{"title":"Stendahl’s World","description":"\u003cp\u003eAround 1940, after decades of selling landscapes and Modern paintings, Earl Stendahl turned to Mexican antiquities, transforming the market for pre-Hispanic art in Los Angeles and beyond. Stendahl Art Galleries promoted the ancient artifacts of Mexico as commodities for both museum and private collections, launching exhibitions across the United States and Europe and building on Hollywood connections for product placement in advertising campaigns. Meanwhile, archaeological sites in Mexico suffered irreparable depredations.\u003c\/p\u003e\n\u003csection class=\"o-hero o-hero--project\"\u003e\n\u003cdiv class=\"o-hero__container gui-container\"\u003e\n\u003cdiv class=\"o-hero__lower\"\u003e\n\u003cp id=\"content\" class=\"o-hero__title\" data-focus-method=\"mouse\" tabindex=\"-1\"\u003e\u003ca href=\"https:\/\/www.getty.edu\/exhibitions\/stendahls-world-marketing-ancient-mexico-and-modern-art-in-los-angeles\/\" target=\"_blank\" rel=\"noopener\"\u003e\u003cspan class=\"a-rich-text a-rich-text--inline\"\u003eStendahl’s World: Marketing Ancient Mexico and Modern Art in Los Angeles - Jun 23 - Oct 18, 2026 - Getty Center\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e","products":[{"product_id":"hollywood-arensberg-avant-garde-collecting-in-midcentury-l-a-978-1606066669","title":"Hollywood Arensberg: Avant-Garde Collecting in Midcentury L.A.","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eMark Nelson, William H. Sherman, and Ellen Hoobler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis comprehensive reconstruction and interpretation of Louise and Walter Arensberg’s groundbreaking collection of modern and pre-Columbian art takes readers room by room, wall by wall, object by object through the couple’s Los Angeles home in which their collection was displayed.\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eFollowing the Armory Show of 1913, Louise and Walter Arensberg began assembling one of the most important private collections of art in the United States, as well as the world’s largest private library of works by and about the philosopher Sir Francis Bacon. By the time Louise and Walter died—in 1953 and 1954, respectively—they had acquired some four thousand rare books and manuscripts and nearly one thousand works of art, including world-class specimens of Cubism, Surrealism, and Primitivism, the bulk of Marcel Duchamp’s oeuvre, and hundreds of pre-Columbian objects. These exceptional works filled nearly all available space in every room of their house—including the bathrooms.\u003cbr\u003e \u003cbr\u003eThe Arensbergs have long had a central role in the histories of Modernism and collecting, but images of their collection in situ have never been assembled or examined comprehensively until now. Presenting new research on how the Arensbergs acquired pre-Columbian art and featuring never-before-seen images, \u003cem\u003eHollywood Arensberg \u003c\/em\u003edemonstrates the value of seeing the Arensbergs’ collection as part of a single vision, framed by a unique domestic space at the heart of Hollywood’s burgeoning artistic scene.\u003c\/p\u003e\n\u003cp\u003eMark Nelson is an author as well as design director and partner at the book design firm McCall Associates in New York. William H. Sherman is director of the Warburg Institute in London. Ellen Hoobler is the William B. Ziff, Jr., Associate Curator of the Art of the Americas at the Walters Art Museum in Baltimore. \u003c\/p\u003e\n\u003cp\u003e“A brilliant reminder that modernist art was designed for the home, for conversation, for subversion, and as an expression of taste, rather than as a historical category. In all, the book succeeds in giving Walter and Louise a speaking part, though the collection itself gets the best lines.”\u003cbr\u003e—Henry Martin, \u003cem\u003eHome Cultures\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Picture research, photography, image editing and page design fuse to become both a highly engaging celebration of the collectors’ penetrating taste and an art historical investigation with the lucidity of a forensic report.”\u003cbr\u003e—Rick Poynor, \u003cem\u003eEye Magazine\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“A stunning photographic assemblage as immaculate and comprehensive as the famed art collection it seeks to reconstruct and interpret. . . . A thoughtfully guided tour via detailed stories and never-before-seen photographs.”\u003cbr\u003e—\u003cem data-mce-fragment=\"1\"\u003eLALA Magazine\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“An impressive cross-disciplinary and collaborative publication, imparting a great wealth of information while reckoning with the Arensbergs’ eccentric passions. . . . \u003cem\u003eHollywood Arensberg\u003c\/em\u003e is an instant classic for a nascent field.”