Visual Typologies from the Early Modern to the Contemporary investigates the pictorial representation of types from the sixteenth to the twenty- first century. Originating in longstanding visual traditions, including street crier prints and costume albums, these images share certain conventions as they seek to convey knowledge about different peoples. The genre of the type became widespread in the early modern period, developing into a global language of identity. The chapters explore diverse pictorial representations of types, customs, and dress in numerous media, including paintings, prints, postcards, photographs, and garments. Together, they reveal that the activation of typological strategies, including seriality, repetition, appropriation, and subversion has produced a universal and dynamic pictorial language. Typological images highlight the tensions between the local and the international, the specific and the communal, and similarity and difference inherent in the construction of identity. The first full- length study to treat these images as a broader genre, Visual Typologies gives voice to a marginalized form of representation. Together, the chapters debunk the classification of such images as unmediated and authentic representations, offering fresh methodological frameworks to consider their meanings locally and globally, and establishing common ground about the operations of objects that sought to shape, embody, or challenge individual and collective identities.

Visual Typologies from the Early Modern to the Contemporary investigates the pictorial representation of types from the sixteenth to the twenty- first century. Originating in longstanding visual traditions, including street crier prints and costume albums, these images share certain conventions as they seek to convey knowledge about different peoples. The genre of the type became widespread in the early modern period, developing into a global language of identity. The chapters explore diverse pictorial representations of types, customs, and dress in numerous media, including paintings, prints, postcards, photographs, and garments. Together, they reveal that the activation of typological strategies, including seriality, repetition, appropriation, and subversion has produced a universal and dynamic pictorial language. Typological images highlight the tensions between the local and the international, the specific and the communal, and similarity and difference inherent in the construction of identity. The first full- length study to treat these images as a broader genre, Visual Typologies gives voice to a marginalized form of representation. Together, the chapters debunk the classification of such images as unmediated and authentic representations, offering fresh methodological frameworks to consider their meanings locally and globally, and establishing common ground about the operations of objects that sought to shape, embody, or challenge individual and collective identities.

The Noisemakers examines Estridentismo, one of Mexico's first modern art and literary movements. Founded by poet Manuel Maples Arce, Estridentismo spurred dynamic collaborations and debates among artists, writers, and intellectuals during the decade following the Mexican Revolution. Lynda Klich explores the paradoxical aims of the movement's writers and artists, who deployed manifestos, journals, and cubo-futurist forms to insert themselves into international vanguard networks as they simultaneously participated in the nationalist reconstruction of the 1920s. In crafting a cosmopolitan Mexican identity, Estridentista artists both circulated images of modern technologies and urban life and updated such traditional subjects as masks and Mexican types. Klich reads the movement's radical cultural production as a call for active sociopolitical engagement and characterizes Estridentismo as an ambitious program for national cultural and social modernity in the early twentieth century. Exploring the tensions that emerged from these divergent cosmopolitan and local proposals, The Noisemakers brings Mexico into the dialogue of global modernisms.

*In the decades around 1900, postcards were Twitter, e-mail, Flickr and Facebook all wrapped into one. A postcard craze swept the globe, wreaking havoc on international postal systems and giving rise to anecdotes about overburdened postmen who had to leave bags of cards undelivered. Many of these cards were thrown away after they had served their purpose. But not all, as the craze for buying and sending postcards was married to a craze for collecting them. Millions upon millions of postcards were never posted; instead, they were tucked into boxes and albums, unused and in mint condition. Drawing on one of the finest and most comprehensive collections of postcards anywhere, The Postcard Age traces how big historical and cultural themes of the modern era played out on the postcards tiny canvas.