Exhibition catalogues and specific collections Books

Book SynopsisThe Bata Shoe Museum has an extraordinary collection of more than 14,000 artifacts, dating from as far back as 4,500 years to the present day. Founded by Sonja Bata, the museum is one of the largest shoe collections in the world and is a wonderful source of inspiration for designers across the globe, including Manolo Blahnik, Christian Louboutin, Nicholas Kirkwood, and Sophia Webtser, among others. The forty-four shoes featured in this volume are among the most important in the collection and display a fantastic array of styles.The Bata Shoe Museum is located in Toronto, Canada, in a gem of a building designed by Canadian architect Raymond Moriyama. Since its opening in 1995, the museum has welcomed more than two million visitors to more than forty exhibitions. It is also renowned for its ground-breaking research and is consistently celebrated as one of the top fashion museums in the world.

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Book SynopsisThe Bata Shoe Museum has an extraordinary collection of more than 14,000 artifacts, dating from as far back as 4,500 years to the present day. Founded by Sonja Bata, the museum is one of the largest shoe collections in the world and is a wonderful source of inspiration for designers across the globe, including Manolo Blahnik, Christian Louboutin, Nicholas Kirkwood, and Sophia Webtser, among others.The one hundred shoes featured in this volume are among the most important in the collection and display a fantastic array of styles. Creative director and senior curator Elizabeth Semmelhack uses these treasured examples to discuss society, culture, gender, fashion, and other facets of history that are revealed through the study of footwear. The Bata Shoe Museum is located in Toronto, Canada, in a gem of a building designed by Canadian architect Raymond Moriyama. Since its opening in 1995, the museum has welcomed more than two million visitors to more than forty exhibi

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Book Synopsis"The wide variety of selections from Frederic Edwin Church's collection of his own paintings shows the master in all phases of his career, in sketches and finished paintings, depicting the breadth of his subjects and the high technical skills that...Trade Review"Church boasted, 'Almost an hour south of Albany is the Center of the World—I own it.' The word 'Olana' is one that Mr. and Mrs. Church found applied to a 'fortress or treasury-storehouse in ancient Persia.' According to Kevin J. Avery's description in his excellent and entertaining catalog text, it feels like a fortress from outside and is a musty treasury within, evoking 'nothing so much as a silent film set, minus a turbaned Douglas Fairbanks Sr. bounding down the stairs.'." -- John Updike, New York Review of Books, 23 March 2006"Next to visiting Olana in person, browsing through Treasures from Olana is as fine a visit to Frederic Edwin Church's home on the upper Hudson River that you might hope for. Full of facts and images, this little book is a treasure you will periodically want to dip into at your leisure." -- Raymond J. Steiner, Art Times, October 2005

