Consists of various sub-series, called: Colony series, Mining series, Political series.

Recounts the history of a Chicano rights group in 1960s Denver.

The hectic front of the Denver Museum of Nature & Science hides an unseen back of the museum that is also bustling. Less than 1 percent of the museum's collections are on display at any given time, and the Department of Anthropology alone cares for more than 50,000 objects from every corner of the globe not normally available to the public. This lavishly illustrated book presents and celebrates the Denver Museum of Nature & Science's exceptional anthropology collections for the first time. The book presents 123 full-color images to highlight the museum's cultural treasures. Selected for their individual beauty, historic value, and cultural meaning, these objects connect different places, times, and people. From the mammoth hunters of the Plains to the first American pioneer settlers to the flourishing Hispanic and Asian diasporas in downtown Denver, the Rocky Mountain region has been home to a breathtaking array of cultures. Many objects tell this story of the Rocky Mountains' fascinating and complex past, whereas others serve to bring enigmatic corners of the globe to modern-day Denver. Crossroads of Culture serves as a behind-the-scenes tour of the museum's anthropology collections. All the royalties from this publication will benefit the collections of the Denver Museum of Nature & Science's Department of Anthropology.

The Manhattan Project—the World War II race to produce an atomic bomb—transformed the entire country in myriad ways, but it did not affect each region equally. Acting on an enduring perception of the American West as an “empty” place, the U.S. government located a disproportionate number of nuclear facilities—particularly the ones most likely to spread pollution—in western states. The Manhattan Project manufactured plutonium at Hanford, Washington; designed and assembled bombs at Los Alamos, New Mexico; and detonated the world’s first atomic bomb at Alamagordo, New Mexico, on June 16, 1945. In the years that followed the war, the U.S. Atomic Energy Commission selected additional western sites for its work. Many westerners initially welcomed the atom. Like federal officials, they, too, regarded their region as “empty,” or underdeveloped. Facilities to make, test, and base atomic weapons, sites to store nuclear waste, and even nuclear power plants were regarded as assets. By the 1960s and 1970s, however, regional attitudes began to change. At a variety of locales, ranging from Eskimo Alaska to Mormon Utah, westerners devoted themselves to resisting the atom and its effects on their environments and communities. Just as the atomic age had dawned in the American West, so its artificial sun began to set there. The Atomic West brings together contributions from several disciplines to explore the impact on the West of the development of atomic power from wartime secrecy and initial postwar enthusiasm to public doubts and protest in the 1970s and 1980s. An impressive example of the benefits of interdisciplinary studies on complex topics, The Atomic West advances our understanding of both regional history and the history of science, and does so with human communities as a significant focal point. The book will be of special interest to students and experts on the American West, environmental history, and the history of science and technology.

If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.