History of art Books
University of California Press Reclaiming Female Agency
Book SynopsisChallenges art history from a feminist perspective. Following their Feminism and Art History: Questioning the Litany (1982) and The Expanding Discourse: Feminism and Art History (1992), this volume identifies female agency as a central theme of feminist scholarship. It also features essays on artists and issues from the Renaissance onwards.Trade Review"Extremely stimulating and useful. The authors lay out a strategy for future art historians and theorists." - Paula Harper, University of Miami"Table of ContentsPreface and Acknowledgments Introduction: Reclaiming Female Agency 1. Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist Mary D. Garrard 2. Learning to Be Looked At: A Portrait of (the Artist as) a Young Woman in Agnes Merlet's Artemisia Sheila ffolliott 3. Artemisia's Hand Mary D. Garrard 4. The Antique Heroines of Elisabetta Sirani Babette Bohn 5. Pictures Fit for a Queen: Peter Paul Rubens and the Marie de' Medici Cycle Geraldine A. Johnson 6. The Portrait of the Queen: Elisabeth Vigee-Lebrun's Marie-Antoinette en chemise Mary D. Sheriff 7. Depoliticizing Women: Female Agency, the French Revolution, and the Art of Boucher and David Erica Rand 8. Nudity a la grecque in 1799 Darcy Grimaldo Grigsby 9. A Woman's Pleasure: Ingres's Grande Odalisque Carol Ockman 10. Conduct Unbecoming: Daumier and Les Bas-Bleus Janis Bergman-Carton 11. The Gendering of Impressionism Norma Broude 12. Selling, Seduction, and Soliciting the Eye: Manet's Bar at the Folies-Bergere Ruth E. Iskin 13. Mary Cassatt: Modern Woman or the Cult of True Womanhood? Norma Broude 14. The "Strength of the Weak" as Portrayed by Marie Laurencin Bridget Elliott 15. New Encounters with Les Demoiselles d'Avignon: Gender, Race, and the Origins of Cubism Anna C. Chave 16. The New Woman in Hannah Hoch's Photomontages: Issues of Androgyny, Bisexuality, and Oscillation Maud Lavin 17. Claude Cahun, Marcel Moore, and the Collaborative Construction of a Lesbian Subjectivity Julie Cole 18. Louise Bourgeois's Femmes-Maisons: Confronting Lacan Julie Nicoletta 19. Reconsidering the Stain: On Gender and the Body in Helen Frankenthaler's Painting Lisa Saltzman 20. Minimalism and Biography Anna C. Chave 21. The "Sexual Politics" of The Dinner Party: A Critical Context Amelia Jones 22. Cultural Collisions: Identity and History in the Work of Hung Liu Allison Arieff 23. Shirin Neshat: Double Vision John B. Ravenal Contributors Index
£39.10
University of California Press Pieter Bruegel and the Art of Laughter
Book SynopsisPieter Bruegel (1525-1569), generally considered the greatest Flemish painter of the sixteenth century, was described as a supremely comic artist. This book explores the function and production of laughter in the sixteenth century, and also examines the ways in which Bruegel exploited the comic potential of Hieronymus Bosch.Trade Review"In Pieter Bruegel and the Art of Laughter Walter Gibson makes it abundantly clear that laughter is a key feature in many of Bruegel's works. He examines witty and humorous elements in Bruegel's paintings, prints, and drawings and creates a context for understanding them as part of sixteenth-century culture. The material Gibson brings to bear on Bruegel will be new to many. This book will appeal to art historians and anyone interested in sixteenth-century thought and culture." - John Oliver Hand, Curator of Northern Renaissance Paintings at the National Gallery of Art, Washington "This book offers a much needed, and long overdue alternative to the primarily moralizing approach to Northern Renaissance and Baroque art and the works of Pieter Bruegel. Walter Gibson goes way beyond what art history has offered to date, giving a new, more balanced reading of Bruegel's art." - Alison Stewart, Associate Professor of Art History at the University of Nebraska-Lincoln"Table of ContentsList of Illustrations Acknowledgments prologue Deciphering Bruegel chapter 1 The Commodity of Laughter in the Sixteenth Century chapter 2 Bruegel's Art of Laughter chapter 3 A Bankrupt and His Bruegels chapter 4 Rustic Revels chapter 5 Making Good Cheer chapter 6 The Devil's Nemesis: Griet and Her Sisters epilogue Taking Laughter Seriously Notes Select Bibliography Index
£56.80
University of California Press The Genesis of a Painting
Book SynopsisExplores the creative process through the sketches executed by Picasso for his mural "Guernica". The drawings and paintings shown herein, as well as the photographs of the stages of the final painting, represent the visual record of the creative stages of a major work of art.Trade Review"A beautiful book, and a unique record of the steps in the creation of Picasso's impassioned mural." - San Francisco Chronicle "Fascinating. To follow the protean composition step by step tells more about the process of painting, with its daily interplay of form and psychological demands, than any course in aesthetics.... It is reassuring to observe that the picture remains in the end triumphantly mysterious." - The Observer "The main trend and tendency of the creative process is interpreted by Arnheim with a unique combination of intuition and logical reasoning." - Journal of Aesthetics and Art Criticism "Arnheim's language is clear and simple, the data are organized logically, and there is no superfluous camouflage by words. In addition to these rare qualities in a writer, there is the author's broad knowledge and his grasp of many disciplines, which make the reading of this book stimulating and important." - Art Journal"Table of ContentsI NOTES ON CREATIVITY II THE PAINTING III STEPS TOWARD GUERNICA IV CONCLUSIONS NOTES ACKNOWLEDGMENTS
£27.00
University of California Press Symbolist Art in Context