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Book SynopsisThis book uses the histories of the city art museums in Birmingham, Liverpool, and Manchester to reveal, examine, and follow the consequences of the underlying logic of the Victorian art museum movement: the attempt to contain the moral and physical ugliness of industrial capitalism through the experience of beauty.Trade Review"In this compelling book, Amy Woodson-Boulton tells several stories about cultural institutions in Victorian England's industrial cities . . . Woodson-Boulton asks pertinent questions and ferrets out archival information to integrate municipal identity and development, class stratification, art criticism, and changing tastes with museum development . . . Thanks to Woodson-Boulton's excellent book, scholars have a good cultural history foundation for these and other questions." -- Julie F. Codell * Journal of Victorian Culture *"This is a splendid study of museum building in the great provincial cites of England: Manchester, Birmingham, and Liverpool. It is striking how different each city was. Woodson-Boulton provides illuminating insights into the relationship of culture and power, set within intriguging stories. The author enters deeply into the minds of the Victorians, making clear how they operated in a different universe from that of the 21st century. Yet at the same time, she provides much illumination for the burgeoning field of museum studies." -- Peter Stansky * Stanford University *"Transformative Beauty lays bare the paradoxes and ambiguities that characterized the sociopolitical meaning of art in the Victorian age . . . In venturing to elucidate what art and museums came to represent, Transformative Beauty is informative and provides an interesting read. For students of the Victorian city there is much to gain. For historians the work helps bridge the gap between the genres of social history and visual cultural studies." -- Ian Morley * American Historical Review *"Art museums were among the most prominent and yet enigmatic new institutions of Victorian towns, and in this book Amy Woodson-Boulton manages to make them considerably less enigmatic, exploring and evaluating their logic, and showing how widely that logic was followed or resisted. Moreover, this is a book which takes both the institutions and their constituent art seriously, and manages the difficult task of synthesizing different types of analysis in order to understand what art museums actually did . . . The book is beautifully written in clean and accessible prose, with a wealth of detail and depth of research. It is nicely illustrated and an attractive volume altogether." -- Kate Hill * Museum & Society *"Few subjects seem more outdated, less 'modern', so distant from today's questions on museum studies, than the topic so masterfully examined in this book. At the same time, though, few books manage better than this work to highlight the great relevance of their subject for contemporary historians, estheticians, city planners, and museum-goers. In this robustly scholarly and committed study, Amy Woodson-Colton examines the role and place of art museums and more generally the museum movement in the three major 'regional' centers of late 19th-century industrial Britain." -- Jan Baetens * Leonardo: Journal of the International Society for the Arts, Sciences & Technology *"The wealth of original archival research has created a reliable history of these museums, providing context for not only museological and social studies, but also indicating a further network of meanings for the reception of Pre-Raphaelite art and Victorian painting in general." -- Alisa Boyd * Journal of the Pre-Raphaelite Studies *"This book provides an important new view of the development of art galleries in three industrial cities: Birmingham, Manchester, and Liverpool. Woodson-Boulton uses the nineteenth-century debates about the purposes of art to examine closely the reformers' belief that art museums could help counteract the moral and aesthetic problems of industrial society. This book will add significantly to the literature on museums, art, culture, and urban development." -- Anne Rodrick * Wofford College *"Woodson-Boulton's study deftly illuminates the national history of artistic theory and social reform within three distinctive local frameworks . . . [T]he study has much to offer to traditional political and economic historians of Britain in its demonstration of the deeper cultural ramifications of the intensified imperial and economic competition that defined Britain's place as a global power during the final decades of the nineteenth century. This study ought to find a welcome home on the bookshelves of scholars of Victorian art history, museums, and urban culture, as well as those of the social and political history of the late nineteenth-century Britain in general." -- Christopher Ferguson * Victorian Studies *"Rather than treat each civic history independently, Woodson-Boulton has organized the book into a series of comparative analyses of key moments and issues shared across all three institutions. The result is both a richly detailed account of each museum and an important larger argument about the Victorian understanding of art as an amelioration of the conditions of industrial capitalism, particularly the alienating effects of wage labor and urbanization . . . Her careful attention to local politics, personalities, and histories is a major strength of the work, and she moves fluidly between descriptions of local nuances and discussions of larger patterns . . . Woodson-Boulton's book is an important contribution to the fields of history, museum studies, and art history. It advances current scholarly conversations about the exhibition culture of Britain more broadly, offering a long overdue look at provincial institutions to counterbalance the priority given to London in many such studies." -- Pamela Fletcher * Journal of British Studies (post-1800) *

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Book SynopsisThe stunning photos and brilliant essays in this book demonstrate why origami is now an international art movementlargely through the efforts and artistic genius of a few contemporary masters. The trailblazing efforts of Japanese artist Akira Yoshizawa elevated paper folding by showing how subtle shapes and figures could be created from a single sheet of paper through a variety of non-traditional folding techniques. Artists in other parts of the worldincluding the United States, France, England, China and Scandinaviatook Yoshizawa's cue and pushed these techniques further and further. The result has been the emergence of many new and surprising sculptural forms created through techniques such as wet folding, curved creasing, tessellating and the application of alternative materials besides paper. This book features the work of 25 contemporary master folders who are among the most innovative origami artists working today. They are pushing the boundaries of origami style, scale, mateTrade Review"The Japanese have long enjoyed creating within limited boundaries of size and materials, from bonsai to netsuke, allowing narrowly defined restrictions to fuel their creativity. Meher McArthur provides a new survey of how artists and scientists worldwide have amplified spectacularly the one tiny world of origami." -- Hollis Goodall, Curator of Japanese Art at the Los Angeles County Museum of Art (LACMA)"…what if we told you the Asian technique associated with mundane paper cranes and childish cootie catchers can also transform a single sheet of paper into a lifelike relief portrait or an M.C. Escher-esque form? Or twist pages of religious texts into an artful political statement? These are just some of the implausible projects featured in Meher McArthur's New Expressions in Origami Art." -- The Wall Street Journal"This beautiful book truly shows that origami is more than just folding paper and will surely serve as inspiration to all paperfolders." -- OrigamiUSA

