Art & Photography Books
The University of Chicago Press On European Ground
a huge range and FREE tracked UK delivery on ALL orders.
£49.40
The University of Chicago Press Fashion and Its Social Agendas
Book SynopsisIt has long been said that clothes make the man (or woman), but is it still true? If so, how has the information clothes convey changed over the years? Using a wide range of historical and contemporary materials, the author demonstrates how the social significance of clothing has been transformed.
£30.00
University of Chicago Press The Many Names of Anonymity
a huge range and FREE tracked UK delivery on ALL orders.
£41.80
The University of Chicago Press Benton Pollock and the Politics of Modernism
a huge range and FREE tracked UK delivery on ALL orders.
£76.95
The University of Chicago Press OffScreen Cinema
Book SynopsisOne of the most important avant-garde movements of postwar Paris was Lettrism, which crucially built an interest in the relationship between writing and image into projects in poetry, painting, and especially cinema. This is a monograph in English on the Lettrists.
£22.80
The University of Chicago Press From Art to Politics How Artistic Creations Shape
Book SynopsisIn this book, Murray Edelman continues his quest to understand the influence of perception on the political process by turning to the role of art.Table of Contents1: The Cardinal Political Role of Art. 2: Art - Political Messages and Illusions. 3: Art - Meanings, Constructions, Threats. 4: Art - Transformations and Challenges. 5: Architecture, Spaces, and Social Order. 6: Art as a Component of Government. 7: Contestable Categories and Public Opinion. 8: A Reassessment of Influence on Public Policy. 9: Some Concluding Reflections.
£23.00
The University of Chicago Press Helio Oiticica
Book SynopsisHelio Oiticica (1937-80) was one of the most brilliant Brazilian artists of the 1960s and 1970s. His unique melding of geometric abstraction with works that directly engage viewers' bodies has influenced contemporary artists from Gabriel Orozco and Cildo Meireles to Rirkrit Tiravanija and Nick Cave. This is the first book to examine Oiticica's impressive works against the backdrop of Brazil's dramatic postwar push for modernization. From Oiticica's late-'50s experiments with painting and color to his mid-'60s wearable Parangoles, Irene V. Small traces a series of artistic procedures that foreground his later inclusion of the spectator. Analyzing artworks and a wealth of archival material, she shows how Oiticica's work recast-in a sense folded-Brazil's utopian vision of progress and the legacy of European constructive art. Ultimately, Helio Oiticica argues that the effectiveness of Oiticica's participatory works stems not from a renunciation of art, but rather from their ability to dia
£37.05
The University of Chicago Press Absorption and Theatricality Painting and
Book SynopsisWith this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood."A reinterpretation supported by immense learning and by a series of brilliantly perceptive readings of paintings and criticism alike. . . . An exhilarating book."--John Barrell, "London Review of Books"
£26.60
The University of Chicago Press Willem de Kooning Nonstop
Book SynopsisIn the early 1950s, Willem de Kooning's Woman I and subsequent paintings established him as a leading member of the abstract expressionist movement. His wildly impacted brushstrokes and heavily encrusted surfaces baffled most critics, who saw de Kooning's monstrous female image as violent, aggressive, and ultimately the product of a misogynistic mind. In the image-rich Willem de Kooning Nonstop, Rosalind E. Krauss counters this view with a radical rethinking of de Kooning's bold canvases and reveals his true artistic practices. Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to end a piece abruptly, he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form, which was paired with her re-doubled projection onto his work. Krauss identifies these elements throughout de Kooning's oeuvre, even in his paintings of highways, boats, and landscapes: Woman is always there. A thought-provoking study by one of America's greatest art critics, Willem de Kooning Nonstop revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.
£24.70
The University of Chicago Press Other Things
Book SynopsisTrade Review"In publishing, there is a difference between making a splash and actually making waves. Brown's work has done both. He opens his lens this time to a wide array of aesthetic and cultural objects from indigenous ethnographic sculpture to the kitsch memorabilia of 9/11. Along the way, there are readings devoted to material objects in canonical literature and more popular contemporary writing. Holding all this together in the force field of Brown's lucid prose are his steadily surprising insights into 'things other' than meet the eye in such object matter. This new book, too, will be not only applauded but also widely consulted."--Garrett Stewart, author of Bookwork: Medium to Object to Concept to Art "Audacious and profound, Brown rereads the great theorists and philosophers of modernism to create new categories--redemptive reification, misuse value, the meta-object--to explore a counter-history of the elusive 'other thing.' The art and literature of American and European modernist culture, he brilliantly argues, yield up the incandescence of the other thing once it can be emancipated from the teleology of commodity and war."--Isobel Armstrong, Birkbeck, University of London "For decades now, Brown has been thinking and writing about "thing theory," as he has called it. But in Other Things, he attempts to make clear the connections between his work and the recent surge of critical work involving things, objects, and matter....Brown makes what is likely the most sophisticated and strongest case for literary and historical study within a new materialist framework by suggesting that thingness can best be explained 'in the cultural field, ' rather than through, say, metaphysics."--Los Angeles Review of Books "In Brown's supple mind, things are alive. Their theoretical twists and turns and stubborn materiality are not opposites, but interwoven dynamics--material objects in a field of thingness. For more than a decade, Brown has explored the various meanings and operations of things in, and as, literature and the visual arts. His grasp of the subject, control of interpretation, and willingness to take intellectual risks make this book a necessary read for anyone interested in the things that provoke our intellectual curiosity."--James Cuno, The J. Paul Getty Trust "Compelling. . . . The test of Brown's book--which it surpasses and sustains--is that, like the paper clip or rubber band you almost certainly aren't holding as you read this, Other Things will stick in your mind anyway."--Modernism/modernity "Brown is a pre-eminent scholar of the material world. . . . Other Things is rigorously conceptual but it is also good company, an enlightening contribution to our understanding of material culture across the twentieth and twenty-first centuries."--Times Literary Supplement
£24.70
The University of Chicago Press Flying Out of this World
a huge range and FREE tracked UK delivery on ALL orders.
£117.80
University of Chicago Press Norman Rockwell The Underside of Innocence
a huge range and FREE tracked UK delivery on ALL orders.
£24.70
The University of Chicago Press The Oak Park Studio of Frank Lloyd Wright
Book SynopsisBetween 1898 and 1909, Frank Lloyd Wright's residential studio in the idyllic Chicago suburb of Oak Park served as a nontraditional work setting as he matured into a leader in his field and formulized his iconic design ideology. Here, architecture historian Lisa D. Schrenk breaks the myth of Wright as the lone genius and reveals new insights into his early career. With a rich narrative voice and meticulous detail, Schrenk tracks the practice's evolution: addressing how the studio fit into the Chicago-area design scene; identifying the other architects working there and their contributions; and exploring how the suburban setting and the nearby presence of family influenced office life. Built as an addition to his 1889 shingle-style home, Wright's studio was a core site for the ideological development of the prairie house, one of the first truly American forms of residential architecture. Schrenk documents the educational atmosphere of Wright's office in the context of his developing deTrade Review"In this magnificent offering, Schrenk takes a remarkably detailed look at Frank Lloyd Wright’s Oak Park Studio in Chicago. . . . Architecture buffs won’t want to miss this extraordinary monograph." * Publishers Weekly *"An image-rich dissection of the nine years Wright worked from his shaded suburban block, coming into his own within the local design world." * Chicago Tribune *"Schrenk's ability to synthesize the sociocultural history that swirled around Wright, her astute analyses of the building's ever-changing spaces, and her inclusion of the archaeological evidence of those changes—together with copious visuals that include architectural drawings and prints, historic photographs, and excellent contemporary photographs by James Caulfield—make this an invaluable addition to the Wright corpus." * Choice Connect *“Schrenk has written an ambitious and meticulously researched book. One of its greatest achievements is the vivid evocation of life within the studio by populating it with Wright and his family members, employees, consultants, and clients. The Oak Park Studio of Frank Lloyd Wright is accessible enough for any general reader yet informative enough for specialists in the field. It is a valuable contribution to the study of Wright’s career.” * Richard Cleary, University of Texas at Austin *“Schrenk’s comprehensive text not only chronicles and reconstructs the genesis and continuing transformation of Wright’s home and studio in Oak Park, but also equally innovatively identifies the members of the dynamic coterie that worked there. She reveals those talented women and men to have been far more than, as conventional wisdom would have it, mechanistic ‘apprentices to genius.’ Navigating her way through legend, she recognizes the vital role their many hands played in enabling Wright to launch his phenomenal career. Schrenk’s encyclopedic volume is nothing short of an indispensable reference on Wright’s celebrated laboratory, as both an architectural artifact and incubator of modern American architecture.” * Christopher Vernon, University of Western Australia *“Frank Lloyd Wright said he shook his designs out of his sleeve. In this remarkable and informative new book, Schrenk shows what Wright had up his sleeve at his Oak Park Studio—a talented team of architects, artists, and designers who helped him produce a masterpiece a year.” * Kevin Harrington, Emeritus, Illinois Institute of Technology *“With beautiful photos, vintage images, original architectural drawings and more, Schrenk explores in depth how Wright came to build his iconic suburban Chicago home and studio and how that led him to his next home and studio project – Taliesen in Spring Green – and the people around him that were involved in both, including family, students, architects and others.” * OnMilwaukee *Table of ContentsPreface Introduction 1 Roots of the Oak Park Studio: Education and Exploration 2 Opening of the Oak Park Studio (1898): Establishment and Ownership 3 Early Years of the Oak Park Studio (1898–1902): Dialogue and Growth 4 Middle Years of the Oak Park Studio (1903–1905): Opportunity and Diversity 5 Last Years of the Oak Park Studio (1906–1909): Consistency and Change 6 Closing the Studio (1909–1911): Escape and Retrospection 7 Wright’s Further Developments of the Home Studio Concept: Reiteration and Adaption Conclusion: Legacy of the Oak Park Studio: Dissemination and Manipulation Epilogue: Evolution of the Home and Studio Post 1911: Division and Renewal Acknowledgments Abbreviations Appendix A: Architectural Designs Carried Out in the Oak Park Studio Appendix B: Time Line of Architects in the Studio Appendix C: Biographies of Those Involved in the Oak Park Studio Appendix D: Letter from Frank Lloyd Wright to Anna Lloyd Wright, 4 July 1910 Appendix E: Text of Sales Brochure for Home and Studio Property Appendix F: Title Record of Oak Park Home and Studio Property Notes Bibliography Index
£29.45
The University of Chicago Press Making Theory Constructing Art On the Authority
Book SynopsisArtists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-Francois Lyotard, Jean Baudrillard, and Andy Warhol.Table of ContentsList of Illustrations Acknowledgments Introduction: What We Have Inherited Pt. I: Studies in Avant-Garde Art 1: Setting the Stage: Arthur Danto's Reading of the Avant-Garde 2: Constructivism's Descartes 3: Constructivism's Utopian Game with Theory 4: Mondrian's Plato 5: John Cage Pt. 2: The Legacy of the Avant-Garde 6: Reading Arthur Danto's Theory 7: Reading Arthur Danto's Reading of the Object 8: Andy Warhol without Theory 9: The Uses of Theory in the Contemporary Artworld Notes Index
£76.00
The University of Chicago Press Theory of Form
Book SynopsisTrade Review“In this extraordinarily illuminating book, Klinger builds on a painstaking consideration of Richter’s artistic practice to derive a pragmatist theory of artistic form and of form’s ultimate purpose. In addition to its exciting philosophical and art historical interventions, Klinger’s analysis delineates a practical ethics of art-making that deserves to be read by anyone interested in the theory and practice of art in today’s crisis of world-sharing.” -- Whitney Davis, University of California at Berkeley “Theory of Form is a twofold triumph: it presents the most original study of Richter’s aesthetics in recent years, and it is also a groundbreaking contribution to theorizing contemporary art. Remarkably linking form to reaction, judgment, and transformation, it is essential reading for anyone interested in art’s capacity to profoundly touch us and to partake in shaping our world.” -- Amir Eshel, author of Poetic Thinking Today“Klinger’s Theory of Form combines astute philosophical thought with a fascinating close analysis of Richter’s practice, yielding a new understanding of historical time and contemporaneity. It raises the theory of form to another level – indeed, it makes one see how form in art ought to be thought today.” -- Rahel Villinger, author of Kant und die Imagination der Tiere (Kant and the Imagination of Animals)Table of ContentsI Response to a Contemporary Challenge II Morphological Question: Form as Reaction III Poetological Question: Form as Judgment IV Eschatological Question: Form as Transformation V Form as Paradigm? Acknowledgments Notes Index
£24.00
The University of Chicago Press Fluxus Forms
Book SynopsisTrade Review"With this deeply researched and engagingly written book, Harren gracefully erases boundaries between art history and musicology. In the discussion of George Brecht and the event score, she reveals the ambiguous double power of the score: as both action and potential. Over the course of the book she slows down the explosive event of Fluxus just enough to draw the personal and conceptual chain reactions that made the movement into a turning point in twentieth-century art, but she does not lose its FLUX."--Michael Pisaro, California Institute of the Arts "Fluxus took inspiration from music, but not because of its abstract forms or its affective power. Rather, these artists saw potential in music's philosophically powerful technology: the score. Experimental scores enabled Fluxus to provoke audiences with endlessly novel and open-ended linkages between concepts, materials, and forms. Harren's tour-de-force narrative dramatically reframes the way we understand the cross-fertilization of the postwar avant-garde."--Michael Gallope, author of Deep Refrains: Music, Philosophy, and the Ineffable "From Byzantine studies to theories of representation in the digital age, a wave of historical and critical thinking is now devoted to questions surrounding the identity of the artwork and the status of the object. Harren's remarkable book is a deep dive into the intermedial history of Fluxus from that vantage. Grounded in an intensive examination of means, her account brings new clarity to the terms of a practice that, long elusive, emerges in her hands as utterly indispensable to a historical and conceptual investigation of the ontology of art."--Jeffrey Weiss, curator and critic "What a terrific book! Fluxus Forms is beautifully written, lovingly detailed, intelligent, groundbreaking, and will be a field-defining text for many years. Nuanced and muscular in both argument and prosody, the book presents a long overdue formal and critical analysis of Fluxus. It is Harren's insistence on the variabilities, the very fluxiness, of the virtual and its attentive materializations in the actual that is at the heart of this historical account. Showing an intimate knowledge of the material, her exegesis of the diagrammatic aspect of Fluxus complicates and deepens the urgency of this work today. The enormous value of this project is its eschewal of a general theory in favor of a working theory--a brilliant diagramming, in fact--of something that 'refuses to work.'"--Judith Rodenbeck, author of Radical Prototypes: Allan Kaprow and the Invention of Happenings "Fluxus Forms offers an original perspective by focusing on the diagram and the musical score as key components of Fluxus. In shaping her discussion of Fluxus around the idea of 'artworks in flux, ' Harren opens up connection between the abstract and the concrete. Using Andreas Huyssen's idea that Fluxus is the 'master code of postmodernism, ' she presents the movement with fresh eyes and reveals how the collective's multisensory engagement with the debris of capitalist production--found in the form of Fluxus boxes as well as the notational objects that link things and events--functions as instructional signposts for a newly imagined postindustrial politics that avoid commoditization of the art spectacle."--Hannah Higgins, author of Fluxus Experience
£41.80
The University of Chicago Press Isa Genzken
Book SynopsisThe work of German sculptor Isa Genzken is brilliantly receptive to the ever-shifting conditions of modern life. In this first book devoted to the artist, Lisa Lee reflects on Genzken's tendency to think across media, attending to sculptures, photographs, drawings, and films from the entire span of her four-decade career, from student projects in the mid-1970s to recent works seen in Genzken's studio. Through penetrating analyses of individual works as well as archival and interview material from the artist herself, Lee establishes four major themes in Genzken's oeuvre: embodied perception, architecture and built space, the commodity, and the body. Contextualizing the sculptor's engagement with fellow artists, such as Joseph Beuys and Bruce Nauman, Lee situates Genzken within a critical and historical framework that begins in politically fraught 1960s West Germany and extends to the globalized present. Here we see how Genzken tests the relevance of the utopian aspirations and formal in
£33.25
The University of Chicago Press Atlas or the Anxious Gay Science
Book SynopsisA look at Aby Warburg and his great work Mnemosyne Atlas.
£37.05
The University of Chicago Press Postmodern Sophistications Philosophy
Book SynopsisKolb discusses postmodern architectural styles and theories within the context of philosophical ideas about modernism and postmodernism. He focuses on what it means to dwell in a world and within a history and to act from or against a tradition.
£76.00
The University of Chicago Press Monet Narcissus and SelfReflection
a huge range and FREE tracked UK delivery on ALL orders.
£117.80
The University of Chicago Press Michelangelos Sculpture Selected Essays
Book SynopsisMichelangelo's Sculpture is the first in a series of volumes of Steinberg's selected writings and unpublished lectures, edited by his longtime associate Sheila Schwartz.
£53.20
The University of Chicago Press A Visitable Past Views of Venice by American
Book SynopsisIn this ambitious and imaginative study, Margaretta M. Lovell analyzes the large body of accomplished, sometimes startling, often brilliant work of American artists drawn to Venice's ragged splendor in the last century. Including major works by such diverse and talented painters as James McNeill Whistler, John Singer Sargent, and Maurice Prendergast, these richly varied paintings portray sleepy canals, architectural monuments, and scenes of picturesque everyday life while they also reveal surprising aspects of American culture.