\u003cbr\u003e—Robert McKenzie\u003cem\u003e, \u003c\/em\u003e\u003cem\u003ePIN-UP \u003c\/em\u003e\u003cem\u003eMagazine\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Terrific. . . . Fascinating. . . . Enlightening essays and research. . . . The thick tome is marvelously designed, the layout marked by coherent simplicity.\"\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e—Christopher Knight, \u003cem\u003eLos Angeles Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“A staggering, 430-page tome that documents how one of the most famous collecting couples lived with and displayed their art. While the dozens of floorplans and annotated diagrams are at first intimidating, they slowly draw the reader into a game of rediscovery. World-famous works of art suddenly appear in a completely new light, and the unexpected juxtapositions, created by the Arensbergs’ arrangement, set off a series of fascinating associations and new historical insights. . . . [The book] aims to offer a more complete picture of the collector couple and their legacy. It revisits the parts of their story that are well-known, such as their friendship with Duchamp and their impact on the New York art world in the 1910s. But it also strives to fill the many gaps in our understanding of the collectors’ interests and motivations, including their immersive and dynamic approach to displaying art and their impact on the L.A. art scene. By focusing on their life on the West Coast, the book is an important intervention in the standard account of modern art in the U.S., dislodging the primacy of New York and offering a more nuanced understanding of local, national, and transnational currents of exchange and influence. . . . Meticulously researched and generously illustrated with rarely seen photographs, \u003cem\u003eHollywood Arensberg\u003c\/em\u003e offers us a beguiling glimpse of the house’s magic.”\u003cbr\u003e—Tatsiana Zhurauliova, \u003cem\u003eLa Gazette Drouot\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003e“The Getty's marvelous new book reveals the extraordinary density and diversity of the Arensbergs' collection, unfolding as a kind of house tour in page after page of meticulously labeled black-and-white photographs. . . . It's instructive to see how the Arensbergs lived with some of the most avant-garde pieces of their day.”\u003cbr\u003e—Karen Rosenberg, \u003cem\u003eArtful\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Beyond being an awe-inspiring dive into the art holdings of the Arensbergs, the book offers a complex portrait of two people working to shape multiple fields.”\u003cbr\u003e—Andrew Russeth, \u003cem\u003eArchitectural Digest\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“It is a hefty, visually and physically gratifying publication and an essential reference for anyone interested in collecting, the historiography of Modernism and the legacy of Marcel Duchamp. It takes its place besides other indispensable publications on private art collections in America.\"\u003cbr\u003e—Adrian Sudhalter, \u003cem\u003eThe Burlington Magazine\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e“The image that remains from this captivating account is the deep integration among the arts, starting with the ability to bring together art and literature, works from different historical periods, works of European and American provenance.”\u003cbr\u003e—Cristiana Campanini, \u003cem\u003eAbitare\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e “In this instance, a picture is truly worth a thousand words, and the trove \u003cem\u003eHollywood Arensberg\u003c\/em\u003e brings to light not only resurrects the bygone but also spurs further reflection on the enigmatic Arensbergs and the LA art world in which they collected.”\u003cbr\u003e—Judy Sund, \u003cem\u003ecaa.reviews\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“The artists and writers who gathered at the New York apartment of Walter and Louise Arensberg on East 67\u003csup\u003eth\u003c\/sup\u003e Street formed one of the seminal avant-garde salons of the early 20th century. In 1921 the couple relocated to Los Angeles, and in 1927 they bought the then-newish Mediterranean Revival mansion at 7065 Hillside Avenue in Hollywood. There they installed their growing collection, which was acquired in 1950 by the Philadelphia Museum of Art. These events frame the scope of \u003cem\u003eHollywood Arensberg\u003c\/em\u003e, an utterly absorbing study of the collection’s installation in the Hillside Avenue house.”\u003cbr\u003e—Stephen Maine, \u003cem\u003eCocoa: The Journal of Cornwall Contemporary Art\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“One of the most extraordinary books I’ve ever had the pleasure of looking through.”