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Book SynopsisShows The Julius Rosenwald Fund's initiative to address issues relating to the unequal treatment of blacks in American life. This book also constitutes a who's who of African American artists and intellectuals of the first half of the twentieth century.Table of ContentsForeword - Rhoda Rosen; Acknowledgments - Stacl Boris, Rhoda Rosen, Daniel Schulman; Introduction - Daniel Schulman; Julius Rosenwald: Unconventional Philanthropist - Peter M. Ascoli; Investment in Talent: Edwin Rogers Embree and the Julius Rosenwald Fellowships - Alfred Perkins; Writers and the Julius Rosenwald Fund - Darryl Pinckney; African American Art and the Julius Rosenwald Fund - Daniel Schulman; Color Plates; "My Feet are Again on This Earth": Dance and the Julius Rosenwald Fund - Julia Foulkes; Between Two Worlds: Writing a Life of Activism - Kinshasha Holman Conwill; Exhibition Checklist; Appendix: Rosenwald Fellowship Recipients; Contributors; Photography Credits.

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Book SynopsisDiscusses European and American women's roles in arts patronage from 1750 to the present.

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Book SynopsisThis book explores the achievements of a group of young women artists who learned about the New Art through an extraordinary faculty of innovators at Douglass College. New Art rejected the dominance of Abstract Expressionism, advocating that art should be based on everyday life and that “anything can be art.”Trade Review"Joan Marter’s Women Artists on the Leading Edge: Visual Arts at Douglass College is a significant account from an actual participant of the pioneering art program for women students developed at Rutgers after WW II. Inspired in part by the inventive curriculum initiated at Black Mountain College, as well as the avant-garde course taught by composer John Cage at the New School from 1956 to 1961, the multi-media agenda advanced at Douglass College (where many faculty were associated with Pop and Fluxus), was further underscored by an impressive roster of activist campus guests. Marter’s handsome book, including a set of outstanding interviews with notable Douglass alumnae such as Alice Aycock and Mimi Smith, appropriately redresses this historical imbalance, both detailing and celebrating the decisive role Douglass played as an incubator for artistic innovation by women." -- Ellen G. Landau * author of Lee Krasner: A Catalogue Raisonné, Reading Abstract Expressionism: Context and Critique, *"Even before second-wave feminism became a recognized social and political movement in the early 1960s, professors at New Jersey's Douglass College for women recognized the need for art students to become acquainted with some of the most cutting-edge ideas of the time. At long last, the extraordinary history of how this college fostered the growth of such celebrated artists as Alice Aycock, Jackie Winsor, and Joan Snyder is being thoroughly recounted by esteemed art historian Joan Marter, who analyzes Douglass's important contributions to the arts at Rutgers University, where she taught from 1977 to 2016." -- Robert Hobbs * author of Alice Aycock, Sculpture and Projects *"In Women Artists on the Leading Edge, Joan Marter tells the fascinating account of how Douglass College's visual artists' receptivity to the explosive spirit of experimentation in the 1950s and 1960s had a profound impact both on students and contemporary art. Inviting renowned artistic pioneers to teach, visit, or perform galvanized students' artistic ambitions. Dr. Marter's narrative about Douglass College, to which she made many contributions, is engrossing as cultural history. This book's recollections of creative growth by former students forms an institutional history of the confluence of interdisciplinary arts, feminist values, and innovative pedagogy in stimulating achievements by women" -- Suzaan Boettger * author of Earthworks, Art and the Landscape of the Sixties *Table of ContentsIntroduction Part 1 Visual Arts Faculty at Douglas College Interview with Geoffrey Hendricks Interview with Roy Lichtenstein Part 2 Alice Aycock Loretta Dunkelman Kirsten Kraa Frances Tannenbaum Kuehn Linda Lindroth Marion Munk Rita Myers Mimi Smith Joan Snyder Ann Tsubota Jackie Winsor Interview with Alice Aycock Interview with Letty Lou Eisenhauer Interview with Mimi Smith Part 3 The Women Artists Series at Douglass College Mary H. Dana Women Artists Series at 21 Years Exhibitions at the Walters Hall Art Gallery, Douglass College Conclusion Bibliography Acknowledgments About the Author Index

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Book SynopsisOn May 10, 2003, the Cincinnati Art Museum will celebrate the opening of the Cincinnati Wing: eighteen thousand square feet of handsomely renovated gallery space devoted to the museum’s renowned collections of painting, sculpture, furniture, ceramics, and metalwork by Cincinnati artists.Trade Review“The objects created since the city's founding in 1788…demonstrate the pivotal role that the city has played in the history of American art.”“The objects created since the city’s founding in 1788…demonstrate the pivotal role that the city has played in the history of American art.”

