In Kardiac Kids Jonathan Knight paints a portrait of the Browns’ storybook 1980 season and its impact on the city of Cleveland. Knight takes us through that unforgettable year from beginning to end, describing in great detail how the city simply fell in love with this team. Though the Cleveland Browns boast four world championships and possess a rich and respected past, the magical 1980 season was clearly the most memorable in team history. Kardiac Kids is a tribute to that team.

The conflict between modern and traditional art is one of the best known episodes in American cultural history. The modernists on the war in the sense that their styles and attitudes of mind dominated the discussion and production of new art. But the traditionalists remained strong in the arenas of public opinion and taste. It is a testament to the importance of the ideas involved that the basic issues are not yet settled in the larger cultural world. Kenyon Cox, a painter as well as critic, revealed a steadfast devotion to the ideals of a high art tradition, derived in his later years chiefly from admiration for the Italian Renaissance. He knew western art history, surveyed the current art scene in many reviews and analytical essays, and wrote with careful attention to the canons of scholarship. Royals Cartissoz, the art editor of the New York Tribune for over fifty years, was an appreciator and connoisseur. His belief in “beauty” in a well-done and recognizable form left him open to more innovation than was the case with Cox. He based his views on a self-confessed ideal of common sense that left the art experience open to any sensitive person. He was well suited to speak to and for the growing middle class in the Progressive era. This viewpoint was equally adaptable, if more debatable intellectually, when modernism triumphed. The fact that he remained a significant figure in art circles long after his tastes ceased to be dominant, testified to the nature of the audience for whom and to whom he spoke. Frank Jewett Mather, Jr., was the most realistic of these critics in estimating how art appealed in society. He knew a lot about many things and was concerned to see that the arts remained integrated in public esteem and thought. Mather took comfort from the history of art, which revealed to him that great works and their creators could survive time and criticism. This sense of historical process and his great need for the unifying power of art experience let Mather escape the bitterness that so affected Cox, and to a lesser extent Cortissoz, as tastes changed. The artist’s mission was to maintain and extend forms of art that promoted order and integration in society and in individual personalities. Society in turn had to see the artist as a harbinger of an intensified emotional life, but which accommodated changed perception in constructive ways. The chief fear of the traditionalists was that the new art, which seemed shocking in form and disruptive in intent, would separate artist and public to the detriment of both.

Keeping the Convenant traces the efforts of these dedicated internationalists during the interwar period. The individual and organizational efforts of League of Nations and World Court supporters, as well as those who supported the creation of friendship societies, religious ecumenism, international languages, and world citizenship are covered in rich detail. Analysis of their disagreements and divisions, which prohibited a single, unified response in support of League of Nations membership, provides the central theme.

The May 4 episode has been recounted many times, in many ways. The events of the succeeding years, particularly as they affected the community in which they happened, are less well documented. As event and as symbol, Kent State/May 4 means many things to many people. This unique collection of essays and personal interviews presents a broad spectrum of these viewpoints in recounting the events of May 4 and those of the aftermath years. The result is a composite history from the perspectives of many of those who lived it, a reflection of the differing ideological stances and life experiences characteristic of that tumultuous era in American history.

Beginning with a detailed description of the May 4 shootings and the events that preceded them, Kent State and May 4th is a revised, updated, and expanded volume of essays that seeks to answer frequently raised questions while correcting historical inaccuracies. The third edition includes a new essay that analyzes a group of television documentaries about May 4 and an overview of the legal aftermath of the shootings, including governmental investigations to determine responsibility and how students were affected by these events. The book also explores the gymnasium annex controversy of 1977, in which Kent State University proposed the building of a new recreational facility on portions of land where students and Guardsmen confronted each other. Finally, the editors examine how the university and community have memorialized May 4 over the past forty years.

In this first biography, H. Wayne Morgan focuses on Cox’s development and personality, treating his art as an expression of his idealism. Cox was born in Warren, Ohio grew up in the Cincinnati area, and attended the McMicken School of Design there. His art training continued in Paris, where he studied for five years in the academic setting of the Ecole des Beaux-Arts as well as in private ateliers, such as those of Emile Carolus-Duran, Rodolphe Julian, and Jean-Leon Gerome. An academic, Cox was committed to learning traditional drawing and composition before establishing his own artistic identity. Cox became well known as a muralist during the prosperous years from 1897 to the 1920s, providing works for the new state capitols of Wisconsin, Iowa, and Minnesota, the Library of Congress, and several public buildings in New York City. His large allegorical decorations rested on a thorough knowledge of Italian renaissance masters, many of whose works he had seen as an impressionable student. In addition, Cox’s gift for pithy phrases and his obvious knowledge gained him considerable prominence as a critic and reviewer. Throughout his career, he emphasized the values of craftsmanship and of attachments to ongoing traditional ideals that emphasized harmony, order, and unity of artist and public.

The brutal murder of Julia Wallace in 1931 became one of Britain’s great unsolved murders. People began arguing about the case almost immediately and continue to do so to this day. Julia was the middle-aged wife of a mildmannered Liverpool insurance agent, William Herbert Wallace. By all accounts, they were a quiet, unassuming, devoted couple. In January 1931, William Wallace received a telephone message to come to an address in Liverpool the following evening to discuss an insurance policy. Unable to find the house after searching for hours, Wallace determined there was no such address and returned home. There he found Julia bludgeoned to death on the parlor floor. In addition to the terrible shock and his unbearable loss, Wallace was accused of the crime and ultimately convicted.

“In 1941, Frank Kessler, a young accountant in Canton, Ohio, was drafted, assigned to an Army Signal Corps unit, and went away to photograph the war in Europe. In 1945, home again with his wife and children, he stored hundreds of those images of blood and battle in his attic. There they stayed until after his death…”

Between 1836 and 1911, thirteen physio-medical colleges opened, and then closed, their doors. These authentic American schools, founded on a philosophy of so-called Physio-Medicalism, substituted botanical medicines for allopathy’s mineral drugs and promoted the belief that the human body has an inherent “vital force” that can be used to heal. In Kindly Medicine, John Haller offers the first complete history of this high-brow branch of botanical medicine. Physio-Medicalist, along with Thomsonians, Homeopathys, Hydropaths, and Eclectics, represented the earliest wave of medical sectarianism in nineteenth-century America. United in their opposition to the harsh regimens of allopathy, or regular medicine, these sects had their beginnings in the era of Jacksonian democracy and individualism when every man yearned to become his own legislator, minister, and even his own physician. The Physio-Medicals demanded equal rights with regular practitioners to jobs in the army, navy and public institutions and equal representation on the new state licensing and regulatory boards. As the nineteenth century drew to a close, they saw their influence waning as they could no longer match allopathy’s increasing hold on science and on the public’s trust. In this history of the movement, John Haller recounts the events that led to the establishment of Physio-Medicalism and traces the circumstances that brought its slow descent into obscurity.

Kirk Mangus was an internationally recognized artist, who led the Ceramics Department at Kent State University for almost 30 years. Influencing multiple generations of students, he was a central figure in the revival of wood-firing in America. This catalog accompanies the retrospective Kirk Mangus: Things Love at the Museum of Contemporary Art Cleveland. Included are over 100 pages of full color plates that show the breadth of Mangus’s practice, from humble cups to ornate vessels and large totemic sculptures. A selection of drawings and paintings are also included, along with several essays by exhibition curator Rose Bouthillier, Eva Kwong, ceramic artist and Kirk’s wife, and other scholars, along with selections from the writings of Mangus himself.