In the heroic tradition of Michelangelo and Rodin, Donald DeLue's (1897-1988) monumental sculpture adorns such sites as Valley Forge ( Washington at Prayer ) and Gettysburg ( Peace and Memory ). His 45-foot-high Rocket Thrower soared above the 1964 NewYork World's Fair, symbolizing humanity's conquest of outer space. Less well known to the public than Paul Manship, whose assistant he briefly was, DeLue receives a fitting tribute in this biography/critical study, the first monograph on the artist. Howlett, president of Childs Galleries in Boston and New York, knew DeLue well and seems attuned to the sculptor's traditionalist blend of classical myth, national symbolism and spiritualized personification of emotions. Fiery and primal, DeLue's most original work reaches beyond the spring of classical perfection to tap archaic Greek and Minoan sources.

Monmouth County's past encompasses more than just sandy beaches and rural farm life. George Washington fought at the Battle of Monmouth as the region played a pivotal role in the birth of the republic. Henry Hudson anchored off Monmouth's shores in 1609 and was the first European to meet with the Lenape Native Americans there. A gun barrel of the USS New Jersey, the most decorated battleship in American history, was painstakingly transported to Battery Lewis, a fortification built along the county's highlands to protect New York Harbor during World War II. Bruce Springsteen elevated Asbury Park and the Stone Pony into a national music destination, and he remains the unofficial poet laureate of the Jersey Shore. Authors Rick Geffken and Muriel J. Smith highlight compelling stories of the seaside county's four-hundred-year history.

Brookgreen Gardens expansive property exhibits the finest outdoor collection of American figurative sculpture in the world. It began in 1930 as a winter home for philanthropist Archer Milton Huntington and his wife, sculptor Anna Hyatt Huntington. When the Huntingtons founded Brookgreen Gardens in the following year, they initially placed artworks from their own collection. By 1932, they had begun to actively purchase sculpture and to commission prominent sculptors to create works for the gardens. This volume portrays Brookgreens beginning as the first public sculpture garden in America and its rise as a respected museum of American sculpture. In 1992, it was designated a National Historic Landmark, recognizing Anna Hyatt Huntingtons status as an important sculptor and patron of the arts and Brookgreens significance as a site for womens history in America.

Public sculpture is a major draw in today’s cities, and nowhere is this more the case than in New York. In the Big Apple, urban art has become synonymous with the municipal “brand,” highlighting the metropolis as vibrant, creative, tolerant, orderly, and above all, safe. Sculpture in Gotham tells the story of how the City of New York came to be committed to public art patronage beginning in the mid-1960s. In that era of political turbulence, cultural activists and city officials for a time shifted away from traditional monuments, joining forces to sponsor ambitious sculptural projects as an instrument for urban revitalization. Focusing on specific people, agencies and organizations, and both temporary and permanent projects, from the 1960s forward, Michele H. Bogart reveals the changing forms and meanings of municipal public art. Sculpture in Gotham illustrates how such shifts came about at a time when art theories and styles were morphing markedly, and when municipalities were reeling from racial unrest, economic decline, and countercultural challenges—to culture as well as the state. While sculptural installations on New York City property took time and were not without controversy, Gotham’s processes and policies produced notable results, providing precedents and lessons for cities the world over.

Wars do not fully end when the shooting stops. As G. Kurt Piehler reveals in this book, after every conflict from the Revolution to the Persian Gulf War, Americans have argued about how and for what deeds and heroes wars should be remembered. Drawing on sources ranging from government documents to Embalmer's Monthly, Piehler recounts efforts to commemorate wars by erecting monuments, designating holidays, forming veterans' organizations, and establishing national cemetaries. The federal government, he contends, initially sidestepped funding for memorials, thereby leaving the determination of how and whom to honor in the hands of those with ready money—and those who responded to them. In one instance, monuments to “Yankee heroes” erected by the Daughters of the American Revolution were countered by immigrant groups, who added such figures as Casimir Pulaski and Thaddeus Kosciusko to the record of the war. Piehler argues that the conflict between these groups is emblematic of the ongoing reinterpretation of wars by majority and minority groups, and by successive generations. Demonstrating that the battles over the Vietnam Veterans Memorial are not unique in American history, Remembering War the American Way reveals that the memory of war is intrinsically bound to the pluralistic definition of national identity.

It is also an image that has resisted fundamental revision over the course of two centuries because of the force of Washington's character, the clarity of his political purposes, and the intensity of his charisma.