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Book SynopsisOn May 10, 2003, the Cincinnati Art Museum will celebrate the opening of the Cincinnati Wing: eighteen thousand square feet of handsomely renovated gallery space devoted to the museum’s renowned collections of painting, sculpture, furniture, ceramics, and metalwork by Cincinnati artists.Trade Review“The objects created since the city's founding in 1788…demonstrate the pivotal role that the city has played in the history of American art.”“The objects created since the city’s founding in 1788…demonstrate the pivotal role that the city has played in the history of American art.”

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Book SynopsisIn the Gilded Age, when most sculptors aspired to produce monuxadments, Bessie Potter Vonnoh (1872–1955) made significant contributions to small bronze sculpture and garden statuary designed for the embellishment of the home. Her work commanded admiration for her fluid and suggestive modeling, graceful lines, and sculptural form.Trade Review“This much-anticipated project promises to introduce a new generation to Vonnoh’s significant place in the history of American sculpture.” * Fine Art Connoisseur *“Aronson’s study of (Bessie Potter Vonnoh) is admirable and her treatment is thoroughly unfussy. Those of us who strive to break the canonical mold with our scholarship would be wise to look to both the author and the sculptor for quiet inspiration.” * Ohioana Quarterly *“This indispensable resource on the American artist Bessie Potter Vonnoh (1872-1955) served as the catalogue for a traveling retrospective exhibition of her sculpture. Vonnoh’s work—although well-received in her day—has been underrepresented in exhibitions and scholarly literature.” * Woman’s Art Journal *A “meticulously stitched together history...well bound and annotated, and amply illustrated, mostly with sculptures but including some photos of the artist and her dwellings.” * Maine Antiques Digest *“This full-scale, well-researched and -documented volume helps to reestablish Bessie Potter Vonnoh as an important sculptor of the early 20th century.” * The Bloomsbury Review *

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Book SynopsisOutside the Ordinary introduces audiences to sixtyseven masterworks selected from the Nancy and David Wolf Collection, carefully documented and photographed in full color.

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Book SynopsisThis book adds a novel and provocative element to the library of art museum collection catalogs, featuring selected works from the museum's collection and concise essays by scholars of art who reflect on respond to the distinctive aspects of each work.

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Book SynopsisA catalogue of Greek, Roman, and Etruscan objects in the collection of Fordham University, some published for the first time.Trade Review"... [These] artifacts present an opportunity form undergraduates and scholars to study new examples first hand." -Times Literary Supplement "... the excellent photography, insightfully written entries and careful selection of works included ultimately make the volume accessible to scholars, students and museum members alike." -Bryn Mawr Classical Review "The combination of excellent illustrations, thorough research, clearly presented information and ideas (with explanations to guide the non-specialist), and introductory essays to provide context make the collection admirably accessible." -- -Susan Matheson Yale University Art GalleryTable of ContentsContributors: Amanda Anderson, Sarah E. Cox, Richard Daniel DePuma, Jason Earle, Sarah Graff, Anne C. Hrychuk Kontakosta, Patricial Lulof, Anthony Mangieri, Maya B. Muratov, Lisa Pieraccini, Amy Sowder, Rosemarie Trentinella, Jennifer Udell

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Book SynopsisON MY MODERN MET'S TOP TEN LIST OF BEST CREATIVE BOOKS TO CELEBRATE THE 50TH ANNIVERSARY OF MOON LANDINGThe moon-its face, color, and power-threads through the tapestry of American landscape painting, holding timeless allure for artists and beloved by viewers of paintings everywhere. The Hudson River Museum has organized The Color of the Moon: Lunar Painting in American Art-the first major museum examination of the moon in American visual arts from the nineteenth through the twentieth centuries for a 2019 exhibition. This timely presentation also celebrates the fiftieth anniversary of the Apollo 11 mission when, in 1969, American astronauts first stepped onto the surface of the moon. From the romantic silvery moonscapes of nineteenth-century artists to the abstractions by artists of the twentieth century who explored the moon, the perfect orb, and tapped into its spiritual possibilities, this celestial body, closest to Earth, remains constant in our sky, though our relationship to it a