Book SynopsisThe Symbolist art movement of the late nineteenth century forms an important bridge between Impressionism and Modernism. This book argues that Symbolism enabled artists to confront an increasingly uncertain and complex world - one to which pessimists responded with themes of decadence and degeneration and optimists with idealism and reform.Trade Review"The book contains a great deal of useful information and will prove a valuable textbook." Burlington Magazine "This book offers a straightforward definition of Symbolism as the starting point for investigating a complex and imprecisely understood art movement." Nordicum-MediterraneumTable of ContentsAcknowledgments Introduction: What Is Symbolist Art? 1 Beginnings 2 Precursors 3 Decadence and Degeneration 4 Idealism, Religion, and Reform 5 Contested Gender 6 National Romanticism 7 Promoting Symbolist Art 8 Symbolist Currents in the Twentieth Century Notes Select Bibliography List of Illustrations Index
£27.00
University of California Press Pop LA Art and the City in the 1960s Art and the
Book SynopsisExamines what Pop looked like when it left the highbrow cloisters of Manhattan's art galleries and ventured westward to the sprawling suburbs of Los Angeles. This book shows how the artists transformed the image of the city in works that focused on the ocean and landscape, suburban life, and dilapidated houses in aging neighborhoods.Trade Review"Pioneering... Whiting's project will be central to any further work on West Coast art in the postwar period." Art Journal (CAA)Table of ContentsAcknowledgments Introduction Chapter One. For Purple Mountain Majesties Chapter Two. Cruising Los Angeles Chapter Three. The Erotics of the Built Environment Chapter Four. The Watts Towers as Urban Landmark Chapter Five. L.A. Happenings and Performance Art Conclusion Notes List of Illustrations Index
£27.00
University of California Press American Art to 1900
Book SynopsisPresents the story of American art through the many voices of its contemporary practitioners, consumers, and commentators. This book highlights such themes as women artists, African American representation and expression, regional and itinerant artists, Native Americans and the frontier, and popular culture and vernacular imagery.Table of ContentsIntroduction 1. THE COLONIAL ERA Art in an age of puritanism The Well-Dressed Puritan Icons and the Metaphor of Painting Cotton Mather on Art Thomas Smith's Reflection on Death Dissenting opinions: alternatives to puritan practice Quaker "Rules" on Tombstones John Valentine Haidt's Theory of Painting Art and the Spanish Conquest Advertisements Peter Pelham Scrapes a Mezzotint Runaway "Limners" John Durand Work forWomen Public Spectacle Early responses to portraits Pioneering artists John Smibert Documents BenjaminWest onWilliamWilliams Taste and theory Of the Knowledge of Painting The Use and Advantages of the Fine Arts Poems on portraits Training and the lure of europe John Singleton Copley: Ambition and Practicality CharlesWillson Peale in London and Philadelphia 2. REVOLUTION AND EARLY REPUBLIC Defining art John Adams on the Arts Public Art for the New Republic: Charles Willson Peale's Triumphal Arch The Place of the Arts in American Society An Early Scheme for a Museum of Sculpture Sculptors for the Capitol Wertmuller's Danae and "Nudities" "Native" Subjects vs. Continental Taste A Plan for Government Patronage of History Painting Citizens: documents on portrait painting Bushrod Washington Commissions a Portrait GeorgeWashington: The Image Industry Ralph Earl and Reuben Moulthrop: Connecticut Itinerant Painters Joshua Johnson Advertises Gilbert Stuart: Eyewitness Accounts President Monroe Discusses American Artists Charles Willson Peale's Advice to Rembrandt Peale Chester Harding: Self-Made Artist Artistic identity, artistic choices Benjamin West: A NewWorld Genius Conquers the Old Benjamin West, Patriarch of American Painting John Trumbull Paints Revolutionary History Washington Allston's Southern Roots Washington Allston and the Miraculous Sublime Washington Allston in Boston Washington Allston's "Secret Technique" Washington Allston's Idealism John Vanderlyn's Bid for Fame John Vanderlyn Paints an American Epic John Vanderlyn's Panorama Samuel Morse's The House of Representatives Rembrandt Peale's The Court of Death The establishment of artistic categories Landscape Charles Willson Peale's Moving Pictures Timothy Dwight Views Greenfield Hill The American Gothic Landscapes of Charles Brockden Brown The Earliest Guide to Sketching Landscape Still Life: Raphaelle Peale Genre: John Lewis Krimmel Early institutions Philadelphia Charles Willson Peale's Museum The Columbianum Quaker City Arts Organizations, c. 1810 New York: The American Academy of the Fine Arts Boston: John Browere's Gallery 3. ANTEBELLUM AMERICA: VALUES AND INSTITUTIONS Art in a democratic nation The Importance of the Genres Art in a Mercantile Culture Charles Fraser Considers Art, Society, and the Future William Dunlap Champions the Arts Ralph Waldo Emerson's Living Art The Anti--"American School" Joel HeadleyWaves the Flag of American Art On Mechanics and the Useful Arts Building institutions The National Academy of Design The Founding The Early Years Growing Polarization The American Art-Union Collectors and patrons Thomas Cole and His Patrons Thomas Cole Laments the Taste of the Times William Sidney Mount Chooses a Subject Instructions for Collectors James Fenimore Cooper Commissions a Statue Art and Private Property 4. ANTEBELLUM AMERICA: LANDSCAPE, LIFE, AND SPECTACLE The american landscape Literary Landscapes James Fenimore Cooper's Forest Primeval Educating the Gaze: Benjamin Silliman on Monte Video The Glory of an American Autumn Romantic Nature For the Birds: John James Audubon and American Nature Thomas Cole and the American Landscape The Poetry of Landscape: Thomas Cole in Verse Thomas Cole and the Course of Empire American Sites: Tourist Literature Tourists in the Landscape The Railroad in the Landscape Transcendental Nature Emerson's Transcendent Natural World Nature, Wild and Tame Asher B. Durand Formulates the American Landscape The Hudson River School in Public Facing Nature: Jasper Cropsey and Sanford Gifford The National Landscape in Repose: John Frederick Kensett Fitz Henry Lane, Marine Painter Extraordinary American life Ralph Waldo Emerson on Native and National Art William Sidney