£61.75
The University of Chicago Press To Destroy Painting
Book SynopsisThis text, first published in France in 1977, presents cultural critic Louis Marin's theories about the aims of painting in Europe in the 16th and 17th centuries. It explores a number of notions implied by theories of painting and offers insight into the aims and effects of visual representaion.Table of ContentsAcknowledgments Postscript in the Guise of an Introduction Key Texts Allegory: The Golden Bough or the Theory of Mimesis Questions, Hypotheses, Discourse Readings Denegation The Arcadian Landscape On Nominal Sentences, Fragments, Epitaphs, and Epigraphs A Letter, a Shadow, and an Interpretive Key Theoretical and Methodological Introduction An Analytic Strategy and a Mythical Ruse The Portrait in the Convex Mirror The Medusa Head as Historical Painting Psychoanalytic Interlude Of Light, Shadows, and Narrative Et in arca hoc Notes Works Cited Index
£76.00
The University of Chicago Press Machine Art 1934
Book SynopsisIn 1934, New York's Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. This title tells the story of this extraordinarily popular but controversial show.
£47.50
The University of Chicago Press The Light Club On Paul Scheerbarts The Light
Book SynopsisPaul Scheerbart (1863-1915) was a visionary German novelist, theorist, poet, and artist. He was fascinated with the potential of glass as a medium for expressionist architecture. This title describes Scheerbart's life, and explains the ways in which 'The Light Club of Batavia' inspired him to produce art of uncommon breadth.
£25.20
University of Chicago Press Pilgrimage and Pogrom Violence Memory and Visual
Book SynopsisIn the late Middle Ages, Europe saw the rise of one of its most virulent myths: that Jews abused the eucharistic bread as a form of anti-Christian blasphemy, causing it to bleed miraculously. Valiantly reconstructing the cult environments created for these sacred places, this title offers a look at Christian-Jewish relations in premodern Europe.
£61.75
The University of Chicago Press El Lissitzky on Paper
Book Synopsis
£34.20
The University of Chicago Press The Chieftain and the Chair
Book SynopsisTrade Review"Centering her study on Finn Juhl’s Chieftain Chair and Hans Wegner’s Round Chair, Taft shows how a small segment of the Danish furniture market—soon folded into a broader “Scandinavian” aesthetic, cannily developed and marketed for the booming American economy—came to rule both sides of the Atlantic." * New Criterion *"The Wegner chair is one of two pieces that Maggie Taft considers in her new book The Chieftain and the Chair: The Rise of Danish Design in Postwar America. The other is the Chieftain chair designed by Finn Juhl. Together, the two seem to capture two different forms of aspiration. . . .The most famous Scandi furniture now comes in flat packs, bought cheaply with a stop-off to the cafeteria for a helping of frozen meatballs with lingonberry jam. But the original appeal of Danish furniture was deeper: It promised craftsmanship at a time of ramped-up assembly line production and the pared-down aesthetic of natural wood when the space age look of new materials was ascendant. As Taft shows, these qualities were closely linked to Danish political culture in the postwar years—to its progressive thinking, vibrant democratic principles, and above all its emerging welfare state." * New Republic *“Danish design (or at least stuff that looks like it) has been a fixture of American interior decoration since it was first imported in the 1950s. Pieces like Hans Wegner’s Round Chair and Finn Juhl’s Chieftain are ubiquitous, so it’s easy to forget that someone had to make people believe they were emblems of middle-class good taste before, you know, they actually were. Taft, an art historian and writer, uses this clear, tight book to trace the origins of these objects and in doing so demolishes some of the many myths about a field you know and (might) love.” * Bloomberg * “A prolific author with contributions to national arts and design publications, Taft presents a deeply researched yet thoroughly accessible examination of the multidimensional impact of two reigning chairs and, more broadly, inspired artistic expression.” * Booklist *"Succinct and engaging. . . essential for an understanding of post-war Danish and American design." * Art Newspaper *"[Taft's] story is not one of heroic artistic choices, but of compromises made for manufacturing at scale, successive counterfeits, the dispersal of a once-original style. . . . Taft tells the story with quick, fluid prose and a plethora of period texts, photographs, and scenes, taking us from the craftsmanship of the Copenhagen Museum of Industrial Art’s Cabinetmaker Day School, where Wegner trained as a joiner in the thirties, to the TV appearance of a pair of Wegner’s chairs in the Kennedy-Nixon debate in 1960." * Book Post *"How did Danish Modern become a byword for mid-century cool in the United States? This study of two chairs made in 1949—The Chieftain by Finn Juhl and Round Chair by Hans Wegner—explores this tale of transcontinental tastemaking." * Apollo *"We may take Danish Modern for granted. But as Taft shows in her absorbing story, the furniture aesthetic was less an expression of national spirit than a complex product of colonial relationships, protectionism, state intervention, and transatlantic salesmanship." -- Edward Tenner * Milken Institute *"This fascinating book makes a great addition to the literature of modern design and the small scale of the book makes it possible to carry." * Daniella on Design *"Taft explores the history of Danish modern design through two pieces of furniture: Hans Wegner’s Round Chair, better known as simply “the Chair,” and Finn Juhl’s Chieftain reading chair. The former is a basic dining chair, designed as part of a set, whose defining element is a single, semicircular wooden form that serves as both back and armrests—hence the “Round” in its moniker. The latter is a cushioned chair upholstered in leather, with wide armrests and a high, regal back rising above its seat. Their differences—the Chair’s slight size and the Chieftain’s heftiness; the Chair’s huge popularity in America and the Chieftain’s relative lack thereof; Juhl’s architectural education and Wegner’s training in cabinetmaking—allow Taft to develop a succinct but multilayered history of Danish Modernism." * Nation *"In this thorough exploration of two iconic Danish chairs, Taft looks to debunk old myths and makes a convincing case for a reexamination of Danish design and how it shaped the story of not only Danish modern, but also the evolution of modern design from New York to Chicago, North Dakota to Los Angeles, in post-war America." -- Zoë Ryan, Daniel W. Dietrich, II Director of the Institute of Contemporary Art, University of Pennsylvania"This book is a clever conceit—it uses two exceedingly famous chairs, Finn Juhl’s the Chieftain and Hans Wegner’s the Chair, to narrate a specific history about the creation, consumption, marketing, and reception of Danish Modern in the United States. These chairs are diplomatic actors in the drama that unfolds surrounding the small, but mighty country of Denmark making furniture for an export market in the United States, in which one could not exist without the other. The Chieftain and the Chair is a fresh and succinct contribution to Nordic design studies." -- Monica Obniski, curator of decorative arts and design, High Museum“In The Chieftain and the Chair, Taft provides a rich backstory to two fundamentally familiar mid-century furniture forms. By mining Danish-language archives and obscure American repositories, Taft makes the history of these chairs accessible to an English-speaking audience. Danish design was constructed to appeal to American consumers and American taste, as The Chieftain and the Chair deftly demonstrates.” -- Bobbye Tigerman, Marilyn B. and Calvin B. Gross Curator for Decorative Arts and Design, Los Angeles County Museum of Art
£17.10
The University of Chicago Press Critical Terms for Art History Second Edition
Book SynopsisIn addition to the 22 original essays, this edition includes 9 new ones as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making it accessible.
£29.45
The University of Chicago Press Hilma af Klint
Book SynopsisNotes and Methods presents facsimile reproductions of a wide array of af Klint’s early notebooks accompanied by the first English translation of af Klint’s extensive writings.