\u003cbr\u003e—\u003cem\u003eBook\/Shop\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Remarkably researched and designed.\u003cspan\u003e”\u003cbr\u003e\u003c\/span\u003e—\u003cem\u003eBlue Door Magazine\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e“The world and the culture of mid-20th century Los Angeles is deeply enhanced by this book.  It is remarkable—a complex, exciting read. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eHollywood Arensberg\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a foundational study for that thirty-year period from the 1920s to the postwar years and adds to our sense of the rehabilitative promise of early 20th-century Los Angeles. The authors are to be credited for the tone they have struck here: there’s none of that caricatured reflex we still see, that too-easy criticism that would make the Arensbergs sophisticates in a world of L.A. rubes. They note L.A.’s difficult relationship with modernist expression – fair enough – but they also take seriously the world the Arensbergs sought, and created, in their Los Angeles home.” \u003cbr\u003e—William Deverell, Director, \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuntington\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e-USC Institute on California and the West\u003cbr\u003e\u003cbr\u003e“\u003ci data-mce-fragment=\"1\"\u003eHollywood Arensberg\u003c\/i\u003e is the most detailed and intimate portrayal of an art collection ever presented in book form.  Louise and Walter Arensberg attended the Armory Show in 1913, an exhibition that transformed their lives, converting them into collectors of the most radical and vanguard art produced at the time.  This continued after they moved to Los Angeles in the early 1920s. There, the Arensbergs began collecting pre-Columbian art, which they felt possessed an aesthetic that corresponded perfectly with their modern collection, all of which was dispersed throughout their home in Hollywood, California.  With many detailed photographs and diagrams, this book provides a virtual tour through the collection, allowing readers to sense the excitement and exhilaration that was experienced by all visitors to the Arensbergs' home.”  \u003cbr\u003e—Francis M. Naumann, Francis M. Naumann Fine Art\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"This beautifully illustrated book is not just the story of Walter and Louise Arensberg but also of New York and Los Angeles and their links to Mexico, Europe, and beyond in the first half of the 20th century. The Arensbergs, famed for their collections of modern art and the art of ancient Mexico, filled their homes with art, people, stories, and games. Using numerous photographs, architectural renderings, and compelling prose, Hollywood Arensberg takes the reader on an intimate tour of the Hollywood home, following a path through the house to delve deeply into the eccentric couple’s lives and collections, recreating the experience of the space and artworks and emphasizing the playfulness with which the Arensbergs imagined themselves as participants in the artworks and creators of a new one, their house as collection, which brought new meaning to each work, ancient or modern. The careful yet lively recounting of individual artworks’ biographies also gives insight into the works, their artists, and their journeys to the Arensbergs’ home, thereby connecting readers with fascinating worlds beyond the house, including those of artist studios, galleries, museums, and international art dealing and smuggling networks.” \u003cbr\u003e—Megan E. O’Neil, Assistant Professor of Art History, Emory University, and Faculty Curator of the Art of the Americas, Michael C. Carlos Museum \u003cbr\u003e\u003cbr\u003e“The authors of \u003cem\u003eHollywood Arensberg\u003c\/em\u003e put into context the dozens of important modern masterworks that were displayed alongside non-Western—mainly pre-Columbian—art in the home of Walter and Louise Arensberg. The specific conversation between pre-Columbian objects and modern works by Duchamp, Picasso, Kandinsky, and others as experienced in the Arensberg home is a revelation. In this context of deep interchange between modern and pre-Columbian, Ellen Hoobler's essay examines the transformations in the Arensbergs' understanding of pre-Columbian form together with the effects of a burgeoning art market in Los Angeles after 1930 in what will be seen as a significant contribution to the history of pre-Columbian art collecting and its relation to modernism.” \u003cbr\u003e—Rex Koontz, Professor of Art History, University of Houston and Consulting Curator, Museum of Fine Arts, Houston \u003cbr\u003e\u003cbr\u003e“A rare and stimulating glimpse of a house and its collections, \u003cem\u003eHollywood Arensberg\u003c\/em\u003e provides a deeper understanding of the acquisition and display practices of a resolutely avant-garde couple in the burgeoning art scene of midcentury Los Angeles. Nelson, Sherman, and Hoobler bring together aspects of the Arensbergs’ collecting practices previously considered separately, or not at all, such as their crucial and sustained interest in pre-Columbian sculpture. Nestled in the Hollywood Hills, the Arensberg home was filled with intentionally thought-provoking juxtapositions of ancient, historical, and modern art, and further enlivened by the many friends they entertained there, including Marcel Duchamp. The result is a richly textured look into a time and place when an embrace of modernism was a radical position.” \u003cbr\u003e—Joanne Pillsbury, The Metropolitan Museum of Art \u003cbr\u003e\u003cbr\u003e448 pages\u003cbr\u003e9 x 11 inches\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e103 color and 227 b\/w illustrations\u003cbr\u003eISBN 978-1-60606-666-9\u003cbr\u003ehardcover\u003cbr\u003e\u003cbr\u003eGetty Publications\u003cbr\u003eImprint: Getty Research Institute\u003cbr\u003e\u003cbr\u003e2020\u003cbr\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/player.blubrry.com\/id\/146044465?cache=1758061822#mode-Light\u0026amp;border-000000\u0026amp;progress-000000\" title=\"Blubrry Podcast Player\" width=\"100%\" height=\"165px\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":32713310306381,"sku":"9781606066669","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/HollywoodArensberg.jpg?v=1663556503"},{"product_id":"a-maya-universe-in-stone-978-1606067444","title":"A Maya Universe in Stone","description":"\u003cp\u003e\u003cstrong\u003eEdited by Stephen Houston\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe first study devoted to a single sculptor in ancient America, as understood through four unprovenanced masterworks traced to a small sector of Guatemala.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn 1950, Dana Lamb, an explorer of some notoriety, stumbled on a Maya ruin in the tropical forests of northern Guatemala. Lamb failed to record the location of the site he called Laxtunich, turning his find into the mystery at the center of this book. The lintels he discovered there, long since looted, are probably of a set with two others that are among the masterworks of Maya sculpture from the Classic period. Using fieldwork, physical evidence, and Lamb’s expedition notes, the authors identify a small area with archaeological sites where the carvings were likely produced.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRemarkably, the vividly colored lintels, replete with dynastic and cosmic information, can be assigned to a carver, Mayuy, who sculpted his name on two of them. To an extent nearly unique in ancient America, Mayuy can be studied over time as his style developed and his artistic ambition grew. An in-depth analysis of Laxtunich Lintel 1 examines how Mayuy grafted celestial, seasonal, and divine identities onto a local magnate and his overlord from the kingdom of Yaxchilan, Mexico. This volume contextualizes the lintels and points the way to their reprovenancing and, as an ultimate aim, repatriation to Guatemala.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStephen Houston is Dupee Family Professor of Social Sciences at Brown University.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“These authors resourcefully assemble highly diverse lines of evidence to interrogate and explain the Mayuy lintels while simultaneously contributing meaningfully to broader topics in the field in numerous ways.”\u003cbr\u003e\u003c\/span\u003e—\u003cspan\u003eBryan R. Just, \u003cem\u003eLatin\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e American and Latinx Visual Culture\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“Intriguing, beautifully illustrated academic study of Laxtunich and its significance for Maya studies.”\u003cbr\u003e—Andrew Robinson, \u003cem\u003eMinerva\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“This book is beautifully illustrated in black-and-white and color, with a fine selection of other art from the period. Valuable to specialists and anyone interested in pre-Columbian art.”\u003cbr\u003e\u003cspan style=\"font-family: 'Arial',sans-serif;\"\u003e—\u003cspan style=\"color: black;\"\u003eE. N. Anderson,\u003ci\u003e CHOICE\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“This beautifully produced and richly illustrated book provides the most detailed analysis to date of the Laxtunich lintels and related sculptures. One hopes that the astonishingly complex lintels carved by Mayuy may one day be returned to their places of origin. The work of Houston and colleagues takes us several steps closer to this goal.”