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Book SynopsisThis extraordinary three-dimensional package of LIVE THE ART, is a suitable homage to Jeffrey Deitch’s legendary stature and influence as an art dealer and producer of memorable installations and art happenings that robustly transcended the idea of a mere “exhibition.” More than four years in the making, and divided into chapters devoted to each year between 1996 and 2010, LIVE THE ART explores in detail the astonishing shows and performances the visionary Deitch mounted in a one-story former garage on Grand Street in Soho that would be the primary home of Deitch Projects for fifteen years. Deitch illuminates the founding concept by stating, “Deitch Projects was not meant to be an art gallery. The concept was simple. We would not operate as a gallery but would become a commercial version of the ‘project room’ that the Museum of Modern Art and a number of other American Museums had established in the ‘70s and ‘Trade Review“…an in-depth, curiously illustrated history…The book is, among other things, a striking object…Live the Art is itself an exercise in nostalgia for a bygone New York.” –The New York Times“This is the art book of the year, a vast catalog of the artists and events sponsored by Jeffrey Deitch in the abandoned garage in SoHo that became Deitch Projects from 1996-2010, when the dealer decamped to run the Museum of Contemporary Art in Los Angeles. The cover is a plastic dinner plate; inside, there are endless color photos of the old gallery space alive with everything from beaded kitchens (artist Liza Lou) to Debbie Harry and Fab 5 Freddy "Recapturing the Rapture." Each chapter is a year of the gallery's art. You only have to flip through the pages to see that money was a small part of what made Deitch Projects so special. The essential thing was to be a model for arts entrepreneurs around the world.” –The Star Ledger “Live the Art is anything but the average coffee table book…the book features photos of about two-thirds of all projects exhibited at the space, but is satisfyingly text-heavy…” –Surface “Buy the book…it’s fitting that a new Stefan Sagmeister- designed coffee-table tome celebrating Deitch Projects’ 15-year run comes equipped with a plastic plate that suggests readers literally dine off it.” –Wall Street Journal “Part visual gag, part nostalgia trip, all legacy-builder, Live the Art memorializes the seminal arts-and-entertainment mecca…the book perfectly sets the table for Deitch’s third act—whatever that may be.” –Departures"It's a kind of art history memoir; told as a visual essay..." -New York Magazine“Autumn brings a fresh, fascinating crop of art, architecture, and design releases. This is one of our favorites.” –Architectural Digest

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Book SynopsisThe Barnes Foundation, established by scientist, entrepreneur, and educator Dr. Albert C. Barnes in 1922, is home to a legendary art collection. Barnes assembled one of the world’s largest and finest groups of post-impressionist and early modern paintings, with holdings by such luminaries as Renoir, Cézanne, Matisse, Picasso, Rousseau, Modigliani, Soutine, Manet, Monet, Seurat, Degas, Van Gogh, and Gauguin.The Foundation’s collection also holds significant examples of American art, including works by Demuth, Glackens, and the Prendergasts; African sculpture; Native American ceramics, jewelry, and textiles; Asian paintings, prints, and sculptures; medieval manuscripts and sculptures; Old Master paintings by El Greco, Rubens, Titian, and others; ancient Egyptian, Greek, and Roman art; and American and European decorative arts and metalwork. The presentation of the collection reflects Barnes’s educational and aesthetic approach: symmetrical &lTrade Review"The Barnes Foundation: Masterworks is the definitive guide to the Foundation, affordably priced to help make it accessible to the public. The cover pictures three objects—a Matisse painting, an African sculpture, and a key—suggesting the idiosyncratic nature of the collection, applied to a cloth cover that has the tactile quality of the galleries’ cloth-covered walls.” ~Pentagram“If you can’t get to the Barnes Foundation in downtown Philadelphia to see all these wonderful works up close and personal, then the selected pieces profiled in The Barnes Foundation: Masterworks will be more than adequate to whet your appetite and keep you sated until you can…” ~Fashion Maniac

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Book SynopsisAn ideal introduction to the National Gallery of Art, this book highlights fty paintings, sculptures, works on paper, photographs, and more from the museum s collection.