£38.00
The University of Chicago Press Cruising the Dead River
Book SynopsisIn the 1970s, Manhattan's west side waterfront was a forgotten zone of abandoned warehouses and piers. Though many saw only blight, the derelict neighborhood was alive with queer people forging new intimacies through cruising. Alongside the piers' sexual and social worlds, artists produced work attesting to the radical transformations taking place in New York. Artist and writer David Wojnarowicz was right in the heart of it, documenting his experiences in journal entries, poems, photographs, films, and large-scale, site-specific projects. In Cruising the Dead River, Fiona Anderson draws on Wojnarowicz's work to explore the key role the abandoned landscape played in this explosion of queer culture. Anderson examines how the riverfront's ruined buildings assumed a powerful erotic role and gave the area a distinct identity. By telling the story of the piers as gentrification swept New York and before the AIDS crisis, Anderson unearths the buried histories of violence, regeneration, and LG
£26.60
The University of Chicago Press Dark Lens
Book SynopsisThis book draws on literature, painting, and a never-before-seen cache of photographs to explore the representation of catastrophe and the targeting of civilians in war. Focusing on images of Nazi Germany's bombed-out cities, the author connects the fraught aesthetics of ruins with the problem of how to acknowledge German suffering.--Provided by
£29.45
The University of Chicago Press JeanAntoine Houdon Sculptor of the Enlightenment
Book SynopsisJean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France.Trade Review"The catalog contains important new documentary information, and the entries cast clear light on both the works exhibited as well as related versions throughout the world. The show is an extraordinary achievement; it makes a contribution of permanent value to the study of a very great artist." - Andrew Butterfield, New York Review of Books; "The essays detail Houdon's artistic development and provide insights into his working methods and his relationships with his subjects, a group that included Moliere, Diderot, Voltaire, Franklin, and Napoleon. In 1783, a critic said of Houdon's portrait busts of contemporary celebrities: 'M. Houdon lacks only the means to make his portraits speak, since, as for likeness, he lacks nothing.'" - New York Times Book Review; "It's often said that there's no such thing as a perfect exhibition.... But it must be said that if there is one, this is it. Poulet has obtained just about every significant Houdon sculpture extant, winnowing the selection carefully to secure the version closest to the artist's hand and eliminating lesser ones, pirated casts, and outright fakes. The catalog is a feat of comprehensive and scrupulous research as well as an enthralling exercise in connoisseurship. Taken together, they give us the definitive portrait of Houdon - a speaking likeness, as it were." - Eric Gibson, New Criterion"
£57.00
University of Chicago Press TwentiethCentury European Paintings. A. James Speyer Microfiche
a huge range and FREE tracked UK delivery on ALL orders.
£102.60
The University of Chicago Press Hilma af Klint
Book SynopsisTrade Review“Despite her many notebooks, she left behind no personal diaries, and we know little about her thoughts beyond her art and spiritualist interests. Voss does a good job of filling in the gaps with detective work and speculation, although in places the conditional does a lot of heavy lifting. Her biggest achievement is to establish a context for af Klint’s work, upending popular assumptions that she was a mystical outsider who floated free of her historical and social milieu.” * London Review of Books *“Voss has produced an extraordinarily rich portrait of a radically unusual, but not eccentric, modern artist. . . . Voss’s biography makes af Klint so much more than an artist simply to be inserted into a more gender-inclusive canon of ‘abstract art’. It saves af Klint from art history while sending us deeper into her world. Reading it was a revelation, and it has changed my understanding of the artist, the woman, and her times.” * Literary Review *"It would be easy, in our rationalist times, to think of af Klint as a kook. One of the many praiseworthy things about Julia Voss’s excellent new biography of her is that it does not even entertain the thought." * Times Literary Supplement *"The woman who emerges in Voss's exacting portrait is strong-willed, purposeful, and confident—ahead of her time and perhaps ours too. What's interesting, the author suggests, isn't that af Klint, in a century awash with spiritual fads, heard voices. It's that, as far as her genius was concerned, those voices weren't wrong." * Observer (UK) *"Julia Voss’s biography of Af Klint is the first full life of the painter and shows her growth from working in the traditional genres of portraiture and landscape into far more radical fields. She explains not just Af Klint’s beliefs, but her relations with the occultist and reformer Rudolf Steiner and her efforts to exhibit some of her work to fellow spiritualists. Af Klint thought of her paintings as dictations from the astral plane. Voss’s scholarship shows how remarkable the woman was who transcribed them." * New Statesman *"[A] pioneering biography. . . . Voss marshals as much of the personal detail as the painter’s surviving notes would divulge and has filled out an account that will surely remain the standard for years to come." * Art Newspaper *"Julia Voss’s dazzling and timely biography of Hilma af Klint explores not only the life of this extraordinary artist but highlights the important contributions of both mysticism and women artists—so long excluded from the art-historical canon—to the story of modern art. I couldn’t put it down." -- Jennifer Higgie"Julia Voss’s biography is the indispensable resource for anyone interested in pioneering artist Hilma af Klint. With her thousands of pages of notebooks in Swedish, af Klint remained beyond the reach of scholars without the ability to read Swedish. By mastering Swedish and doing superb archival research on af Klint and the women around her, Voss reveals a Hilma we did not know, including a gender fluidity that underlies many of her motifs. Voss has also recovered the cosmopolitan culture of Stockholm in this period—from art exhibitions and science expositions to the robust interest in spiritualism that parallels that in Berlin. Written in lively prose, Voss’s book is a pleasure to read in the translation by Anne Posten." -- Linda Henderson, University of Texas at Austin"A fascinating book on the exhilarating life and work of Hilma af Klint. Julia Voss has been instrumental in bringing her story to the forefront and tells her life with such sensitivity, generosity, and insight. A must read!" -- Katy Hessel, author of The Story of Art without Men"As well as shining a light on an exceptional talent, this book provides a rare window on the struggle of a woman artist to find a new language in a world where idealism was fading fast." * World of Interiors *"A rich and illuminating portrait of the artist." * Air Mail *Table of ContentsA Note from the Translator Chronology Introduction Part I. Family, Childhood, and Youth in Stockholm 1. Mary Wollstonecraft Visits Sweden and Is Upset 2. Birth 3. School and Religion 4. An Exhibition in London 5. Bertha Valerius and the Dead 6. Kerstin Cardon’s Painting School 7. Hermina’s Death Part II. Study at the Academy and Independent Work 1. The Academy 2. Guardian Spirit 3. The Prize 4. Anna Cassel 5. “My First Experience with Mediumship” 6. The Young Artist 7. Dr. Helleday and Love 8. The Five 9. Art from the Orient 10. Rose and Cross 11. At the Veterinary Institute 12. Children’s Books and Decorative Art 13. Italy 14. Genius Part III. Paintings for the Temple 1. Old Images 2. Revolution 3. Primordial Chaos 4. Eros 5. Medium 6. The Ten Largest 7. “I Was the Instrument of Ecstasy” 8. Rudolf Steiner Visits Sweden 9. The Young Ones 10. Sigrid Lancén 11. The Association of Swedish Women Artists 12. Frank Heyman 13. Island Kingdom in Mälaren 14. First Exhibition with the Theosophists 15. Tree of Knowledge 16. The Kiss 17. Singoalla 18. The Baltic Exhibition 19. War 20. Saint George 21. Kandinsky in Stockholm 22. Parsifal and Atom 23. The Studio on Munsö 24. Thomasine Anderson Part IV. Dornach, Amsterdam, and London 1. The Suitcase Museum 2. Flowers, Mosses, and Lichens 3. First Visit to the Goetheanum 4. “Belongs to the Astral World According to Doctor Steiner” 5. The Fire and the Letter 6. Amsterdam 7. London Part V. Temple and Later Years 1. The Temple and the Spiral 2. +x 3. A Temple in New York 4. The London Blitz 5. Future Woman 6. National Socialism 7. Lecture in Stockholm 8. “Degenerate” Art in Germany and Abstract Art in New York 9. Tyra Kleen and the Plan for a Museum 10 Last Months 11. Conclusion Afterword by Johan af Klint Afterword by Ulrika af Klint Appendix 1. Hilma af Klint’s Travels and Places of Residence Appendix 2. The Library of Hilma af Klint Acknowledgments Illustration Sources Notes Bibliography Index
£26.60
The University of Chicago Press Josef Albers Late Modernism and Pedagogic Form
Book SynopsisTrade Review"There is no doubt that Saletnik has given us a new view on Albers that is an important contribution to scholarship on a figure who had a profound impact on the direction of post-Second World War western art. This extends to an enhanced understanding of several of his pupils too, most notably Hesse and Serra, all delivered in a clear and elegant style that is eminently readable." * History of Education *"For anyone interested in Josef Albers’s teaching and creative practice, there is much to be learned from Saletnik’s Josef Albers, Late Modernism, and Pedagogic Form. . . . Saletnik digs deep to reveal the historical and cultural roots from which Albers’s singular pedagogy developed." * Journal of Design History *“This is an important book, backing up imaginative leaps between the various parts of Albers’s practice—typography, photography and painting—with meticulous and tightly focused research. It adds to existing writing on Albers’s teaching by considering both its forelife in the history of German pedagogy and its afterlife in late modernist art.” * Burlington Magazine *“Saletnik’s Josef Albers, Late Modernism, and Pedagogic Form is a brilliant, boldly original work of art-historical scholarship. He examines in rich detail the formation of Josef Albers’s pedagogy in Wilhelmine Germany, how it shaped his legendary teaching at Yale, and—this is the bold part—how his pedagogical exercises decisively shaped habits of mind and hand in the work of Yale alumni Eva Hesse and Richard Serra, two artists whose artistic practice seems far removed from Albers’s own. The book is an exemplary demonstration of the insights to be gained from exhaustive archival and historical research and close, thoughtful looking.” -- Charles W. Haxthausen, Robert Sterling Clark Professor of Art History, Emeritus, Williams College“This very important study offers a new understanding of the significant impact that Josef Albers’s artistic and pedagogical commitments had on key figures of the ‘postminimalist’ generation of American artists, such as Eva Hesse and Richard Serra. Most importantly, perhaps, its wide-ranging analysis radically questions the rigid distinctions commonly made between the closures of a modernist commitment to form and the experimental ethos of process-orientated art.” -- Alex Potts, Max Loehr Collegiate Professor Emeritus, University of MichiganTable of ContentsIntroduction: “Bye, bye, Bauhaus” A Linear Constructions 1 From Object to Process: On Albers’s Pedagogic Forms Learning by Doing Progressive Education Educating Albers Pedagogic Form B Photography 2 Fold/Manifold: On Eva Hesse and Albers Lightweight and Weighted Down Folding and Unfolding C Painting 3 Color Aid: On Richard Serra and Albers Working Methods Disciplined Disorientation Epilogue: Playtime Acknowledgments Notes Selected Bibliography Image Credits Index
£30.40
University of Chicago Press Architecture for the Shroud Relic and Ritual in Turin
a huge range and FREE tracked UK delivery on ALL orders.