Mount and the Celebration of National Character William Sidney Mount's Thoughts on Art, Life, and Travel Abroad The Significance of Bumps on the Skull Walt Whitman on American Painting David Gilmour Blythe on Modern Times Lilly Martin Spencer: Making It in New York Artists of color and the representation of race The Public Display of Slavery William Sidney Mount's Ambivalence on Race Frederick Douglass on African American Portraiture The Verses of Dave the Potter J.P. Ball's Panorama of Slavery An Imaginary Picture Gallery Eastman Johnson's Negro Life at the South Artists: advice and careers Rufus Porter's Recipe for Mural Painting Thomas Seir Cummings on Miniature Painting A Folk Artist Overcomes a Disability Thomas Sully's Hints to Young Painters 5. ANTEBELLUM AMERICA: PUBLIC ART AND POPULAR ART The U.S. government as patron: decoration of the capitol Horatio Greenough's George Washington Lobbying for Capitol Commissions The Liberty Cap as a Symbol of Slavery Artists Weigh In on Art in the Capitol Art in public Hiram Powers's The Greek Slave The Public Display of the Nude George Templeton Strong Visits the National Academy Too Many Portraits? Henry James Remembers a New York Childhood Popular art, edification, and entertainment Responses to the Daguerreotype Taste and Print Culture Daniel Huntington's Mercy's Dream Gift Books and Sentimental Culture High and Low: Taste in Painting Currier & Ives: Art Hand in Hand with Business OliverWendell Holmes on Stereographs The American Museum 6. ANTEBELLUM AMERICA: EXPANDING HORIZONS International travel and exchange Dusseldorf and the Dusseldorf Gallery The Lure of Italy Manifest destiny Manufacturing history American History, Pro and Con The American Spirit of Emanuel Leutze Emanuel Leutze's Clash of Civilizations Washington Crosses the Delaware: Birth of an Icon Art on and of the frontier The Noble Savage/Vanishing Race George Catlin Portrays the Native Americans Prince Max and Karl Bodmer among the Mandan American Indians as Spectacle American Indians as Pictorial Material Western Life George Caleb Bingham:Western Life andWestern Politics Critics on Bingham, East andWest Life on the Mississippi in John Banvard's Panorama William Jewett's Letters from California Frederic church's sublime landscapes Heart of the Andes After Icebergs with a Painter 7. THE 1860s Taking stock The Photograph and the Face A Sunny View of American Progress in Art James Jackson Jarves's The Art-Idea Henry T. Tuckerman's Book of the Artists Sculpture in Mid-century America Landscape at a crossroads: nature seen through telescope and microscope The American Pre-Raphaelites Albert Bierstadt's Great Picture Variations on a Scene: John Frederick Kensett, Albert Bierstadt, and Thomas Hill Too Many Landscapes Civil war The War and the Artist A Southern View of the Arts duringWar Photographs of Antietam Sanitary Fairs History Painting and theWar Winslow Homer's Prisoners from the Front Race Sojourner Truth Inspires a Sculptor John Quincy AdamsWard's Freedman AnneWhitney's Africa Postwar Painting and Race Art after conflict Memorializing theWar The National Academy of Design: Praise and Condemnation Settling In: Artists in Their Studios The Conditions of Art in America Dissatisfaction with Artists What Does Art Teach Us? Is Religious Art Still Relevant? 8. THE GILDED AGE: LIFE AND LANDSCAPE AT HOME Nationalism and home subjects Eugene Benson's French Gospel for Truly American Art Home Subjects and Patriotic Painting Eastman Johnson's Formula for Success Art in the South Modes of realism Winslow Homer, All-American Damnable Ugly: Henry James on Homer Winslow Homer's Working Methods Winslow Homer's Sea Change Winslow Homer's Savage Nature and Primal Scenes Thomas Eakins in Europe Thomas Eakins's The Gross Clinic Mariana Griswold Van Rensselaer Meets Thomas Eakins Eadweard Muybridge's Serial Photographs Race and representation Robert Duncanson and "Passing" Edward Bannister and George Bickles: Discrimination and Acceptance Winslow Homer: Painting Race Henry Ossawa Tanner Landscapes: east and west The Old Northeast Armchair Tourism and Picturesque America Poetry in Paint: Art in Boston George Inness and the Spiritual in Art George Inness and the Landscape of the Mind The New West William Henry Jackson: Photographing theWest Thomas Moran and theWestern Sublime Frederic Remington'sWildWest Cultural Intersections: Native Art and theWhite Imperial Gaze 9. THE GILDED AGE: ART WORLDS AND ART MARKETS Art on the market French Art in New York Buy American Art as Commodity Artists Broker TheirWork American Artists: Starving or Selling Out ArtWorld Diaries: Jervis McEntee and J. Carroll Beckwith Studio life and art society New Men andWomen in New York Artists and Models William Merritt Chase's Super-Studio Elizabeth Bisland Roving the Studios The Tile Club: Play asWork Artists in Their Summer Havens Varnishing Day 10. THE GILDED AGE: EDUCATION, INSTITUTIONS, AND EXHIBITIONS Education A Cautionary Essay on Art Instruction Boston William Morris Hunt's Talks on Art The Massachusetts Drawing Act of 1870 Chicago Sculpture at the Art Institute of Chicago New York Labor and Art on the Lower East Side LemuelWilmarth on the Life Class Breaking Away: The Art Students League Philadelphia The School of the Pennsylvania Academy of the Fine Arts The Pennsylvania Museum and School of Industrial Art San Francisco A Deaf Artist in San Francisco Art institutions Young Turks: The Formation of the Society of American Artists The Need for American Museums George Inness on Art Organizations The philadelphia centennial and the colonial revival E. L. Henry Dreams of the Past The Centennial Exhibition The Colonial Revival Landscape 11. COSMOPOLITAN DIALOGUES Internationalism The Tariff Controversy Internationalist Backlash The Return from Europe Friedrich Pecht: A German Critic on American Art Americans Abroad Art education Germany The Munich School France Will Low Remembers Barbizon J. AldenWeirWrites Home about Jean-Leon Gerome Elizabeth Boott Studies with Thomas Couture Kenyon Cox Struggles in Paris May Alcott Nieriker's Tips for