A new perspective on woman’s role in the world of art jewelry at the turn of the twentieth century—from Art Nouveau in France and the Arts and Crafts movement in Britain, to Jugendstil in Germany and Austria, Louis Comfort Tiffany in New York, and American Arts and Crafts in Chicago—and the most extensive survey to date of the sheer diversity and beauty of art jewelry during this period. Accompanying a groundbreaking exhibition at The Richard H. Driehaus Museum in Chicago, this lavishly illustrated catalog showcases nearly two hundred stunning pieces from the Driehaus Collection and prominent national collections, many of which have never been seen by the public. Women were not only the intended wearers of art jewelry during the early twentieth century, but also an essential part of its creation. Their work—boldly artistic, exquisitely detailed, hand wrought, and inspired by nature—is now widely sought after by collectors and museums alike. From the world’s first independent female jewelry makers, to the woman as artistic motif, this jewelry reflected rapid changes in definitions of femininity and social norms. Essays by noted scholars explore five different areas of jewelry design and fabrication, and discuss the important female figures and historic social milieu associated with these movements—from the suffragists and the Rational Dress Society in England; to the Wiener Werkstätte and Gustav Klimt; and the Art Nouveau masters René Lalique and Alphonse Mucha, who depicted otherworldly women in jewelry for equally fascinating patrons like Sarah Bernhardt. The essays are illustrated by historic photographs and decorative arts of the period as well as the extraordinary pieces themselves: hair combs, bracelets, brooches, and tiaras executed in moonstones, translucent horn, enamel, opals, aquamarines, and much more. As Driehaus writes in his introduction to Maker & Muse, “Essential as these elements are, the metal and gemstones of a necklace—or a brooch or a bracelet—are like a canvas. It is the designer who evokes true greatness, beauty, and value from them. Neither monumental nor mass-produced, the object contains a memory of a particular artist’s skilled hand.”

A memoir by the legendary cookbook editor who was present at the creation of the American food revolution and played a pivotal role in shaping it • “Engrossing. . . . The Tenth Muse lets you pull up a chair at the table where American gastronomic history took place.”—O, The Oprah Magazine Living in Paris after World War II, Jones broke free of bland American food and reveled in everyday French culinary delights. On returning to the States she published Julia Child's Mastering the Art of French Cooking. The rest is publishing and gastronomic history. A new world now opened up to Jones as she discovered, with her husband Evan, the delights of American food, publishing some of the premier culinary luminaries of the twentieth century: from Julia Child, James Beard, and M.F.K. Fisher to Claudia Roden, Edna Lewis, and Lidia Bastianich. Also included are fifty of Jones's favorite recipes collected over a lifetime of cooking-each with its own story and special tips. “Lovely. . . . A rare glimpse into the roots of the modern culinary world.”—Chicago Tribune

The fifty essays in Second Words span the period from 1962 to 1980 and reveal Margaret Atwood's views on feminism, Canadian literature, the creative process, nationalism, sexism, as well as critical commentary on such writers as Erica Jong, E. L. Doctorow, Northrop Frye, Roch Carrier, Marie-Claire Blais, Marge Piercy, Adrienne Rich, Sylvia Plath, and many more.

Makerspaces—local workshops that offer access to and training on fabrication technologies, often with a focus on creativity, education, and entrepreneurship—proliferated in the 2010s, popping up in cities across the world. Beyond the Makerspace is a longitudinal, ethnographically informed study of a particular Seattle makerspace that begins in 2015 and ends with the closing of the space in 2018. Examining acts of making with objects, tools, words, and relationships, Beyond the Makerspace reads making as a kind of rhetoric, or meaning-making work, and argues that acts of making things are rhetorical in the sense that they are culturally situated and that they mark boundaries of what counts as making and who counts as maker. By focusing on a particular makerspace over time, Shivers-McNair attends to a changing cohort of makerspace regulars as they face challenges of bringing their vision of inclusivity and diversity to fruition, and offers an examination of how makers are made (and unmade, and remade) in a makerspace. Beyond the Makerspace contributes not only to our understanding of making and makerspaces, but also to our understanding of how to study making—and meaning making, more broadly—in ways that examine and intervene in the marking of difference. Thus, the book examines what (and whose) values and practices we are taking up when we identify as makers or when we turn a writing classroom or a library space into a makerspace.

Following the successes of both Beaches and Escape, Gray Malin turns his unique eye to the coasts, beaches, and landscapes of Italy. From the sparkling blue waters of the Amalfi Coast to the dramatic coastal scenery of Cinque Terre, Gray Malin: Italy captures and celebrates many of the country’s most famous and beloved destinations. Inspired by Malin’s bestselling photographic series “La Dolce Vita,” Gray Malin: Italy highlights timeless details of the Italian Riviera: happy beachgoers, retro beach umbrellas, luxury motorboats, and of course, the sun-soaked water. Featuring never-before-seen, -published, or -privately-sold images, Gray Malin: Italy beautifully depicts the incomparable scenery and enviable lifestyle that the Italian coastline has to offer.

"The artists found in these images represent the roots of American music. Most will be strangers. Some have found fame. All are artists of American folk traditions, the living expressions of who we are, made and remade by everyday people and passed down through generations. While the world finds inspiration in the well of grassroots creativity maintained by traditional musicians, barriers of class, race, and place often keep the artists themselves under-acknowledged and obscured"--