£92.15
The University of Chicago Press Distant Early Warning
Book SynopsisMarshall McLuhan (19111980) is best known as a media theoristmany consider him the founder of media studiesbut he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains an underappreciated yet fascinating figure in art history. His connections with the art of his own time were largely unexplored, until now. InDistant Early Warning, art historian Alex Kitnick delves into these rich connections and argues both that McLuhan was influenced by art and artists and, more surprisingly, that McLuhan's work directly influenced the art and artists of his time. Kitnick builds the story of McLuhan's entanglement with artists by carefully drawing out the connections among McLuhan, his theories, and the artists themselves. The story is packed with big names: Marcel Duchamp, Niki de Saint Phalle, Jasper Johns, Andy Warhol, Nam June Paik, and others. Kitnick masterfully weaves this history with McLuhan's own words Trade Review"Each chapter puts McLuhan into context with individual artists... This is a good way to revisit McLuhan, particularly as his work is too often reduced to enigmatic bons mots... [Kitnick] makes a compelling case..." * Literary Review of Canada *Table of ContentsIntroduction Chapter 1 The Age of Mechanical Production Chapter 2 What It Means to Be Avant-Garde Chapter 3 Lights On Chapter 4 Electronic Opera Chapter 5 Massage, ca. 1966 Chapter 6 Information Environment Chapter 7 Culture Was His Business Postscript: McLuhan’s Art Today Acknowledgments Notes Bibliography Index
£27.00
University of Chicago Press In Visible Touch Modernism and Masculinity
a huge range and FREE tracked UK delivery on ALL orders.
£85.00
The University of Chicago Press Rome as a Guide to the Good Life A Philosophical
Book SynopsisTrade Review“A delightful and immersive guide to the city of Rome and the philosophical tradition it embodies concerning the good life, or as we would say today, the meaning of life. Travelers seeking ancient wisdom among the city’s famous buildings and works of art could ask for no better companion.” * Donald Robertson, author of 'How to Think Like a Roman Emperor' *“I have been a Roman for over half a century, but I’ll be sure to use Samuelson’s Guide the next time I visit my native city. I will look at it quite differently!” * Massimo Pigliucci, author of 'How to Be a Stoic' *“Rome as a Guide to the Good Life immerses us in glorious works of art and architecture. But in Rome, every aspect of life, from Raphael to food to gesticulation, is an art. Rather than guiding us through the labyrinth of the city’s streets, Samuelson guides us through the labyrinth of life, more daunting than any streetscape.” * Ingrid D. Rowland, author of 'Giordano Bruno' and 'The Collector of Lives' *“In this elegantly written book, Samuelson takes us by the elbow and leads us to his favorite places and works of art in the Eternal City, spinning stories about their history, pointing out their beauties and contradictions, and reflecting on their philosophical meanings. Whether you travel to Rome with this book as your guide, or read it from the comfort of an armchair, Samuelson teaches us ancient lessons that can enrich our modern lives.” * Lori Erickson, author of 'Holy Rover,' 'Near the Exit,' and 'The Soul of the Family Tree' *"A stimulating, thoroughly readable mix. . . For the seasoned Romanist as well as a first-time visitor, this is an excellent vade mecum for our times. All will read it with profit and enlightenment: it will certainly accompany my next trip." -- Sir Michael Fallon * Classics for All *"A breezy and eclectic tour of the Eternal City in which [Samuelson] introduces readers to both physical and philosophical delights.” * WORLD *"The book stands out in its dual appreciation for Rome as a locus for the sweet life and the life of the mind. . . . The author’s wit, enthusiasm, and willingness to turn his head and squint his eyes while looking at what seemingly has been picked over by centuries of cicerones makes reading Rome as a Guide like being on the most engaging of walking tours." * ClassicalEd Review *"As he leads us through the city, Samuelson introduces the largest philosophical questions and shares what the legacy of Roman culture has to teach us by way of answer. The result is an erudite guide to the city’s heritage that offers eloquent instruction on how to conduct ourselves and make meaning in the face of life’s enduring uncertainties.” -- James Mustich * In the Company of Books newsletter *Table of ContentsIntroduction: Philosophy as a Guide to la Dolce Vita I Build Not Thereon 1 Die on Your Journey: The Question of Rosa Bathurst’s Tombstone 2 Build on Tragedy: The Humility of Caravaggio’s David with the Head of Goliath 3 Put Down Roots in the Uprooted: The Piety of Bernini’s Aeneas, Anchises, and Ascanius II Remember Death 4 Be Not for Yourself Alone: Cicero in the Ruins of the Forum 5 Take the View from Above: Marcus Aurelius in the Saddle III Reap the Day 6 Conquer Your Fear: Lucretius versus the Roman Triumph 7 Dare to Be Wise: Horace’s View of the City IV Love and Do What You Will 8 Hold Humanity Sacred: Seneca or Augustine versus the Colosseum 9 Crash through the Floor: The Mysteries of the Basilica of San Clemente 10 Make a Golden Ass of Yourself: The Metamorphoses in Agostino Chiti’s Villa V Make a Palace of Your Memory 11 Be the Conversation: The Philosophy of Raphael’s School of Athens 12 Unlock the Soul in Your Soul: Giordano Bruno in the Campo de’ Fiori Conclusion: What Resists Time Is What’s Ever Flowing Acknowledgments Appendix: Rome by Way of the Winged Eye Notes Index
£14.24
The University of Chicago Press Le Corbusier The City of Refuge Paris 192933
Book SynopsisThe City of Refuge complexcommissioned by the Salvation Army as part of its program to transform social outcasts into spiritually renewed workersrepresents a significant confluence of design principles, technological experiments, and attitudes on reform. It also provides rare insights into the work of one of the twentieth century's greatest architects, Le Corbusier. Brian Brace Taylor draws on extensive archival research to reconstruct each step of the architect's attraction to the commission, his design process and technological innovations, the social and philosophical compatibility of the Salvation Army with Le Corbusier's own ideas for urban planning, and finally, the many modifications required, first to eliminate defects and later to accommodate changes in the services the building provided. Throughout, Taylor focuses on Le Corbusier's environmental, technological, and social intentions as opposed to his strictly formal intentions. He shows that the City of Refuge became primaril
£58.90
The University of Chicago Press Musical Migration and Imperial New York
Book SynopsisThrough archival work and storytelling, Musical Migration and Imperial New York revises many inherited narratives about experimental music and art in postwar New York. From the urban street level of music clubs and arts institutions to the world-making routes of global migration and exchange, this book redraws the map of experimental art to reveal the imperial dynamics and citizenship struggles that continue to shape music in the United States. Beginning with the material conditions of power that structured the cityscape of New York in the early Cold War years, Brigid Cohen looks at a wide range of artistic practices (concert music, electronic music, jazz, performance art) and actors (Edgard Varèse, Charles Mingus, Yoko Ono, and Fluxus founder George Maciunas) as they experimented with new modes of creativity. Cohen links them with other migrant creators vital to the city's postwar culture boom, creators whose stories have seldom been told (Halim El-Dabh, Michiko Toyama, VladimirTrade Review“This is a field-changing book. Cohen calls to account many legends about experimental music in New York and strips away the heroic storytelling of the past to reveal uncomfortable truths about the racial and imperial underpinnings of modern music in the United States. In Cohen’s study, hard-to-find and fragmentary sources are brought to light in ways that change what we know. The readings of music and sound are deeply illuminating, sometimes breathtaking, in their revelations and in their surprising connections with biographical detail.” * Danielle Fosler-Lussier, Ohio State University *“In Musical Migration and Imperial New York, we witness a scholar working at the height of her powers. Through this expansive and novel history, we watch fascinating yet understudied actors play out their imperialist and technological fantasies on an urban landscape marked by racial and gendered differences. After reckoning with Cohen’s reenvisioning, scholars of twentieth-century music, art, and urban life will have to rethink the New York City they thought they knew.” * Ryan Dohoney, Northwestern University *“Conventional approaches to experimental music tend to overemphasize the idea of ‘musical genius’ and often lead to problematic exceptionalist narratives. In Musical Migration and Imperial New York, Cohen sidesteps this problem by focusing on the ways in which experimental artists as aesthetically and ideologically varied as Charles Mingus, Vladimir Ussachevsky, or Yoko Ono mediated conversations about belonging at the intersection of external geopolitical power plays and internal assimilation. Cohen’s acutely tuned ear and brilliant prose guide us through the rich and thrilling experience of listening to the physiognomic overtones of citizenship, migration, and empire-building as they shaped the development of experimental art and music scenes in Cold War New York City.” * Alejandro L. Madrid, Cornell University *"Cohen masterfully marshals alternative sources including rare tapes, interviews and interpretations of official recordings. The result is a work of scholarship that not only pays long overdue attention