Study in Paris Student Life at the Ecole des Beaux-Arts A Midwesterner in the City of Light The nude Kenyon Cox's Lonely Campaign for the Nude Anthony Comstock vs. Knoedler & Co. Augustus Saint-Gaudens Resigns Arch-expatriates James McNeillWhistler, Expatriate Extraordinaire Art on Trial: James McNeillWhistler vs. John Ruskin James McNeillWhistler's Platform James McNeillWhistler and the Critics John Singer Sargent, Man of theWorld New women in art Women Sculptors in the Eternal City A Feminist Looks at Harriet Hosmer Women Artists,Woman's Sphere Mary Cassatt, ModernWoman Cecilia Beaux: Becoming the GreatestWoman Painter ShouldWomen Artists Marry? The ArtWorkers' Club forWomen Advice forWomen Photographers 12. NEW MEDIA, NEW TASTEMAKERS, NEW MASSES Critical voices Eugene Benson Earl Shinn on Criticism Mariana Griswold Van Rensselaer Assesses the Progress of American Art Sylvester Koehler Reflects on a Decade of American Art William Howe Downes and Frank Torrey Robinson's "Critical Conversations" The little media Watercolor The American Taste forWatercolor A Child's View of theWatercolor Show Pastel The Society of American Painters in Pastel JamesWells Champney on Pastels Etching The "First" American Etching Two Views on Etching Women Etchers: Mary Nimmo Moran Otto Bacher onWhistler in Venice Wood Engraving Popular art and its critique The Nation vs. Prang & Co. John Rogers, the People's Sculptor The Trouble with Monuments William Harnett's After the Hunt and The Old Violin The Gap between Professionals and the Public John George Brown, the Public's Favorite In the magazines: the new illustrators In Defense of Illustration Howard Pyle's Credo Charles Dana Gibson, All-American Illustrator Women in Illustration amateur or artist? debates on photography Amateurs Pictorialism 13. BEAUTY, VISION, AND MODERNITY The aesthetic movement OscarWilde's American Tour Advice to Decorators Poking Fun at Aestheticism Aesthetic and IndustriousWomen Japonisme John La Farge's Revolution in Stained Glass Impressionism: critical reception American Artists Confront Impressionism French Impressionism Comes to America Impressionism: american practices The Americanization of Impressionism William Merritt Chase, Seeing Machine Childe Hassam on Painting Street Scenes Impressionism: eclectic practices Genealogies of Tonalism Thomas Wilmer Dewing, Choice Spirit Praise for John Twachtman Refinement in Boston: Edmund Tarbell The Sensuous Color of John La Farge Art colonies Summer Colonies Vacationing with Art in Shinnecock Hills Living the Life of Art in Cornish Beyond the threshold: visionaries and dreamers William Rimmer: Angels and Demons Elihu Vedder, Mystical Joker Albert Pinkham Ryder: The Myth of the Romantic Primitive 14. IMPERIAL AMERICA The world's columbian exposition Experiencing the Fair Popular Art at the Fair Mural painting Edwin Howland Blashfield Defines Mural Painting Kenyon Cox Negotiates a Commission Public sculpture The Farragut Monument The National Sculpture Society Karl Bitter on Sculpture for the City A Victory Monument over Fifth Avenue Retrospectives and prospects California vs. the East Coast The Clarke Sale Cements the Value of American Art American Art Poised for a New Century Surveying the Century: Samuel Isham and Charles Caffin Acknowledgments List of Illustrations Index
£30.60
University of California Press Mumford on Modern Art in the 1930s
Book SynopsisIncludes articles, which provide a window onto the New York art scene just as it was casting off provincialism in favor of a more international outlook.Table of ContentsAcknowledgments List of Illustrations Introduction "The Metropolitan Milieu" 1932-1933 "The Art Galleries: The Taste of Today." New Yorker VIII (October 1, 1932) "The Art Galleries: Shows Abroad." New Yorker VIII (October 8, 1932) "The Art Galleries: Mr. Bloom's Anniversary; And a Disciple of Atget." New Yorker VIII (October 15, 1932) "The Art Galleries: Seventy Years; The Work of Mary Cassatt." New Yorker VIII (November 12, 1932) "The Art Galleries: Marin; Miro." New Yorker VIII (November 19, 1932) "The Art Galleries: American Paintings." New Yorker VIII (December 10, 1932) "The Art Galleries: Paint and Stone." New Yorker VIII (January 21, 1933) "The Art Galleries: World Tour." New Yorker IX (February 18, 1933) "The Art Galleries: Cabarets and Clouds." New Yorker IX (April 1, 1933) "The Art Galleries: Impressionism and the Circus; Three Decades." New Yorker IX (April 22, 1933) "The Art Galleries: Resurrection; And the Younger Generation." New Yorker IX (May 13, 1933) "The Art Galleries: The Summer Circuit." New Yorker IX (August 12, 1933) 1933-1934 "The Art Galleries: West, South, and Across the Harlem." New Yorker IX (September 23, 1933) "The Art Galleries: Miniatures and Heirlooms." New Yorker IX (October 21, 1933) "The Art Galleries: Extramural Activities." New Yorker IX (October 28, 1933) "The Art Galleries: Two Americans." New Yorker IX (November 11, 1933) "The Art Galleries: New York Under Glass." New Yorker IX (November 25, 1933) "The Art Galleries: The Frozen Nightmares of Senor Dali." New Yorker IX (December 9, 1933) "The Art Galleries: Across the Hudson; Jean Lurcat's ' Double Bill; Paints, Pastels, and the Parthenon." New Yorker IX (December 30, 1933) "The Art Galleries: Rivera and the Workers." New Yorker IX (January 13, 1934) "The Art Galleries: Portrait of the Mechanic as a Young Man; Newcomers in Retrospect." New Yorker X (March 31, 1934) "The Art Galleries: Circus Time; Statues and Prints; Americana." New Yorker X (April 7, 1934) "The Art Galleries: Memorials and Moderns," New Yorker X (April 14, 1934) "The Art Galleries: Benton of Missouri; A Galaxy of Goyas." New Yorker X (April 21, 1934), 55-57 "The Art Galleries: Toyshop; Reflections on Mediocrity." New Yorker X (April 28, 1934) "The Art Galleries: Tips for Travellers; The Modern Museum." New Yorker X (June 9, 1934) 1934-1935 "The Art Galleries: Critics and Cameras." New Yorker X (September 29, 1934) "The Art Galleries: A Catalogue and Homer." New Yorker X (October 20, 1934) "The Art Galleries: In Memoriam." New