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Book SynopsisHighlights from the palatial Hermitage Museum in St. Petersburg, Russia, are beautifully reproduced in an accessible volume celebrating the museum's 250th anniversary. For 250 years, the State Hermitage Museum has been one of the world's most palatial and significant museums. The Hermitage collections were developed beginning in 1764 by Catherine the Great, Empress of Russia, and now encompass more than 3 million works of art and artifacts displayed within a spectacular architectural ensemble, the heart of which is the famed Winter Palace. Now, on this important anniversary, this stunning volume captures the masterpieces that make this world-famous institution a cultural destination and a global treasure.The Hermitage: 250 Masterworks explores this sumptuous collection in the manner of a private tour, showcasing the museum's extraordinary and uniquely underpublished treasures: no other institution has thirty-six Rembrandts; works by Italian Renaissance artists incluTrade Review"Highlights from the palatial Hermitage Museum in St. Petersburg, Russia, are beautifully reproduced in an accessible volume celebrating the museum's 250th anniversary." -Publishers Weekly

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Book SynopsisIn a memoir, the museum’s longtime director takes the reader on a private tour of this global treasure. Holding one of the largest collections of Western art in the world, the Hermitage is also a product of Russia and its dramatic history. Founded by Empress Catherine the Great in 1764, the stunning Winter Palace was built to house her growing collection of Old Masters and to serve as a home for the imperial family. Tsars came and went over the years, artworks were acquired and sold, buildings were burned down in terrible fires, and still the collections grew. After the violent upheavals of the Russian Revolution in 1917, the palaces and collections were opened to the public.Now, in an unprecedented collection of illuminating essays, Piotrovsky explores the cultural history of a collection as rich in adventure as art. From fascinating intrigues to revelatory scholarship on the collection’s incredible art and artifacts, My Hermitage is a profound and cTrade Review"I welcome the new book, My Hermitage: How The Hermitage Survived Tsars, Wars and Revolutions to Become the Greatest Museum in the World, for its erudition, passion and lively history. . . I hope The Hermitage is on your list of ‘must-see’ museums. If so, this is the essential reference that will enrich the hours and days of exploration."-TheStyleSaloniste.com"The story of the palatial museum's 250-year history, which is as rich in adventure as it is in art, is extravagantly revealed." -THE SOCIETY DIARIES"The visuals of My Hermitage continually remind you of the encyclopedic collection housed there. This beautiful, lavishly illustrated book hints at the opulence of the setting of that collection as well . . . For some, these reminders of the tsarist past jar with their decadence, but I saw them as the most appropriate setting for the art — a literal, almost limitless palace of human imagination."-BIG THINK

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Book SynopsisThe art that I make takes place about one step away from the normal stir of human activity. —Richard Artschwager   This book documents Richard Artschwager’s last series of work, shown posthumously at Gagosian Gallery, New York, in 2014. For five decades, Richard Artschwager has forged a maverick path by confounding the generic limits of art while making the visual comprehension of space and the everyday objects that occupy it strangely unfamiliar. For his last series of work, Artschwager returned to an image, the isolated Running Man, that fascinated and inspired him for twenty years. About the works, Robert Morgan notes in his essay They are remarkable…as a metaphor in reference to existence and mortality.

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Book SynopsisAn introduction to 1,400 years of Islamic art and culture as seen through the stunning and diverse masterpieces of the new Aga Khan Museum. Opening in 2014 in Toronto, the Aga Khan Museum will be a showplace for Islamic art and culture unlike anything in the Western Hemisphere. This richly illustrated volume features the new museum and park complex and more than one hundred rare treasures from one of the most important collections of Islamic art and objects in the world, assembled by His Highness the Aga Khan and his family. Masterpieces of design, texture, and artistry created from 600 AD to the 1800s in Spain, North Africa, Turkey, the Middle East, Iran, Central Asia, India, and China, the works include radiant illuminations and calligraphy; marvels in ivory, wood, glass, and metal; and exquisite paintings, sculptures, ceramics, and textiles.

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Book SynopsisThe definitive book on High Line art, the public art program on the High Line, one of the most popular destinations in New York City. High Art surveys the first five years of art on the High Line, the unique elevated park in New York City created through the repurposing of an abandoned railway line. Since 2009, when the High Line was opened to the public, nineteen million visitors have been witness to more than 100 public art projects animating the grounds of this unique park in the sky. The works include sculpture, installation, billboards, video, performance, and sound works by a range of artists, from established figures such as John Baldessari, El Anatsui, Maurizio Cattelan, Gilbert & George, and Ed Ruscha, to critically acclaimed mid-career artists such as Carol Bove, Sarah Sze, and Mark Grotjahn. The High Line is steadily broadening the audience for contemporary art while pushing the boundaries of traditional public art programs. This beautifully illustrated volume features the HTrade Review"[High Art] details the history of art on the High Line, which continues to thrillingly achieve [High Line Curator and Director] Alemani's goals, from group shows and film screenings to live performances and participatory events . . . The large-size paperback also includes a round-table discussion between Alemani and several other curators of public art that takes a fascinating view of how the discipline is changing and how the art is commissioned and perceived." -twi-ny.com

