In the Shadow of Yalta is a comprehensive study of the artistic culture of the region between the Iron Curtain and the USSR, taking in Bulgaria, Czechoslovakia, Germany, Hungary, Poland, Romania and Yugoslavia. Piotr Piotrowski chronicles the relationship between art production and politics in this zone between the end of World War II and the fall of Communism, focusing in particular on the avant-garde.

"The story of the fascinating and fateful "daughter diplomacy" of Anna Roosevelt, Sarah Churchill, and Kathleen Harriman, three glamorous young women who accompanied their famous fathers to the Yalta Conference with Stalin in the waning days of World War II"--

The authoritative history of the pivotal conference between Allied leaders at the close of WWII, based on revealing firsthand accounts. Crimea, 1945. As the last battles of WWII were fought, US President Franklin Roosevelt, British Prime Minister Winston Churchill, and Soviet Premier Joseph Stalin—the so-called “Big Three” —met in the Crimean resort town of Yalta. Over eight days of bargaining, bombast, and intermittent bonhomie, they decided on the endgame of the war against Nazi Germany and how the defeated nation should be governed. They also worked out the constitution of the nascent United Nations; the price of Soviet entry into the war against Japan; the new borders of Poland; and spheres of influence across Eastern Europe, the Balkans, and Greece. Drawing on the lively accounts of those who were there—from the leaders and advisors such as Averell Harriman, Anthony Eden, and Andrei Gromyko, to Churchill’s secretary Marian Holmes and FDR’s daughter Anna Boettiger—Diana Preston has crafted a masterful chronicle of the conference that created the post-war world. Who “won” Yalta has been debated ever since. After Germany’s surrender, Churchill wrote to the new president, Harry Truman, of “an iron curtain” that was now “drawn upon [the Soviets’] front.” Knowing his troops controlled eastern Europe, Stalin’s judgment in April 1945 thus speaks volumes: “Whoever occupies a territory also imposes on it his own social system.”

Prize-winning historian Michael S. Sherry shows how war has defined modern America and argues that militarization has reshaped every facet of American life--its politics, economics, culture, social relations, and place in the world. 17 illustrations.

A major new history of the eight days in February 1945 when FDR, Churchill, and Stalin decided the fate of the world Imagine you could eavesdrop on a dinner party with three of the most fascinating historical figures of all time. In this landmark book, a gifted Harvard historian puts you in the room with Churchill, Stalin, and Roosevelt as they meet at a climactic turning point in the war to hash out the terms of the peace. The ink wasn't dry when the recriminations began. The conservatives who hated Roosevelt's New Deal accused him of selling out. Was he too sick? Did he give too much in exchange for Stalin's promise to join the war against Japan? Could he have done better in Eastern Europe? Both Left and Right would blame Yalta for beginning the Cold War. Plokhy's conclusions, based on unprecedented archival research, are surprising. He goes against conventional wisdom-cemented during the Cold War- and argues that an ailing Roosevelt did better than we think. Much has been made of FDR's handling of the Depression; here we see him as wartime chief. Yalta is authoritative, original, vividly- written narrative history, and is sure to appeal to fans of Margaret MacMillan's bestseller Paris 1919.

When the Iron Curtain fell in 1989, Eastern Europe saw a new era begin, and the widespread changes that followed extended into the world of art. Art and Democracy in Post-Communist Europe examines the art created in light of the profound political, social, economic, and cultural transformations that occurred in the former Eastern Bloc after the Cold War ended. Assessing the function of art in post-communist Europe, Piotr Piotrowski describes the changing nature of art as it went from being molded by the cultural imperatives of the communist state and a tool of political propaganda to autonomous work protesting against the ruling powers. Piotrowski discusses communist memory, the critique of nationalism, issues of gender, and the representation of historic trauma in contemporary museology, particularly in the recent founding of contemporary art museums in Bucharest, Tallinn, and Warsaw. He reveals the anarchistic motifs that had a rich tradition in Eastern European art and the recent emergence of a utopian vision and provides close readings of many artists—including Ilya Kavakov and Krzysztof Wodiczko—as well as Marina Abramovic’s work that responded to the atrocities of the Balkans. A cogent investigation of the artistic reorientation of Eastern Europe, this book fills a major gap in contemporary artistic and political discourse.