Yorker X (November 17, 1934) "The Art Galleries: Marin and Others." New Yorker X (November 24, 1934) "The Art Galleries: A Camera and Alfred Stieglitz." New Yorker X (December 22, 1934) "The Art Galleries: Anniversary; Post-Centenary Whistler; Mr. Curry and the American Scene." New Yorker X (February 2, 1935) "The Art Galleries: Lachaise and O'Keeffe." New Yorker X (February 9, 1935) "The Art Galleries: Paints, Palettes, and the Public Wall." New Yorker XI (February 16, 1935) "The Art Galleries: New High in Abstractions," New Yorker XI (March 2, 1935) "The Art Galleries: The Dark Continent; And George Grosz." New Yorker XI (March 30, 1935) "The Art Galleries: Mirrors and the Metropolitan." New Yorker XI (April 6, 1935) "The Art Galleries: The Three Bentons." New Yorker XI (April 20, 1935) "The Art Galleries: A Group of Americans." New Yorker XI (May 4, 1935) "The Art Galleries: In Capitulation." New Yorker XI (June 1, 1935) 1935-1936 "The Art Galleries: Leger and the Machine." New Yorker XI (October 19, 1935) "The Art Galleries: A Synopsis of Ryder." New Yorker XI (November 2, 1935) "The Art Galleries: The Work of van Gogh." New Yorker XI (November 16, 1935) "The Art Galleries: Autobiographies in Paint." New Yorker XI (January 18, 1936) "The Art Galleries: Group Shows and Solos." New Yorker XI (January 25, 1936) "The Art Galleries: Goya, Homer, and Jones." New Yorker XI (February 8, 1936) "The Art Galleries: William Gropper and an Open Letter." New Yorker XI (February 15, 1936) "The Art Galleries: The Course of Abstraction." New Yorker XII, (March 21, 1936) "The Art Galleries: Drawings and Illustrations; Pictures for the Public." New Yorker XII (May 16, 1936) "The Art Galleries: Looking Backward, Looking Forward." New Yorker XII (June 6, 1936) 1936-1937 "The Art Galleries: East and West." New Yorker XII (September 26, 1936) "The Art Galleries: The Treasury's Murals." New Yorker XII (October 17, 1936) "The Art Galleries: John Marin." New Yorker XII (October 31, 1936) "The Art Galleries: Pablo Picasso." New Yorker XII (November 14, 1936) "The Art Galleries: Moderns: Assorted." New Yorker XII (November 28, 1936) "The Art Galleries: On Reproductions." New Yorker XII (December 12, 1936) "The Art Galleries: Surrealism and Civilization." New Yorker XII (December 19, 1936) "The Art Galleries: Winslow Homer." New Yorker XII (December 26, 1936) "The Art Galleries: Wood and Stone." New Yorker XII (February 13, 1937) "The Art Galleries: The Life of the City." New Yorker XIII (February 27, 1937) "The Art Galleries: Prints and Paints." New Yorker XIII (April 3, 1937) "The Art Galleries: Academicians and Others." New Yorker XIII (April 10, 1937) "The Art Galleries: Pierre-Auguste Renoir." New Yorker XIII (June 5, 1937) Index
£20.70
University of California Press Pictures for Use and Pleasure
Book SynopsisTraditional Chinese collectors, like present-day scholars of Chinese painting, have favored the 'literati' paintings of the Chinese male elite, disparaging vernacular works, often intended as decorations or produced to mark a special occasion. This book deals with the field of Chinese pictorial art history.Trade Review"A thought-provoking book for serious readers wanting a deep immersion in Chinese art history, social culture, and gender studies." Library Journal "Lavishly illustrated, this is an absolutely crucial book for all students, scholars, and connoisseurs of Chinese painting." Choice "A breakthrough in ... the study of Chinese visual arts and material culture." Oxford Art Journal "Will undoubtedly serve as a starting point for all future studies of the subject." China Review International "An important book... Cahill draws attention to a category of paintings that have hitherto been little studied." -- Marion S. Lee, Associate Professor, School of Art, Ohio University CAA ReviewsTable of ContentsPreface and Acknowledgments ONE Recognizing Vernacular Painting TWO Studio Artists in Cities and Court THREE Adoptions from the West FOUR The Artists’ Repertories FIVE Beautiful Women and the Courtesan Culture Conclusion Appendix: Poem by Zhou Qi Glossary List of Chinese Names and Terms Notes Bibliography List of Illustrations Index
£60.35
University of California Press Painting Indians and Building Empires in North
Book SynopsisOffers a visual perspective on westward expansion through a survey of the major Indian images painted by Euro-American artists before and after the American Revolution.Trade Review"Truettner has produced a scholarly work of enduring value that should be in all academic and museum libraries." Arlis/Na Reviews "[A] tight and carefully argued book." Choice
£56.80
University of California Press Art History After Sherrie Levine
Book SynopsisExamines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs after Walker Evans - taken from Evans' famous depression-era documents of rural Alabama - became central examples in theorizing postmodernism in the visual arts in the 1980s.Trade Review"A critical examination of how the art world's singular characterization of Levine's work began." -- Nogin Chung Afterimage "A hugely ambitious text... Singerman masterfully retools art history in favor of deep, precisionist yet associative reading." -- Judith Rodenbeck X-TRATable of ContentsAcknowledgments Introduction 1. Pictures 2. Photographs 3. Paintings 4. Endgame 5. Sculptures 6. Counting Notes List of Illustrations Index
£27.00
University of California Press Phenomenal
