Anna Thomson Dodge, heiress to the automotive fortune, built a great home and decorated it with one of the finest groups of 18th-century French decorative arts in America. Here are more than 130 pieces of furniture, sculpture, metalwork, tapestries, Sevres porcelain, and paintings, many from royal collections.

John McPhee's The Ransom of Russian Art is a suspenseful, chilling, and fascinating report on a covert operation like no other. It offers unprecedented insight into Soviet culture at the brink of the Union's collapse. In the 1960s and 1970s, an American professor of Soviet economics forayed on his own in the Soviet Union, bought the work of underground "unofficial" artists, and brought it out himself or arranged to have it illegally shipped to the United States. Norton Dodge visited the apartments of unofficial artists in at least a dozen geographically scattered cities. By 1977, he had a thousand works of art. His ultimate window of interest involved the years from 1956 to 1986, and through his established contacts he eventually acquired another eight thousand works—by far the largest collection of its kind. McPhee investigates Dodge's clandestine activities in the service of dissident Soviet art, his motives for his work, and the fates of several of the artists whose lives he touched.

Chrysler unleashed the hemi in 1951, redefining performance. Featuring cars from the Brothers' Collection, The Art of Mopar: Chrysler, Dodge, and Plymouth Muscle Cars celebrates Chrysler muscle in studio portraits.

At the start of the Ford Motor Company in 1903, the Dodge Brothers supplied nearly every car part needed by the up-and-coming auto giant. After fifteen years of operating a successful automotive supplier company, much to Ford's advantage, John and Horace Dodge again changed the face of the automotive market in 1914 by introducing their own car. The Dodge Brothers automobile carried on their names even after their untimely deaths in 1920, with the company then remaining in the hands of their widows until its sale in 1925 to New York bankers and subsequent purchase in 1928 by Walter Chrysler. The Dodge nameplate has endured, but despite their achievements and their critical role in the early success of Henry Ford, John and Horace Dodge are usually overlooked in histories of the early automotive industry. Charles K. Hyde's book The Dodge Brothers: The Men, the Motor Cars, and the Legacy is the first scholarly study of the Dodge brothers and their company, chronicling their lives-from their childhood in Niles, Michigan, to their long years of learning the machinist's trade in Battle Creek, Port Huron, Detroit, and Windsor, Ontario-and examining their influence on automotive manufacturing and marketing trends in the early part of the twentieth century. Hyde details the brothers' civic contributions to Detroit, their hiring of minorities and women, and their often anonymous charitable contributions to local organizations. Hyde puts the Dodge brothers' lives and accomplishments in perspective by indicating their long-term influence, which has continued long after their deaths. The most complete and accurate resource on John and Horace Dodge available, The Dodge Brothers uses sources that have never before been examined. Its scholarly approach and personal tone make this book appealing for automotive historians as well as car enthusiasts and those interested in Detroit's early development.

Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.