Jonathan Meades has an obsessive preoccupation with places. He has spent thirty years constructing sixty films, two novels and hundreds of pieces of journalism that explore an extraordinary range of them, from natural landscapes to man-made buildings and 'the gaps between them', drawing attention to what he calls 'the rich oddness of what we take for granted'. This book collects fifty-four pieces and six film scripts that dissolve the barriers between high and low culture, good and bad taste, deep seriousness and black comedy. Meades delivers what he calls 'heavy entertainment' – strong opinions backed up by an astonishing depth of knowledge. To read Meades on places, buildings, politics or cultural history is an exhilarating workout for the mind. He leaves you better informed, more alert, less gullible.

"A museum without walls has been opened to us, and it will carry infinitely farther that limited revelation of the world of art which the real museums offer us within their walls: in answer to their appeal, the plastic arts have produced their printing press."--Introduction

Examines the introduction of Mexican muralism to the United States in the 1930s, and the challenges faced by the artists, their medium, and the political overtones of their work in a new society.

In 1954, the French writer, politician, and publisher André Malraux posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer. Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.

Latina/o/x places exist as both tangible physical phenomena and gatherings created and maintained by creative cultural practices. In this collection, an interdisciplinary group of contributors critically examines the many ways that varied Latina/o/x communities cohere through cultural expression. Authors consider how our embodied experiences of place, together with our histories and knowledge, inform our imagination and reimagination of our surroundings in acts of placemaking. This placemaking often considers environmental sustainability as it helps to sustain communities in the face of xenophobia and racism through cultural expression ranging from festivals to zines to sanctuary movements. It emerges not only in specific locations but as movement within and between sites; not only as part of a built environment, but also as an aesthetic practice; and not only because of efforts by cultural, political, and institutional leaders, but through mass media and countless human interactions. A rare and crucial perspective on Latina/o/x people in the Midwest, Building Sustainable Worlds reveals how expressive culture contributes to, and sustains, a sense of place in an uncertain era.

For most people, home is a place with four walls. It's a place to eat, sleep, rest, and live. For a refugee, the concept of home is ever-changing, ever-moving, ever-wavering. And often, it doesn't have any walls at all. Eleven-year-old Lam escapes from Vietnam with Dee Dee during the Vietnamese Boat People Exodus in 1979, when people from Vietnam, Laos, and Cambodia fled their homelands for safety. For a refugee, the trip is a long and perilous one, filled with dangerous encounters with pirates and greedy sailors, a lack of food and water, and even the stench of a dead body onboard. When they finally arrive at a refugee camp, Lam befriends Dao, a girl her age who becomes like a sister-a welcome glimmer of happiness after a terrifying journey. Readers will feel as close to Lam as the jade pendant she wears around her neck, sticking by her side throughout her journey as she experiences fear, crushing loss, boredom, and some small moments of joy along the way. Written in verse, this is a heartfelt story that is sure to build empathy and compassion for refugees around the world escaping oppression.