to artists like Toyama and El-Dabh but changes the terms by which we encounter major figures like Mingus and Ono." * The Wire *"Cohen, a professor in NYU’s Department of Music, illuminates the contributions of these artists—many of them underappreciated—through the venues where their creations were displayed, performed, and composed. Some of these sites have similar purposes today, while others offer only architectural whispers of the history made there more than a half century ago." * NYU News *"In Musical Migration and Imperial New York, Cohen demonstrates the ways in which musical actors have negotiated their entanglements with power—power of the political elite, to be sure, but also the soft power of those working behind the scenes to finance, create, preserve, and subvert artistic movements in the shadow of the United States’ rapidly expanding empire. . . I believe this text will be embraced by scholars of contemporary/experimental/avant-garde music and will also be of great interest to anyone curious about migration, imperialism, Cold War politics, totalitarianism, performance art, postwar technology, or citizenship. In short, this densely woven and comprehensively researched book is a welcome addition to our field and to those of our cross-disciplinary collaborators." * Journal of American Musicology Society *"Chance encounters, indeterminacy, dissonance, electronic sounds and non-western tunings: any and all of these are distinctive sonic markers of the twentieth-century American experimental musical tradition. However, as Brigid Cohen persuasively argues in her new book, baked into this so-called 'new music' were traces of a Cold War politics of empire distinct to the United States and, even more specifically, to New York City. . . . The effect is revelatory, placing the book in dialogue not just with new studies of ethnicity and experimental music but with histories of the mind sciences and the wartime development of area studies as well." * Gotham Center for New York City History *Table of ContentsList of Figures Introduction: A Recent History of Music, Citizenship, and American Empire 1. Third Space, Scene of Subjection: Mingus and Varèse at Greenwich House 2. Cold War Acropolis I: Ussachevsky, the Rockefeller Foundation, and the CPEMC 3. Cold War Acropolis II: Toyama and El-Dabh at the CPEMC 4. A Counter-Discourse of Orientalism: Ono in Opera 5. The Haunting of Empires: Maciunas, Fluxus, and the Bloodlands 6. Concluding Thoughts Acknowledgments Notes Archival Sources Bibliography Index
£41.80
The University of Chicago Press Temptation Transformed
Book SynopsisA brisk and entertaining (Wall Street Journal) journey into the mystery behind why the forbidden fruit became an apple, upending an explanation that stood for centuries. How did the apple, unmentioned by the Bible, become the dominant symbol of temptation, sin, and the Fall? Temptation Transformed pursues this mystery across art and religious history, uncovering where, when, and why the forbidden fruit became an apple. Azzan Yadin-Israel reveals that Eden's fruit, once thought to be a fig or a grape, first appears as an apple in twelfth-century French art. He then traces this image back to its source in medieval storytelling. Though scholars often blame theologians for the apple, accounts of the Fall written in commonly spoken languagesFrench, German, and Englishinfluenced a broader audience than cloistered Latin commentators. Azzan Yadin-Israel shows that, over time, the words for fruit in these languages narrowed until an apple in the Garden became self-evident. A wide-ranging study of early Christian thought, Renaissance art, and medieval languages, Temptation Transformed offers an eye-opening revisionist history of a central religious icon.Trade Review"A brisk and entertaining investigation into the cultural history of Adam and Eve’s comestible catastrophe . . . [with a] sly sense of humor that peeks through refreshingly cant-free prose. Temptation Transformed is easy to follow for any curious amateur who enjoys getting to the bottom of a puzzle. By the end, Mr. Yadin-Israel at least has exonerated the apple; the serpent might present a more difficult task.” * Wall Street Journal *“[A] scrumptiously scholarly morsel of a book . . . In addition to being a philological detective story, Temptation Transformed is a kind of miniature coffee-table book, employing forty-two images of Fall of Man art to chart the transformation from grape and fig (and a few other fruits) to apple . . . Yadin-Israel is a master of philological and iconographic detective work, and the joy of this beautiful little book is in following his reasoning as he thinks through words (in a daunting number of languages) and images.” * Jewish Review of Books *"[A] delightfully readable study . . . tracing the apple iconography from its roots in 12th-century France. In fewer than 100 pages, with ample illustrations, Yadin-Israel builds a compelling argument around the convergence of textual evidence, semantic shifts, and the visual arts in medieval Europe.” * The Christian Century *“Temptation Transformed is a serious study of a biblical topic, which should appeal primarily to biblical scholars.” * Washington Jewish Week *“So what at first seemed like a simple question — where did that apple come from? — becomes a complicated story of changes across time and space as Jewish families adjust to the Christian world around them, and Jews and Christians alike adjust to changes in language, theology, and geography.” * Jewish Standard *"An accessible, well-argued, well-researched book and a testament to the power of interdisciplinary work to clarify age-old conundrums . . . A must-read for those interested in the mechanisms by which religious ideas and iconography develop . . . [and] for those interested in the history of Jewish and Christian biblical interpretation, especially of Genesis 3. . . [and] a gift to art lovers everywhere." * Reading Religion *A Best Medieval Book of 2023 * Medievalists.net *"Meticulously researched and engagingly written, this study yields more fascinating discoveries per page than anything I have read in years." * Religious Studies Review *“If Genesis speaks only of the forbidden ‘fruit,’ how and when did that fruit become an apple? To answer, Yadin-Israel leads us from Genesis to the Song of Songs, through an iconographic survey worthy of Erwin Panofsky, into medieval languages, and even a brief history of apples in ancient and modern horticulture. This visual and literary masterpiece will serve as a methodological guide for future research, but its ultimate subject is nothing less than the pictorial representation of human sinfulness and the hope for redemption.” -- James Kugel, author of 'The Bible as It Was'“A fascinating cornucopia of insights from language, literature, and art history, Temptation Transformed offers the tantalizing fruit of rigorous textual and iconographic research into the identification of the forbidden fruit. Yadin-Israel provides compelling evidence for a new understanding of the development of the apple tradition in medieval France. I will use his historical insights every time I teach Genesis.” -- John H. Walton, author of 'The Lost World of Adam and Eve'“Temptation Transformed traces the rise of the forbidden fruit across centuries—from ancient Hebrew manuscripts to wall paintings and more. This is an engaging and beautiful book.” -- Miri Rubin, author of 'Mother of God: A History of the Virgin Mary'Table of ContentsList of Illustrations Introduction: The Curious Case of the Apple 1 The Missing Apple 2 A Bad Latin Apple 3 The Iconographic Apple 4 The Vernacular Apple Conclusion: A Scholarly Reflection Acknowledgments Appendix: Inventory of Fall of Man Scenes Abbreviations Notes Bibliography Index
£20.90
The University of Chicago Press Spiritual Moderns
Book SynopsisTrade Review"Doss’s clear and cogent prose, accented by crisp illustrations of key works and supported by extensive research, make this distinctly focused and illuminating study an essential choice for art history collections." -- Carolyn Mulac * Booklist *"Spiritual Moderns bravely retells the story of modern art, fraught as it may be, with a more honest look at how religion shaped it. . . . Through a series of four case studies, along with an intro and conclusion, Doss exposes how earlier historians of modern art have downplayed religion as a key ingredient in some of modern art’s most heralded breakthroughs. . . . [Doss's] strength as a historian shines bright." * Hyperallergic *Named one of The Best Art Books of 2023 * Hyperallergic *"Doss reclaims American modernism’s religious element...Spiritual Moderns casts new light on the history of American art." -- William J. Schultz * Christian Century *“Doss successfully demonstrates that the story of American modernism is not as secular as it is often presumed to be, and shows without telling that art criticism and history that disregard religion are necessarily shallower than a discourse open to religious thinking and concerns.” * The Brooklyn Rail *"Spiritual Moderns investigates how four 20th-century American modernist artists integrated their non-mainstream religious beliefs and commitments into their work. . . . Doss provides artist bios and helpful descriptions of the main characteristics and practices of their religious traditions. . . . The book presents convincing cultural history that brings religious influences forward. . . Recommended." * Choice *"Erika Doss presents a convincing challenge to the prevailing omission of religion in the story of twentieth-century modernist art in the United States. . . . an exemplary model." * Panorama *“Through detailed accounts of the life and work of four twentieth-century American artists, Doss works to unseat the notion that modern art and religion, or spirituality more generally, are incompatible and separate. She compellingly demonstrates how the significance of religion and