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Book SynopsisAccompanying a major exhibition, this stunning volume serves as an introduction to North American Indian art and a rare opportunity to see this comprehensive and superb private collection. A glorious testament to the infinite beauty, diversity, and historical significance of Native American culture, Indigenous Beauty presents outstanding examples of art made by tribes across the North American continent. This aesthetically rich and inclusive collection offers a broad view of American Indian art, including sculpture from the Northwest Coast; ancient ivories from the Bering Strait region; Yup’ik and Alutiiq masks from the Western Arctic; Katsina dolls from the Southwest Pueblos; Southwest pottery; sculptural objects from the Eastern Woodlands; Eastern regalia; Plains regalia and pictographic arts; and Western baskets. David Penney’s introduction and texts by other renowned experts offer insight into the visual and material diversity of the collection, providing a greater undeTrade Review"Make no mistake. [Indigenous Beauty] is not a vanity exhibition, showing off the holdings of a wealthy couple. According to experts, there are many “masterworks” here. Masterful because they clearly manifest the highest levels of artistry but also because they were created by individuals and families who were — or are — highly respected within their communities as artists and as teachers of craft." -Seattle Times

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Book SynopsisA catalog documenting an exhibition of Marcel Duchamp’s editioned readymades at Gagosian Gallery, New York, replicating his American debut at Cordier & Ekstrom in the same building in 1965 and including new essays. Marcel Duchamp’s first readymade, a standard bicycle wheel attached to a wooden stool, came about “as a pleasure, something to have in my room the way you have a fire, or a pencil sharpener, except that there was no usefulness.” Over the ensuing decades many of his readymades were lost or destroyed, but in 1964 Duchamp, working with acclaimed gallerist Arturo Schwarz, supplanted the original readymades with fourteen precisely executed editioned multiples, a process which culminated in an exhibition in New York in 1965. Adina Kamien-Kazhdan chronicles this process in a new essay that provides significant insight into Duchamp and Schwarz’s relationship, as well as detailing the creation of the editions. Calvin Tomkins’

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Book SynopsisPublished on the occasion of the spring 2015 Metropolitan Museum of Art exhibition Fatal Attraction: Piotr Uklański Photographs, and an accompanying exhibition—curated by Uklański—of works from the Met’s permanent collection, Piotr Uklański: Selects from the Met Collection, this book presents an in-depth examination of Uklański’s photographic oeuvre as well as images from the Met collection exhibition. A luxurious, richly illustrated monograph, Piotr Uklański: Fatal Attraction consists of images of works made by Piotr Uklański, as well as groupings of images of artworks selected by Uklański from the Met’s collections for an accompanying exhibition. Both exhibitions are based on the classical themes of love and death.

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Book SynopsisA long-overdue survey of an essential West Coast artist whose humorous works delve into America’s underbelly and evolving counterculture. Over the past thirty years, Jim Shaw has become one of America’s most visionary artists, moving between painting, sculpture, and drawings, while building connections between his own psyche and the larger political, social, and spiritual history of America. Shaw’s imagery is mined from comic books, record covers, conspiracy magazines, obscure religious pamphlets, and other cultural refuse to produce a portrait of the American subconscious out of his personal obsessions.  Shaw, along with fellow Michigan native Mike Kelley, moved to California in the 1970s to attend Cal Arts and was one of a number of notable artists to emerge from the school in the early 1980s. Shaw’s work is distinguished by rigorous formal and structural analyses of neglected forms of vernacular culture. Accompanying a major exhibition, this

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Book SynopsisFrom time to time, amidst all the trials and errors, it happens: I recognize what I was looking for. All of a sudden the vision that preexisted incarnates itself, more or less intuitively and more or less precisely. The dream and the reality are superimposed and made one. —Balthus Published to document Gagosian Gallery’s 2015 Balthus exhibition in Paris, this striking new book depicts the beautiful paintings, drawings, and photographs that were part of that career-spanning exhibition, the first of Balthus’s work in Paris since the 1983–84 retrospective at the Centre Georges Pompidou. Vibrant color reproductions of the artist’s interior portraits, street scenes, and landscapes, along with striking installation shots, present the self-taught classicism that Balthus cultivated as a framework for his more enigmatic artistic investigations. A conversation between Olivier Zahm and Setsuko Klossowska de Rola completes the catalogue, providing an in