Book SynopsisDuring the 1960s and 1970s, a loosely affiliated group of Los Angeles artists embraced light as their primary medium. This title explores and documents the unique traits of the work produced in Southern California during the 1960s and 1970s and traces its influence on different generations of international artists.Trade Review"Of the many superb books related to 'Pacific Standard Time,' Phenomenal is among the most elegant." Art In America "Beautifully illustrated and impressively researched... Represents an important contribution to the deepening of scholarship on this still poorly understood yet fundamental dimension of postwar Los Angeles art." Choice "Impressive... Notable for including many large-scale, immersive works that are rarely shown to the public." Southern California QuarterlyTable of ContentsForeword Hugh M. Davies Acknowledgments Hugh M. Davies and Robin Clark Lenders to the Exhibition Artists in the Exhibition Phenomenal: An Introduction Robin Clark Stealth Architecture: The Rooms of Light and Space Michael Auping Practically Nothing: Light, Space, and the Pragmatics of Phenomenology Dawna Schuld The Material of Immateriality Stephanie Hanor Work and Words Adrian Kohn Selected Exhibition History Exhibition Checklist Selected Bibliography List of Contributors Index MCASD Board of Trustees MCASD Staff Image Credits
£32.30
University of California Press State of Mind
Book SynopsisInvestigates California's vital contributions to Conceptual art - in particular, work that emerged in the late 1960s among scattered groups of young artists. This book includes the essays revealing connections between the northern and southern California Conceptual art scenes.Trade Review"A pleasure... The curators have written short, elucidating comments for almost everything here, about 150 items. Not only do their words bring individual images to life; but they also add up to an absorbing narrative of a place and an era." -- Holland Cotter New York Times "Provocative... Puts pressure on the category of idea-based art through a focus on the body, ritual, media and the social world." -- Gillian Young Art in America "While showing a real breadth, and the consistency of various sorts of conceptual thinking, [State of Mind is] in fact very useful in terms of ways in which an artist could reinvent their congenial mediums to express social, political, as well as artistic concerns." -- Phong Bui The Brooklyn Rail "Will leave [locals] ... wondering how they failed to notice so much provocative activity - a lot of it very public - when it occurred." San Francisco Chronicle "Constance Lewallen and Karen Moss take advantage of [the] outsider position, making use of art's ability to conjure or invent new meanings and contexts." -- Maika Pollack Gallerist NY "Makes for conceptual art's continued influence on contemporary art." Public Art Review "Informative and well written." Orange County Register
£34.20
University of California Press The Art of Modern China
Book SynopsisIn the early twenty-first century, China occupies a place on center stage in the international art world. But what does it mean to be a Chinese artist in the modern age? This title traces its evolution chronologically and thematically from the Age of Imperialism to the present day.Trade Review"A superb, illuminating study... The best book available on the history of modern Chinese art... Essential." -- D.K. Haworth, Emeritus, Carleton College ChoiceTable of ContentsAcknowledgments Map Introduction 1 Chinese Art in the Age of Imperialism: The Opium War to the Treaty of Shimonoseki, 1842--1895 2 Art in the Creation of a New Nation: The Overthrow of the Qing and the Early Republic, 1895--1920 3 Art in the New Culture of the 1920s 4 Modern Art in the 1930s 5 The Golden Age of Guohua in the 1930s 6 Art in Wartime, 1937--1949 7 Western-Style Art under Mao, 1949--1966 8 Ink Painting, Lianhuanhua, and Woodcuts under Mao, 1949--1966 9 Art of the Great Proletarian Cultural Revolution, 1966--1976 10 Art after Mao, 1976--1989 11 Alternative Chinas: Hong Kong and Taiwan 12 No U-Turn: Chinese Art after 1989 13 The New Millennium, and the Chinese Century? Glossary and List of Characters Major Events in Modern Chinese Art Notes Selected Bibliography Index
£32.40
University of California Press Imaging Disaster
Book SynopsisFocusing on one landmark catastrophic event in the history of an emerging modern nation - the Great Kanto Earthquake that devastated Tokyo and surrounding areas in 1923, this volume examines the history of the visual production of the disaster.Trade Review"Gorgeous and thoughtful... A wonderful and compelling book." -- Carla Nappi New Bks In East Asian Stds "This is an outstanding example of specialist scholarship that has much to offer design historians." Design History "A fascinating volume." -- Gennifer Weisenfeld Interaction "[Imaging Disaster] opens many important larger questions, and it organizes the giant archive it presents to us in a clear, well-organized, readable format. Weisenfeld handles difficult issues with grace and lucidity... [her] work offers a framework through which we can grasp the formation of the visual and media cultures of such central sites of destruction and reconstruction, even while attending to the incommensurate views and meanings of each specific event." Journal of Japanese StudiesTable of ContentsPreface Acknowledgments Introduction 1. Earthquakes in Japan: A Brief Prehistory 2. The Media Scale of Catastrophe 3. Disaster as Spectacle 4. The Sublime Nature of Ruins 5. Reclaiming Disaster: Altruism and Corrosion 6. Reconstruction's Visual Rhetoric 7. Remembrance 8. Epilogue: Afterlives Notes Selected Bibliography List of Illustrations Index
£46.75
University of California Press Revolutionary Beauty
Book SynopsisTrade Review"John Heartfield (1891-1968) was one of the most significant visual artists of the twentieth century. Sabine T. Kriebel's sophisticated study contributes enormously to our understanding of how and why." -- Peter Chametzky American Historical Review "Kriebel is intently concerned with the poetics of the photographic image, but this should not imply that her focus is only on the immanent qualities of Heartfield's montages. There is also a rigorous interrogation of the political and material stakes for photography and a keen alertness to the importance of laughter and the comic at the root of these works. The challenges of writing about these alone are considerable and Kriebel's long-awaited book admirably rises to the task." -- Debbie Lewer History of Photography Revolutionary Beauty covers an extraordinary amount of ground in order to situate Heartfield as an historical producer... This remarkable amalgamation of broadly historicizing and deeply analytical reconsiderations of relatively iconic things is the great strength of this book." -- James A. van Dyke Oxford Art JournalTable of ContentsAcknowledgments List of Abbreviations Introduction: Photomontage, Paradigm of the Modern 1. The Subject in Circulation 2. Photomontage in the Age of Technological Reproducibility 3. Photomontage in the Year 1932 4. Left-Wing Laughter 5. Revolutionary Beauty Epilogue: To Gratify a Wish Notes Selected Bibliography List of Illustrations Index