spirituality in artistic practice has been suppressed and disavowed, or, alternatively, has contributed to an artist’s lesser status within the art-historical literature. In each thoroughly researched and lucidly written chapter, she illuminates the importance of religion and spirituality for these artists and in so doing deepens our understanding of their work.” -- Rachael Z. DeLue, Christopher Binyon Sarofim ’86 Professor in American Art, Princeton University“Spiritual Moderns is an apt extension of Doss’s rigorous art-historical scholarship, and there is a great need for this study. As Doss persuasively argues, it is time that the field of modern American art history recognized the singular importance of religion and spirituality within the production and reception of twentieth-century American art. The canonical figures Doss considers engaged deeply with their respective religious traditions while challenging conventional orthodoxies and crafting unique images of transcendence. Doss offers a compelling revisionist account of modern American art history and the cultural work that religion and spirituality performed, historically and aesthetically.” -- Marcia Brennan, Carolyn and Fred McManis Professor of Humanities, Rice UniversityTable of ContentsList of Figures Chapter 1. Spiritual Moderns: Twentieth-Century American Artists and Religion Chapter 2. Joseph Cornell and Christian Science: “White Magic” Modernism and the Metaphysics of Ephemera Chapter 3. Mark Tobey and Bahá’í: “White Writing” and Spiritual Calligraphy Chapter 4. Agnes Pelton and Occulture: Spiritual Seeking and Visionary Modernism Chapter 5. Andy Warhol and Catholicism: Pop Art’s “Spiritual Side” Chapter 6. Spiritual Moderns: Culture War Controversies and Enduring Themes Acknowledgments Notes Index
£26.60
The University of Chicago Press Dream Street W. Eugene Smiths Pittsburgh Project
Book SynopsisTrade Review“[Dream Street] is Smith’s attempt to record the paradoxes of city life in America—the clutch of industry, the dogged persistence of both community and loneliness, the forces of love, hate, growth and decay. Not even the venerated master of photojournalists could quite pull this off, but Smith’s obsessiveness was harnessed to an enormous talent, and he wasn’t far from the mark when he wrote that [this work] would ‘create history.’" -- Vicki Goldberg * The New York Times, on the original edition *“Inspired by Joyce and Faulkner, Smith envisioned a symphonic, multilayered photo essay portraying the entire city; his failure to complete it haunted him for the rest of his life. Here are more than a hundred and fifty of his nourish and oddly poignant images: gleaming railyards at night; buildings wrapped in clouds of industrial smoke; the face of a steelworker, the Bessemer fires reflected in his safety goggles.” * New Yorker, on the original edition *“These images are about the life that never gets into headlines. When a young teenage girl waits alone by a gleaming black car, she embodies innocence . . . and loss. When men of all ages from sixteen to sixty stand in silhouette along the lit-up counter of a takeout stand, you see a story of age, and ambition denied, a side of the 1950’s that rarely shows up on nostalgia channels. . . . Smith’s Pittsburgh photographs show how much we still resemble those citizens in the summer of 1955. And in his majestic inability to admit defeat we can see how dangerous that confidence could be to a man who saw its limits, and refused to give in.” -- Mary Panzer * Chicago Tribune, on the original edition *“Smith imagined a visual collage to rival Finnegan’s Wake in scope and intensity. His astonishing ambition was . . . his Faustian pact with the city . . . . There are no touching displays of picturesque individuality, just a city aesthetically dissected; an effort to ‘get to the guts of the matter and show the bastards as they are.’” * TIME OUT London, on the original edition *“Smith’s presence haunts this book, even a quarter century after his death.” * Washington City Paper, on the original edition *“Every picture tells a story—but put them all together and you might get Finnegans Wake. In the grand canyons of Pittsburgh, monolithic steel mills overshadow humble spires; hillsides scored with 500-step staircases plunge down to inky pitmouths. By day, the steelworkers hover like ghosts, silhouetted in the furnace flames. By night, the moon shines down Stygian rivers, as the shining railroad snakes away into blackest suburbs. More Dante than Joyce, this is a magnificent vision of light and dark.” * Evening Standard, on the original edition *“Dream Street is a diffuse portrait of a community that still led the world in steel production while grappling with the challenge of making the air breathable. It’s also a time machine that takes those who weren’t alive or around during those years to the moment the soul of modern Pittsburgh was forged. Much like its creator, [Dream Street] is without sentiment. It is clear-eyed, despite the smoke of the coke works, and devoid of pretense. It is full of revelation and surprises. It inspires in a way that only great art—and great themes—are capable of inspiring.” * Pittsburgh Post-Gazette, on the original edition *“These dark-toned photographs are dense with meaning. And in [Dream Street] they are given the space to do it. Smith’s best pictures are complete, complicated worlds. The bigness, in every sense, of Smith’s pictures was also the bigness of Pittsburgh.” -- Sarah Boxer * The New York Times, on the original edition *“The range of this project lies not only in its subjects and themes, but also its pictorial and compositional variety, and its strategies and ploys. In other words, Smith used every device and trick he knew, and he knew a lot. The Pittsburgh project found Smith at the height of his abilities, which he brought to bear with vast ambition. Aiming to capture such a cross-section of society, neighborhoods, cityscapes, moods, and feelings, it remains unrivaled in this breadth and depth of its scope. Fifty years later, it jumps out at us, and the nostalgia suffusing [the book] is not just for the past depicted and our assumptions about it . . . but also for a time when a photographer could be so engaged with the real world, and yet so introspective about Americanness, and so secure in the belief that images would elevate the viewer. What Smith accomplished here is shaped not only by his personal ambition, but also by photographers’ ambitions for photography, and Americans’ ambitions for America.” * Photo Review, on the original edition *“This epic portrait of Pittsburgh has become legendary in the history of photography. . . . Viewed together in this compelling, commanding publication, Smith’s photographs present energetic images of hope and despair, rebuilding and decay, poverty and affluence, and solitude and togetherness. . . . These images of mid-century, post-war Pittsburgh powerfully resonate with America today.” * B&W: Black & White Magazine for Collectors of Fine Photography, on the original edition *“Dream Street stands as a final reminder of the power of Smith’s poetic vision.” * The Cleveland Plain Dealer, on the original edition *“The Pittsburgh photographs were Smith’s after-LIFE magnum opus, and with them he produced a darkly urban vision, less out of a magazine than out of film noir . . . the paradoxes of a city churning toward progress and leaving vast segments of its population in squalor [are] metaphors for Smith’s state of mind. . . . What Smith was after was not a series of punchy vignettes but a sprawling epic in the manner of his favorite music: Beethoven’s late string quartets and the rhapsodic improvisations of John Coltrane.” * Los Angeles Times, on the original edition *“Dream Street allows us to assess Smith’s greatest achievement; an extensive, complex, and utterly engaging photo-essay, each element of which has genuine bite. From the skyline to the assembly line, steel workers to city council members, and men on the picket line to children at play, Smith captures the ambitions and inequities of an American city at mid-century with extraordinary deftness and wit.” -- Vincent Aletti * The Village Voice, on the original edition *"For Smith, Dream Street was an artistic obsession. For Stephenson it appears to have been a labor of love. Perhaps much the same thing. Every reader will have his or her own favorite images in Dream Street." -- Michael Patrick Pearson * NYJB *Table of ContentsForeword by Ross Gay “W. Eugene Smith and Pittsburgh” by Sam Stephenson Photographs “‘Man-Breaking City’: W. Eugene Smith’s Pittsburgh” by Alan Trachtenberg W. Eugene Smith’s Pittsburgh Layout for Photography Annual1959 Notes to Photographs Acknowledgments
£29.61
The University of Chicago Press The Jazz Loft Project