\u003cbr\u003e—Megan E. O’Neil, \u003cem\u003eCurrent World Archaeology\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“A timely and important story.”\u003cbr\u003e—Andrew James Hamilton, \u003cem\u003eApollo\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e“An impressively informative combination of archeology and art, \u003cem\u003eA Maya Universe in Stone\u003c\/em\u003e is a critically important and significant contribution to the study of Pre-Columbian Mayan culture.”\u003cbr\u003e—Michael Dunford, \u003cem\u003eMidwest Book Review\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“A multifaceted and illuminating account of an enigmatic group of looted monuments, this text offers a unique portrait of an eighth-century Maya sculptor and his world. In addition to considering the artistic, political, and cosmological spheres into which the works intervened, it does not shy away from modern realities of looting and the art market, laying out a persuasive case for the origin of these sculptures that will aid in their eventual repatriation.”\u003cbr data-mce-fragment=\"1\"\u003e—Claudia Brittenham, Associate Professor of Art History, University of Chicago\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Cultural restitution—in the form of provenancing “orphaned” ancient monuments—is one of the most important endeavors in contemporary archaeology, art history, and epigraphy. In this book a group of leading scholars combine their considerable expertise to show how the meaning and context of a superb work of purloined art can be illuminated and restored.”\u003cbr data-mce-fragment=\"1\"\u003e—Simon Martin, Penn Museum and the University of Pennsylvania\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Houston and his coauthors have written a unique and compelling study of a Classic Maya sculptor, Mayuy. They combine formal, iconographic, epigraphic, and contextual evidence to produce a biography of sorts from four magnificent lintel sculptures done over an extended time period, highlighting the important emergence of self-identification by Maya artists.”\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e—Thomas B.F. Cummins, Director and Professor of Pre-Columbian and Colonial Art, Dumbarton Oaks\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e192 pages\u003cbr\u003e8 1\/2 x 10 inches\u003cbr\u003e67 color and 49 b\/w illustrations, 2 tables\u003cbr\u003eISBN 978-1-60606-744-4\u003cbr\u003ehardcover\u003cbr\u003e\u003cbr\u003eGetty Publications\u003cbr\u003eImprint: Getty Research Institute\u003cbr\u003e\u003cbr\u003e2021\u003cbr\u003e\u003cbr\u003e\u003ciframe height=\"165px\" width=\"100%\" title=\"Blubrry Podcast Player\" src=\"https:\/\/player.blubrry.com\/id\/146044509?cache=1763492789#mode-Light\u0026amp;border-000000\u0026amp;progress-000000\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":40366513160384,"sku":"9781606067444","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/products\/9781606067444.jpg?v=1627671086"},{"product_id":"collecting-mesoamerican-art-before-1940-a-new-world-of-latin-american-antiquities-978-1606068724","title":"Collecting Mesoamerican Art before 1940: A New World of Latin American Antiquities","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEdited by Andrew D. Turner and Megan E. O’Neil \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe untold chronicles of the looting and collecting of ancient Mesoamerican objects.\u003c\/strong\u003e  \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis book traces the fascinating history of how and why ancient Mesoamerican objects have been collected. It begins with the pre-Hispanic antiquities that first entered European collections in the sixteenth century as gifts or seizures, continues through the rise of systematic collecting in Europe and the Americas during the nineteenth and twentieth centuries, and ends in 1940—the start of Europe’s art market collapse at the outbreak of World War II and the coinciding genesis of the large-scale art market for pre-Hispanic antiquities in the United States.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDrawing upon archival resources and international museum collections, the contributors analyze the ways shifting patterns of collecting and taste—including how pre-Hispanic objects changed from being viewed as anthropological and scientific curiosities to collectible artworks—have shaped modern academic disciplines as well as public, private, institutional, and nationalistic attitudes toward Mesoamerican art. As many nations across the world demand the return of their cultural patrimony and ancestral heritage, it is essential to examine the historical processes, events, and actors that initially removed so many objects from their countries of origin.