The Other Transatlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Central and Eastern European art scenes on the one hand, and their Latin American counterparts on the other, converged in a shared enthusiasm for Kinetic and Op Art. As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including Pop, minimalism, and conceptualism another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.

This long-awaited volume celebrates the work of Kerry James Marshall, one of America's greatest living painters. Born before the passage of the Civil Rights Act, in Birmingham, Alabama, and witness to the Watts riots in 1965, Marshall has long been an inspired and imaginative chronicler of the African American experience. Best known for large-scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth-century abstraction, as well as other sources such as the comic book and the muralist tradition. With luscious color and brushstrokes and highly detailed patterning, his direct and intimate scenes of black middle-class life conjure a wide range of emotions, resulting in powerful paintings that confront the position of African Americans throughout American history. Richly illustrated, this monumental book features essays by noted curators as well as the artist, and more than 100 paintings from throughout the artist's career arranged thematically by subject: history painting; beauty, as expressed through the nude, portraiture, and self-portraiture; landscape; religion; and the politics of black nationalism.

In this first comprehensive presentation of art from the 1990s in Argentina, "Recovering Beauty" places the Centro Cultural Rojas (CCR) at the core of this creative period. The CCR, or "El Rojas" as it was later known, opened in 1989 as a venue for emerging artists. The "El Rojas" artists epitomized a collective will to move beyond a grim recent past by creating introspective narratives that looked towards the ordinary as a source of inspiration. Artists such as Feliciano Centurion, Sebastian Gordin, Jorge Gumier Mier, Miguel Harte, Graciela Hasper, Benito Laren, Marcelo Pombo, Cristina Schiavi and Omar Schiliro espoused conceptions of beauty, color and fantasy, and the projection of psychology as artistic expression. "Recovering Beauty" is the first sustained examination of this fascinating moment in Argentine culture, which chimes with trends towards the fantastical and the decorative in American art of the late 1990s and 2000s.