Examines the Latin American artistic presence in the United States from 1920 to 1970.

"This timely collection of speeches by David McCullough, the most honored historian in the United States--winner of two Pulitzer Prizes, two National Book Awards, and the Presidential Medal of Freedom, among many other honors--reminds us of fundamental American principles. Over the course of his distinguished career, David McCullough has spoken before Congress, the White House, colleges and universities, historical societies, and other esteemed institutions. Now, as many Americans engage in self-reflection following a bitter election campaign that has left the country divided, McCullough has collected some of his most important speeches in a brief volume that articulates important principles and characteristics that are particularly American..."--Jacket.

This landmark book shows how five African civilizations—Yoruba, Kongo, Ejagham, Mande and Cross River—have informed and are reflected in the aesthetic, social and metaphysical traditions (music, sculpture, textiles, architecture, religion, idiogrammatic writing) of black people in the United States, Cuba, Haiti, Trinidad, Mexico, Brazil and other places in the New World.

During the Cold War, culture became another weapon in America's battle against communism. Part of that effort in cultural diplomacy included a program to arrange the exhibition of hundreds of American paintings overseas. Michael L. Krenn studies the successes, failures, contradictions, and controversies that arose when the U.S. government and the American art world sought to work together to make an international art program a reality between the 1940s and the 1970s. The Department of State, then the United States Information Agency, and eventually the Smithsonian Institution directed this effort, relying heavily on the assistance of major American art organizations, museums, curators, and artists. What the government hoped to accomplish and what the art community had in mind, however, were often at odds. Intense domestic controversies resulted, particularly when the effort involved modern or abstract expressionist art. Ultimately, the exhibition of American art overseas was one of the most controversial Cold War initiatives undertaken by the United States. Krenn's investigation deepens our understanding of the cultural dimensions of America's postwar diplomacy and explores how unexpected elements of the Cold War led to a redefinition of what is, and is not, "American."

The catalogue is not a mere reiteration of the exhibition; it excludes some images that hang on the wall, like a still-life of crystals that looks at once tongue-in-cheek and hippie-chic, while lavishing attention on others left out of the show. There are twenty-six pages devoted to pictures of Ethridge?s drive through the Rocky Mountains in January, all of them timeless vistas, in which the natural world dwarfs what little evidence there is of human encroachment. A passing car fades into insignificance beneath striated rockface that it took the Earth millennia to create. The landscapes are grouped in the catalogue according to the three-day period over which they were taken: January 19th, 20th, and 21st, the days before, during, and after the Presidential Inauguration. Political critique or pure coincidence? Exhibition: Andrew Kreps Gallery, New York, United States (23.02.-08.04.2017).

A celebration of the life and culture of the Gullah people of the South Carolina Lowcountry in 179 new paintings Jonathan Green is best known for his vibrant depictions of the Gullah life and culture established by descendants of enslaved Africans who settled between northern Florida and North Carolina during the nineteenth century. For decades, Green's vividly colored paintings and prints have captured and preserved the daily rituals and Gullah traditions of his childhood in the Lowcountry marshes of South Carolina. While Green's art continues to express the same energy, color, and deep respect for his ancestors, his techniques have evolved to feature bolder brush strokes and a use of depth and texture, all guided by his maturing artistic vision that is now more often about experiencing freedom and contentment through his art. This vision is reflected in the 179 new paintings featured in Gullah Spirit. His open and inviting images beckon the world to not only see this vanishing culture but also to embrace its truth and enduring spirit. Using both the aesthetics of his heritage and the abstraction of the human figure, Green creates an almost mythological narrative from his everyday observations of rural and urban environments. Expressed through his mastery of color, Green illuminates the challenges and beauty of work, love, belonging, and the richness of community. Angela D. Mack, executive director of the Gibbes Museum of Art in Charleston, South Carolina, provides a foreword. The book also includes short essays by historian Walter B. Edgar, educator Kim Cliett Long, and curator Kevin Grogan.