The Image of the Black in African and Asian Art asks how the black figure was depicted by artists from the non-Western world. Beginning with ancient Egypt-positioned properly as part of African history-this volume focuses on the figure of the black as rendered by artists from Africa, East Asia, and the Indian subcontinent. The aesthetic traditions illustrated here are as diverse as the political and social histories of these regions. From Igbo Mbari sculptures to modern photography from Mali, from Indian miniatures to Japanese prints, African and Asian artists portrayed the black body in ways distinct from the European tradition, even as they engaged with Western art through the colonial encounter and the forces of globalization. This volume complements the vision of art patrons Dominique and Jean de Menil who, during the 1960s, founded an image archive to collect the ways that people of African descent have been represented in Western art from the ancient world to modern times. A half-century later, Harvard University Press and the Hutchins Center for African and African American Research completed the historic publication of The Image of the Black in Western Art-ten books in total-beginning with Egyptian antiquities and concluding with images that span the twentieth century. The Image of the Black in African and Asian Art reinvigorates the de Menil family's original mission and reorients the study of the black body with a new focus on Africa and Asia.

In the first decades of the twentieth century, Marseille was a booming Mediterranean port. Positioned at the very edge of France, the city functioned as a critical fulcrum between the metropolitan center and its overseas empire. A notoriously dangerous and cosmopolitan city, Marseille became the focus of the extraordinary energies of some of the most remarkable architects and theorists of urban modernity.
Drawing together a cast of both world-renowned and less familiar architects, photographers, and cultural theorists, including Le Corbusier, Sigfried Giedion, Walter Benjamin, and Laszlo Moholy-Nagy, "Mediterranean Crossroads" examines how mythic ideas about Marseille helped to shape its urban landscape. Tracing successive planning proposals in tandem with shifting representations of the city in photographs, film, guidebooks, and postcards, Sheila Crane reconstructs the history and politics of architecture in Marseille from the 1920s through the years of rebuilding after World War II.
By exploring how architects and planners negotiated highly localized pressures, evolving imperial visions, and transnational aspirations at the borders of Europe and the Mediterranean region, "Mediterranean Crossroads" brings to life a lost chapter in the history of modern architecture.