£46.75
University of California Press Reading Basquiat
Book SynopsisProvides an approach to understanding the range and impact of artist's practice, as well as its complex relationship to several key artistic and ideological debates of the late twentieth century, including the instability of identity, the role of appropriation, and the boundaries of expressionism.Trade Review"Amply illustrated . . . a lucid account that encourages the reader to look with refreshed eyes at the richness of the artist's work." * Times Higher Education *"Offers a compelling analysis that reveals and elucidates the complex language systems and cultural discourses at play in Basquiat’s work." * Art Practical *"In four chapters, the author gives the artist’s work the scholarly and historical attention it rightly deserves while contributing to the fields of American art, African American art, contemporary art, and diaspora art." * Nka: Journal of Contemporary African Art *Table of ContentsAcknowledgments Introduction: Reading Jean-Michel Basquiat 1. "The Black Picasso": Jean-Michel Basquiat and Questions of Race 2. Creativity Found and Made 3. The Language of Expressionism Notes Bibliography List of Illustrations Index
£27.00
University of California Press The Religious Art of Pablo Picasso
Book SynopsisPresents an examination of Pablo Picasso's use of religious imagery and the religious import of many of his works with secular subject matter.Trade Review"[Dillenberger] provides a fresh outlook that connects [Picasso] to the spiritual upbringing in his childhood and the classical past world of art." Library Journal "... a powerful study... Dillenberger argues powerfully that Picasso, too, was in his best works searching to express the presence of transcendence in the here and now, seeking 'some other realm of feeling and thought where he, too, despite his profession of atheism, could take part in the Christian drama as it unfolded under his own hand'." -- Charles Pickstone Art & Christianity EnquiryTable of ContentsForeword Michael Morris, OP Preface Jane Dillenberger 1. The Crucifixion 2. The Early Years 3. Picasso and the Church 4. Guernica: Ultimate Concern 5. The Corrida and the Sketchbooks of the 195s Notes Selected Bibliography List of Illustrations Index
£28.90
University of California Press Agnes Varda between Film Photography and Art
Book SynopsisTrade Review"DeRoo’s work is a welcome and significant contribution to scholarship on a still too-neglected filmmaker and has much to offer those wanting an introduction to Varda and key issues animating critical reception of her films. The book is a well-researched, accessible, and timely addition to expanding scholarship on Varda as a pioneering and dynamic French filmmaker whose multifaceted oeuvre is central to ongoing and urgent debates about feminist film practice, filmmaking as an intermedia art form, and the ethics and aesthetics of documentary practice." * H-France *“DeRoo’s nuanced approach yields altogether new understandings of key works in Varda’s oeuvre. . .the readings in Agnès Varda: Between Film, Photography, and Art reveal both the breadth and depth of Varda’s artistic sophistication and political acumen.” * ASAP/Journal *"DeRoo’s book provides a yet untold counter-reading of Varda’s works. Her interpretations are acutely attentive, acknowledging the many sites of emotional, generic, aesthetic, and political complexity that arise as a result of Varda’s use of multimedia." * Women in French Studies *"Rebecca DeRoo’s Agnès Varda between Film, Photography, and Art, which takes as its central problem the intermediality and intertextuality of Varda’s work in the context of history, society, and feminism, is, then, to be greeted with great interest." * Journal for Cinema and Media Studies *"Quietly visionary in the way it deconstructs and reconstructs readings of Varda, DeRoo’s book enacts its own kind of cinematic labour, offering interpretive space for an understanding of Varda as a deeply politicised, strategically canny and immensely generous interlocutor with the people and the places that she filmed." * French Screen Studies *"Debunking the image of an apolitical Varda and reframing her place in the history of French film, DeRoo demonstrates convincingly that the aesthetic and the political are inseparably enmeshed. . . .This deftly argued and engagingly written book is a must for researchers interested in Varda and in French cinema more widely. Making a brilliant contribution to the burgeoning field of intermediality studies, it will also prove a most welcome tool for teaching purposes." * French Studies: A Quarterly Review *Table of ContentsAcknowledgments 1. Reinterpreting Varda: The Mother of the New Wave Reframes Its Histories 2. Complicating Neorealism and the New Wave: La Pointe Courte 3. Filmic and Feminist Strategies: Questioning Ideals of Happiness in Le Bonheur 4. Reconsidering Contradictions: Feminist Politics and the Musical Genre in L’une chante, l’autre pas 5. The Limits of Documentary: Identity and Urban Transformation in Daguerréotypes 6. Melancholy and Merchandise: Documenting and Displaying Widowhood in L’île et elle 7. Varda Now: Autobiography, Memory, and Retrospective Notes Bibliography Index
£64.00
University of California Press Agnes Varda between Film Photography and Art