\u003c\/p\u003e\n\u003cp\u003eAndrew D. Turner is a senior research specialist at the Getty Research Institute. Megan E. O'Neil is assistant professor of art history at Emory University and faculty curator at the Carlos Museum.\u003cbr\u003e\u003cbr\u003e336 pages\u003cbr\u003e7 x 10 inches\u003cbr\u003e91 color and 27 b\/w illustrations, 1 table, 1 map\u003cbr\u003eISBN 978-1-60606-872-4\u003cbr\u003epaperback\u003cbr\u003e\u003cbr\u003eGetty Publications\u003cbr\u003eImprint: Getty Research Institute\u003cbr\u003eSeries: Issues \u0026amp; Debates\u003cbr\u003e\u003cbr\u003e2024\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":43667338887360,"sku":"9781606068724","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/9781606068724.jpg?v=1684959505"},{"product_id":"artifacts-to-art-collecting-ancient-america-in-midcentury-l-a-979-8887120287","title":"Artifacts to Art: Collecting Ancient America in Midcentury L.A.","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003eAndrew D. Turner, Mary E. Miller, and Khristaan D. Villela\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis fascinating book reveals the history of how pre-Hispanic artifacts were smuggled into the United States and reconceptualized as works of art.\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBy the mid-twentieth century, ancient Mexican artifacts had undergone a striking transformation. Once dismissed as anthropological curiosities, sought after more for their ethnographic value than aesthetic merit, they had become prized artworks that were prominently displayed in major US museums, featured in advertisements and Hollywood films, and shown adorning the homes of celebrities.\u003cbr\u003e\u003cbr\u003eAt the center of this shift was Earl Stendahl, a savvy Los Angeles art dealer who played a pivotal role in shaping public and institutional perceptions of these objects. Through strategic marketing and a keen eye for opportunity, he repositioned these artifacts, selling them to an elite clientele that included movie stars, wealthy collectors, and museum curators. In doing so, he helped define a new canon of “ancient American art.”\u003cbr\u003e\u003cbr\u003eBeneath this glamorous facade, however, lies a darker narrative of the looting, smuggling, and forgery that fueled this midcentury craze, exposing how the desire for authenticity and prestige often came at the expense of ethical collecting practices and cultural heritage. This book brings together art history, museum studies, and the politics of the antiquities trade, offering both a social history and a critical examination of how ancient Mexico’s past was sold in twentieth-century America.\u003cbr\u003e\u003cbr\u003eThis volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center from June 23 to October 18, 2026.\u003c\/p\u003e\n\u003cp\u003eAndrew D. Turner is an assistant professor in the Department of Art and Art History at the University of North Carolina at Chapel Hill. Mary E. Miller served as director of the Getty Research Institute from 2019 to 2025. Khristaan D. Villela is associate director of Dissemination and External Affairs at the Getty Research Institute.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e“Physical damage from looting is visible at nearly every Mexican archaeological site, but the secretive world of dealing in Mesoamerican treasures has been hidden from view. Objects that weren’t made to be “art,” in our current cultural sense, became art through commercial and social processes and entered the home decor canon of midcentury Los Angeles and beyond. Through the lens of the Stendahl Art Galleries, this book explores the duality of loss and gain: what was sacrificed—scientific sanctity, Indigenous heritage, and national sovereignty—and who profited from those sacrifices.”\u003cbr\u003e—Dr. Donna Yates, UNESCO Chair in Cultural Heritage and Emerging Crime\u003c\/p\u003e\n\u003cp\u003e176 pages\u003cbr\u003e6 x 9 inches\u003cbr\u003e63 color and 29 b\/w illustrations, 2 maps\u003cbr\u003eISBN 979-8-88712-028-7\u003cbr\u003epaperback\u003cbr\u003e\u003cbr\u003eGetty Publications\u003cbr\u003eImprint: Getty Research Institute\u003cbr\u003e\u003cbr\u003e2026\u003c\/p\u003e","brand":"GETTY TRUST PUBLICATIONS","offers":[{"title":"Default Title","offer_id":47092905246912,"sku":"9798887120287","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0130\/8502\/files\/9798887120287.jpg?v=1764122904"}],"url":"https:\/\/shop.getty.edu\/collections\/stendahl-s-world.oembed","provider":"Getty Museum Store","version":"1.0","type":"link"}