Book SynopsisTrade Review“[Smith’s] photos of the city offer a rare glimpse into a neighborhood being itself when it thought no one was watching. This will be an essential book for jazz fans, photography lovers and those interested in the history of New York.” * Publishers Weekly, on the original edition *“The samples from the tapes that Stephenson had transcribed work with the photos to bring a moment in jazz to life as perhaps no work in any other medium, including documentary cinema, ever has. Absolutely magnificent.” -- Ray Olson * Booklist, on the original edition *“Every obsessive deserves his own obsessive Boswell, and W. Eugene Smith has his in Stephenson.” -- Fred Kaplan * New York Magazine, on the original edition *“The most chaotic and soulful gift book this year… an elegiac stew of sight and sound, and a singularly weird, vital and thrumming American document.” -- Dwight Garner * The New York Times, on the original edition *“A stunning cross of scholarly history and Smith's haunted photography.” -- Jesse Jarnow * The Village Voice, on the original edition *“[The Jazz Loft Project] is a riveting work of social archaeology, and extraordinary testament to artists whose music caught all the tumult and excitement of a fast-changing America. It is also a glimpse inside the frenetic mind of a photographic pioneer; an obsessive, maverick genius, who died, poor and relatively unsung, in 1978, leaving behind some twenty-two tons of archive material, including his unfinished and ultimately unfinishable jazz project.” -- Sean O'Hagan * The Guardian, on the original edition *“A book whose pages convey, beautifully, the strange cultural moment when a rat-infested hulk of a building hosted a perfect storm of creativity.” -- Mike Hobart * Financial Times, on the original edition *“Smith was galvanized by the musicians’ passion. . . . He seems to have likewise inspired by their sound; the photographs frequently suggest a kind of rhythm. . . . The photographs are also patently theatrical.” -- Nicole Rudick * Aperture, on the original edition *“[Smith’s photos] are less focused on expressive acts than on a general scene—where a glass of beer on a piano is more important than the music going on fuzzily behind it, or the whole exhausting flow of an all-night session is summarized in a pair of shoes hovering over a dozen cigarette butts on the floor. . . . The loft photos are part of a larger attempt to capture the asymmetrical constellations that form and unform all around us, all the time: inside and outside the building are equally fascinating to Smith.” -- Jonathan Elmer * American Literary History, on the original edition *“Smith was a driven, supremely talented man who wanted his photography to change the world—and it did. . . . After Smith’s 1979 death, some 4,000 hours of tape reposed, with his splendid photos, at the University of Arizona. What was on them was unsubstantiated legend. Enter Sam Stephenson, who tended their digitization and over painstaking years collated them with oral histories and other documentation. The result captures American culture in creative flux from the ground-eye level.” -- Gene Santoro * American History, on the original edition *“The Jazz Loft Project’s unique source material gives readers a perspective on musicians involved in the bebop that could not be gleaned from their depiction in magazines or even the music they created.” -- Chris Teal * ARSC Journal, on the original edition *“Smith left a magnificent mess, and Stephenson, in his second decade of research on the man, maintains the same simultaneous eye both for detail and the bigger picture.” -- Patrick Hinely * Jazz Journalists Association (JJA) News, on the original edition *“Intriguing and memorable.” -- Ron Wynn * BookPage, on the original edition *“An extraordinary book.” -- Peter Margasak * Chicago Reader, on the original edition *“The highlight of the book is the photographs of musicians in the passions of playing. In one photo, [Thelonious] Monk is leaning back—cigarette dangling from his mouth—just as he lifts his right hand off the keyboard. He is drenched in shadow, but the light catches his face creating the stark contrast that distinguishes Smith's work.” -- Elizabeth Hoover * Pittsburgh Post-Gazette, on the original edition *“Working with photographs and audiotapes made by photojournalist W. Eugene Smith, Stephenson relates the history of an active jazz musicians’ loft in New York City in a pivotal era.” -- Virginia Schaefer * Internet Review of Books, on the original edition *"There are many terrific photos in The Jazz Loft Project of musicians playing, chatting, or resting among Smith’s archive. But these photos read quite differently from famous photos by such photographers as Carol Reiff, William Gottlieb, or William Claxton. They are stranger productions altogether—often fragmented, framing hands or feet alone, or featuring unplayed instruments with no musicians in sight. . . . Stephenson has undertaken a massive task, involving extensive archival and field research, as well as innumerable editorial decisions, and he has produced a stunning book that winds its argument less along the wire of discourse than across a complex web of images in juxtaposition. Unlike his gargantuan Pittsburgh project, this book is not something Smith imagined, or had in view. But Stephenson has done something Smith found very hard to do, and has done it, moreover, in a way that is true to Smith’s extraordinary vision of the world." -- Jonathan Elmer * American Literary History *
£28.50
The University of Chicago Press Risk Work
Book SynopsisTrade Review“Risk Work is a masterful rethinking of US contemporary art since the 1960s, revealing how ‘guerrilla tactics’ constituted an interface between conceptual and performance-based art and the state’s intensified expansion of racialized policing. Gleisser offers a complex and theoretically rigorous model for historical research wherein state documents speak of the arts, just as the history of state-sanctioned violence can be found in artists’ archival papers.” -- Chon Noriega, editor, A Ver: Revisioning Art History book series“An accomplished work with surprising interdisciplinary insights. Gleisser has provided us with a much-needed study of the proliferative use of ‘guerrilla tactics’ in contemporary American art and performance. Drawing art history and performance studies into conversation with critical legal studies of race, this necessary text brilliantly illuminates the complex networks that flow between contemporary tactics in art and performance and the power effects of a state and legal structure that has increasingly invested in and expanded the racialized dynamics of police and carceral power.” -- Joshua Chambers-Letson, author of "After the Party: A Manifesto for Queer of Color Life"“A seminal account of carceral governance’s effects in the art world. Situating guerrilla art’s rise within transnational movements against state violence, Risk Work shines new light on the nexus between artistic practice, political knowledge production, and resistance.” -- Brian Jordan Jefferson, author of "Digitize and Punish: Racial Criminalization in the Digital Age"“Risk Work promises to be an important, eye-opening, and potentially field-transforming contribution to the ongoing historicization of progressive, activist art in the US. Gleisser reorganizes the most basic templates for understanding conceptual and performance art, while presenting an insistent appeal to acknowledge and call out whiteness. I am nearly in awe of the text. Its radically original approach demonstrates its hermeneutic value immediately and incontrovertibly.” -- Matthew Jesse Jackson, author of "The Experimental Group: Ilya Kabakov, Moscow Conceptualism, Soviet Avant-Gardes""With Risk Work, Gleisser cleverly frames a compelling discourse around artists' actions in public space as they relate to the politics of the racialized and gendered body, punitive literacy, and risk-taking. By assessing key legislation, political events, city development policies, policing, and media portrayals alongside art historical feedback and reception, Gleisser provides a comprehensive consideration of the privileges and risks inherent in performance art, and their legibility, both within public space and the art world." -- Allison Glenn, curator and writerTable of ContentsIntroduction. Punitive Literacy and Risk Work 1 Hit-and-Run Aesthetics: Asco, Chris Burden, and Relational Geographies of Risk, 1971–1976 2 Deputized Discernment: Adrian Piper, Jean Toche, and the Politics of Antiloitering Laws, 1974–1978 3 Rethinking Endurance: Pope.L, Tehching Hsieh, and Surviving Safety, 1978–1983 4 “¿Why Won’t You See Us?”: The Guerrilla Girls, PESTS, and the Limits of Anonymity, 1985–1987 Epilogue. At the Edges of Guerrilla Acknowledgments Notes Bibliography Index
£30.40
The University of Chicago Press The Visual ElementsPhotography
Book SynopsisFor novice or pro, primary investigator or postdoc, the essentials for photographing science and technology for journals, grant applications, and public understanding. Award-winning photographer Felice C. Frankel, whose work has graced the covers of Science, Nature, and Scientific American, among other publications, offers a quick guide for scientists and engineers who want to communicateand better understandtheir research by creating compelling photographs. Like all the books in the Visual Elements series, this short guide uses engaging examples to train researchers to learn visual communication. Distilling her celebrated books and courses to the essentials, Frankel shows scientists and engineers the importance of thinking visually. When she creates stunning images of scientific phenomena, she is not only interested in helping researchers to convey understanding to others in their research community or to gain media attention, but also in making these experts themselves look longer to understand more fully. Ideal for researchers who want a foothold for presenting and preparing their work for conferences, journal publications, and funding agencies, the book explains four tools that all readers can usea phone, a camera, a scanner, and a microscopeand then offers important advice on composition and image manipulation ethics. The Visual ElementsPhotography is an essential element in any scientist's, engineer's, or photographer's library.Trade Review“Frankel is a legend when it comes to science imaging. This book is her powerful, inspiring guide to the tools and techniques for success.” -- Randi Klett, photography director, IEEE Spectrum“A trove of clear and concise recipes in granular detail.” * Nature, on "Picturing Science and Engineering" *“In a word, remarkable.” * Physics Today, on "Picturing Science and Engineering" *“Spectacular. . . . A brilliant demonstration of just how photogenic science can be and a guide to taking similar pictures.” * Times Higher Education, on "Picturing Science and Engineering" *Table of ContentsIntroduction 1 Scanner 2 Phone 3 Camera 4 Microscope 5 Putting It Together 6 Image Integrity Submitting for Publication Gratitude
£15.20
