Despite its consistent presence in architectural practice throughout the 20th and 21st centuries, collage has never been considered a standard form of architectural representation like drafting, model making, or sketching. The work of Marshall Brown, an architect and artist, demonstrates the power of collage as an architectural medium. In Brown's view, collage changes the terms of architectural authorship and challenges outdated definitions of originality. Published in conjunction with the exhibition The Architecture of Collage: Marshall Brown at the Santa Barbara Museum of Art, the book features some forty collages by Marshall Brown. These works come from four of his collage series, including Chimera, Je est un autre, as well as the previously unpublished Prisons of Invention and Piranesian Maps of Berlin. Additionally, there are photographs of Ziggurat, an outdoor sculpture with a design based on a collage from Chimera. The full-color plates are supplemented with essays by critic and curator Aaron Betsky, scholar of art history and archaeology Anna Arabindan-Kesson, Santa Barbara Museum of Art’s curator James Glisson, and Marshall Brown that outline the conceptual foundations of Brown's intriguing exploration of an intersection of architecture and art.

In the first half of the twentieth century, a group of American artists influenced by the painter and teacher Robert Henri aimed to reject the pretenses of academic fine art and polite society. Embracing the democratic inclusiveness of the Progressive movement, these artists turned to making prints, which were relatively inexpensive to produce and easy to distribute. For their subject matter, the artists mined the bustling activity and stark realities of the urban centers in which they lived and worked. Their prints feature sublime towering skyscrapers and stifling city streets, jazzy dance halls and bleak tenement interiors-intimate and anonymous everyday scenes that addressed modern life in America. True Grit examines a rich selection of prints by well-known figures like George Bellows, Edward Hopper, Joseph Pennell, and John Sloan as well as lesser-known artists such as Ida Abelman, Peggy Bacon, Miguel Covarrubias, and Mabel Dwight. Written by three scholars of printmaking and American art, the essays present nuanced discussions of gender, class, literature, and politics, contextualizing the prints in the rapidly changing milieu of the first decades of twentieth-century America.

Celebrating two collectors' passion for Americana and the window it provides into the everyday beauty of the past Becoming America offers a multifaceted view of one of the foremost collections of 18th- and 19th-century American folk and decorative art from the rural Northeast. Essays by leading specialists discuss the culture of furniture workshops, exuberant painted decoration, techniques of sewing and quilting, and poignant stories about the families depicted in the portraits. The collection itself includes Shaker boxes, a beaded Iroquois hat, embroidered samplers, metalwork, scrimshaw, handwoven rugs, ceramics, and a weather vane. The majority of these works have never before been published. With lively essays and profuse illustrations, this handsome volume brings to life the aesthetic of early Americans living in the countryside and is an essential exploration of the period's taste and style. Distributed for The Huntington Library, Art Collections, and Botanical Gardens Exhibition Schedule: The Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA (October 22, 2016-ongoing)