In the early twentieth century, a brand of men and women moved to New York City. For them, the city's immigrant neighborhoods provided a place where the fancies and forms of a new America could be tested. This book tells the story of most famous of these neighborhoods, Greenwich Village, which became a symbol of social and intellectual freedom.

“One of those designers whose interior and furniture designs look discovered, not created . . . both comfortable and exquisite, calm and eclectic.” —Apartment Therapy Designer and merchant, collector and tastemaker, Thomas O’Brien has made a career of translating cool notions of modernism into an easy and generous array of modern styles that anyone can attain. Now he introduces readers to a range of those styles—from casual to formal, vintage to urban—alongside stunning photography and charming design stories. O’Brien carefully describes the design process of his chosen projects, including a downtown New York City loft, a traditional Connecticut estate, and a converted schoolhouse in eastern Long Island. Each home explores a view on the modern design spectrum he has created, as well as the individual choices that make the design unique and its mix essentially American. He explains not only what was at work to create a given style, but how readers can import those practices to their own homes and personal design sensibilities. Important design principles such as architectural authenticity, color relationships, correctness of scale, and informed collecting are threaded through a practical narrative that reads like a master class in interior design. American Modern is an inspiring design volume that will redefine the way readers think about modern interiors. “O’Brien carefully describes the design process of his chosen projects. Beautiful imagery and a unique layout describe his approach to design in a new and innovative way.” —LIFEMSTYLE “It’s like getting a glimpse into the studio paintings of a great master . . . I especially love how all of his spaces feel so gender neutral, the perfect balance.” —Cottage Farm

In The Moderns, we meet the men and women who invented and shaped Midcentury Modern graphic design in America. The book is made up of generously illustrated profiles, many based on interviews, of more than 60 designers whose magazine, book, and record covers; advertisements and package designs; posters; and other projects created the visual aesthetics of postwar modernity. Some were émigrés from Europe; others were homegrown—all were intoxicated by elemental typography, primary colors, photography, and geometric or biomorphic forms. Some are well-known, others are honored in this volume for the first time, and together they comprised a movement that changed our design world.

In The Other American Moderns, ShiPu Wang analyzes the works of four early twentieth-century American artists who engaged with the concept of “Americanness”: Frank Matsura, Eitarō Ishigaki, Hideo Noda, and Miki Hayakawa. In so doing, he recasts notions of minority artists’ contributions to modernism and American culture. Wang presents comparative studies of these four artists’ figurative works that feature Native Americans, African Americans, and other racial and ethnic minorities, including Matsura and Susan Timento Pose at Studio (ca. 1912), The Bonus March (1932), Scottsboro Boys (1933), and Portrait of a Negro (ca. 1926). Rather than creating art that reflected “Asian aesthetics,” Matsura, Ishigaki, Noda, and Hayakawa deployed “imagery of the Other by the Other” as their means of exploring, understanding, and contesting conditions of diaspora and notions of what it meant to be American in an age of anti-immigrant sentiment and legislation. Based on a decade-long excavation of previously unexamined collections in the United States and Japan, The Other American Moderns is more than a rediscovery of “forgotten” minority artists: it reconceives American modernism by illuminating these artists’ active role in the shaping of a multicultural and cosmopolitan culture. This nuanced analysis of their deliberate engagement with the ideological complexities of American identity contributes a new vision to our understanding of non-European identity in modernism and American art.

In the closing decades of the nineteenth century, college-age Latter-day Saints began undertaking a remarkable intellectual pilgrimage to the nation's elite universities, including Harvard, Columbia, Michigan, Chicago, and Stanford. Thomas W. Simpson chronicles the academic migration of hundreds of LDS students from the 1860s through the late 1930s, when church authority J. Reuben Clark Jr., himself a product of the Columbia University Law School, gave a reactionary speech about young Mormons' search for intellectual cultivation. Clark's leadership helped to set conservative parameters that in large part came to characterize Mormon intellectual life. At the outset, Mormon women and men were purposefully dispatched to such universities to "gather the world's knowledge to Zion." Simpson, drawing on unpublished diaries, among other materials, shows how LDS students commonly described American universities as egalitarian spaces that fostered a personally transformative sense of freedom to explore provisional reconciliations of Mormon and American identities and religious and scientific perspectives. On campus, Simpson argues, Mormon separatism died and a new, modern Mormonism was born: a Mormonism at home in the United States but at odds with itself. Fierce battles among Mormon scholars and church leaders ensued over scientific thought, progressivism, and the historicity of Mormonism's sacred past. The scars and controversy, Simpson concludes, linger.

Modern American Housing brings together the most enlightened thinkers from the worlds of architecture, social practice, and real estate development to present the latest developments in the design and construction of new housing stock in re-urbanizing cities throughout the United States. New housing is grouped into three sections—housing towers, reused historical structures, and urban infill—and documented with photographs, pre-construction renderings, floor plans, and maps indicating location in urban settings. An accompanying essay and a discussion with urban planners, architects, and policymakers round out this fresh look at the past and future of the American house.

Essays by Elizabeth Armstrong, Kristin Chambers, Aimee Chang, Rita Gonzalez, Glen Helfand, Michael Ned Holte, Karen Moss and Jan Tumlir. Foreword by Dennis Szakacs.