary exchange of flora and fauna between Eurasia and the Americas.

"Important anthology marking, but not celebrating, the Columbian Quincentenary, directing attention to indigenous cultural responses to the Spanish intrusion in Mexico and Peru, utilizing as much as possible native documents and sources, and exploring mentalities. While we can benefit from the analysis and methodology in all contributions to this volume, items certain to interest Mesoamericanists include: Hill Boone, 'Introduction,' for the volume's orientation; Laiou, 'The Many Faces of Medieval Colonization,' for background, analysis of colonization as process, and its multiple forms; Lockhart, 'Three Experiences of Culture Contact: Nahua, Maya, and Quechua,' for special attention to language change as a reflection of broader cultural evolution in key areas; Hill Boone, 'Pictorial Documents and Visual Thinking in Postconquest Mexico,' for an examination of the endurance of these forms in 16th-century Nahua culture; Wood, 'The Social vs.

"At its heart, Pasztory's thesis is simple and yet profound. She asserts that humans create things (some of which modern Western society chooses to call "art") in order to work out our ideas - that is, we literally think with things. Pasztory draws on examples from many societies to argue that the art-making impulse is primarily cognitive and only secondarily aesthetic. She demonstrates that "art" always reflects the specific social context in which it is created, and that as societies become more complex, their art becomes more rarefied."--Jacket.