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Book SynopsisAn unparalleled collection of postwar and contemporary art assembled by two gutsy collectors. The Schulhofs were unique among American collectors, as they sought art with a truly international dimension; Milan, Rome, Paris, Dusseldorf, Basel, London, Kassel, Venice, Pittsburgh, and New York were just a few of the many destinations for the late Hannelore and Rudolph Schulhof in over fifty years of collecting art. Starting in the early 1950s, together they built a collection that continues to inspire and educate future generations—from the powerful elegance of Richard Serra’s Schulhof’s Curve to Eduardo Chilida’s exquisite ironworks and works on paper by artists such as Robert Smithson, Mark Rothko, and Cy Twombly. The collectors’ interest in minimalism is reflected in works by Ellsworth Kelly, Robert Mangold, Agnes Martin, and Robert Ryman. This handsome volume showcases the thoughtful and highly personal texture of the Schulhof Collection.

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Book SynopsisA beautiful showcase of David Reed’s 1974–75 paintings and related works.   A companion to the upcoming exhibition of Reed’s 1974–75 brushstroke paintings, this book features color plates of works originally exhibited in 1975 at Susan Caldwell Gallery. Along with installation images and plates from that seminal exhibition, related paintings, performances, and film images appear throughout the book in the form of a visual essay. New texts by Richard Hell and Reed appear alongside reprints from the time, including the original exhibition text by Paul Auster. A conversation between Katy Siegel and artist Christopher Wool unfolds the significance and legacy of Reed’s early work.

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Book Synopsis  Published as an accompaniment to the 2015 exhibition at Gagosian Gallery in New York, this new book depicts Jeff Koons' new Gazing Ball Paintings and the resulting dialogue he creates with artists of the past, from Titian to El Greco, Courbet to Manet.     Dealing with the power of artistic gesture, each work, presented here in stunning color, features a blue glass gazing ball that sits on a painted aluminum shelf attached to the front of the painting that reflects both the painting and the viewer. This metaphysical occurrence connects the viewer to a family of cultural history in real time. Through the simple act of placing a gazing ball in front of the images, painting and sculpture are reunited for maximum sensory perception. New essays by Joachim Pissarro and Donatien Grau complete this striking new book.    

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Book SynopsisA book that celebrates one of the most breathtaking and comprehensive collections of wildfowl decoys in America. Bird decoys were used for hunting in North America until the advent of hunting regulations in the early twentieth century, when decoys started to be prized and collected as masterpieces of American folk art. This handsome book is the first examination of the historic and unparalleled decoy collection at Shelburne Museum. Featuring new photography of 250 of the museum’s most important and artistically carved decoys, it includes examples made by the most respected American carvers: Charles Osgood, Lem and Steve Ward, John Blair, Bill Bowman, Nathan Cobb, Jr., Lee Dudley, James Holly, Jr., Nathan Horner, Albert Laing, Joseph Lincoln, A. Elmer Crowell, and Charles “Shang” Wheeler. The story of the collection begins with Joel Barber, the pioneer decoy enthusiast and New York architect, artist, and carver, whose gift of 400 superior examples estaTrade Review"The unparalleled collection of 1,400 wildfowl decoys at Shelburne Museum in Shelburne, Vt., was established with a 1952 gift of more than 400 superior examples from Joel Barber, a New York City architect, artist, and carver. Barber's groundbreaking 1934 book “Wild Fowl Decoys” was the first to identify the importance of bird decoys as a uniquely American art form."—Antiques & Auction News "The unparalleled collection of wildfowl decoys at Shelburne Museum are featured in the newly published Birds of a Feather: Wildfowl Decoys at Shelburne Museum..."—Vermont Country Sampler

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Book SynopsisThis provocative new book presents the collaborative paintings of Alex Israel and Bret Easton Ellis, among today’s sharpest observers of the culture of pleasure, their art inseparable from the world in which it finds expression. Los Angeles is both background and subject in the respective oeuvres of Israel and Ellis. For Israel, the American dream, as embodied by the L.A. mythos, remains affecting and potent, and he approaches his hometown with an uncanny coupling of local familiarity and anthropological curiosity. While Ellis, who became famous for his portrait of an amoral, decadent L.A. of the 1980s in his debut novel Less Than Zero, has continued to elaborate upon his jaundiced vision of a superficial youth society over the past two decades. Now these two artists have come together to create a lively discourse on their city. At Israel’s provocation, Ellis has written short texts that Israel then converted into various fonts and combin

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