Book SynopsisTrade Review"DeRoo’s work is a welcome and significant contribution to scholarship on a still too-neglected filmmaker and has much to offer those wanting an introduction to Varda and key issues animating critical reception of her films. The book is a well-researched, accessible, and timely addition to expanding scholarship on Varda as a pioneering and dynamic French filmmaker whose multifaceted oeuvre is central to ongoing and urgent debates about feminist film practice, filmmaking as an intermedia art form, and the ethics and aesthetics of documentary practice." * H-France *“DeRoo’s nuanced approach yields altogether new understandings of key works in Varda’s oeuvre. . .the readings in Agnès Varda: Between Film, Photography, and Art reveal both the breadth and depth of Varda’s artistic sophistication and political acumen.” * ASAP/Journal *"DeRoo’s book provides a yet untold counter-reading of Varda’s works. Her interpretations are acutely attentive, acknowledging the many sites of emotional, generic, aesthetic, and political complexity that arise as a result of Varda’s use of multimedia." * Women in French Studies *"Rebecca DeRoo’s Agnès Varda between Film, Photography, and Art, which takes as its central problem the intermediality and intertextuality of Varda’s work in the context of history, society, and feminism, is, then, to be greeted with great interest." * Journal for Cinema and Media Studies *"Quietly visionary in the way it deconstructs and reconstructs readings of Varda, DeRoo’s book enacts its own kind of cinematic labour, offering interpretive space for an understanding of Varda as a deeply politicised, strategically canny and immensely generous interlocutor with the people and the places that she filmed." * French Screen Studies *"Debunking the image of an apolitical Varda and reframing her place in the history of French film, DeRoo demonstrates convincingly that the aesthetic and the political are inseparably enmeshed. . . .This deftly argued and engagingly written book is a must for researchers interested in Varda and in French cinema more widely. Making a brilliant contribution to the burgeoning field of intermediality studies, it will also prove a most welcome tool for teaching purposes." * French Studies: A Quarterly Review *Table of ContentsAcknowledgments 1. Reinterpreting Varda: The Mother of the New Wave Reframes Its Histories 2. Complicating Neorealism and the New Wave: La Pointe Courte 3. Filmic and Feminist Strategies: Questioning Ideals of Happiness in Le Bonheur 4. Reconsidering Contradictions: Feminist Politics and the Musical Genre in L’une chante, l’autre pas 5. The Limits of Documentary: Identity and Urban Transformation in Daguerréotypes 6. Melancholy and Merchandise: Documenting and Displaying Widowhood in L’île et elle 7. Varda Now: Autobiography, Memory, and Retrospective Notes Bibliography Index
£27.00
University of California Press David Smith in Two Dimensions
Book SynopsisHow does photography shape the way we see sculpture? In this book, the author broaches this question through an in-depth consideration of the photography of American sculptor David Smith (1906 1965).Trade Review"Does more than reveal the important role photography played in Smith's art; it fundamentally alters how we see the works he photographed." Bookforum "...thorough research and exceedingly compelling and rigorously formal readings of individual works." -- Christa Noel Robbins Oxford Art JournalTable of ContentsAcknowledgments Introduction: The Problem of Photography and Sculpture 1. Toward Mass Reproduction as a Public Display 2. Aerial Vision, Photographic Abstraction, and the Surface of Sculpture 3. Images of Nonbelonging: Dramatizing Autonomy in the Sculptural Group 4. Picturing Color in Space 5. The Terrain of the Vulgar: Smith's 1963--64 Nudes Conclusion: Framed and Unframed Space Notes Bibliography List of Illustrations Index
£37.80
University of California Press Istanbul Exchanges
Book SynopsisOffers a way of understanding Orientalism by shifting the focus from Europe to Istanbul and examining the cross-cultural artistic networks that emerged in that cosmopolitan capital in the nineteenth century.Table of ContentsList of Illustrations Acknowledgments Introduction: Istanbul's Cultural Traffic 1. Ottoman Imperial Portraiture and Transcultural Aesthetics 2. The Battlefield of Ottoman History 3. Gerome in Istanbul 4. Istanbul's Art Exhibitions 5. Self-portraiture in Ottoman Istanbul Epilogue: Istanbul Exchanges Notes Selected Bibliography Index
£46.75
University of California Press Modernism and Authority
Book SynopsisArgues that references to theology and traditional Christian iconography in the works of Picasso and Apollinaire are not mere symbolic gestures; rather, they are complex responses to the symbolist art and poetry of figures important to them, including Paul Gauguin, Charles Morice, and Santiago Rusinol.Table of ContentsAcknowledgments Introduction PART 1: "HYPOCRITE LECTEUR, MON SEMBLABLE, MON FRERE" 1. Modernisms and Authorities 2. Parables of Authority: Morice, Verlaine, Gauguin, Carriere PART 2: "A FORM OF SOUND WORDS" 3. Running in the Streets, Wandering in the Vatican PART 3: "YOU YOURSELF, MAYBE YOU WILL NOT DIE" 4. Wandering the Earth, Running from the Truth 5. Holy Families Conclusion Notes Works Cited List of Illustrations and Credits Index
£42.50
University of California Press Flags and Faces
Book SynopsisShows how American artists, photographers, and graphic designers helped to shape public perceptions about World War I. This book considers how flag-based patriotic imagery prompted Americans to intervene in Europe in 1917, and contemplates the corrosive effects of the war on soldiers who lost their faces on the battlefield.Trade Review"An interesting and brief introduction to America's visual culture in the context of World War I." -- Susana Rocha Teixeira H-Net (H-Soz-u-Kult)Table of ContentsPreface and Acknowledgments 1. Art for War's Sake 2. Fixing Faces Notes List of Illustrations Index
£27.00
University of California Press Vision Anew
Book SynopsisThe ubiquity of digital images has profoundly changed the responsibilities and capabilities of anyone and everyone who uses them. Presenting essays on photography and the moving image alongside engaging interviews with artists and filmmakers, the author offers an inspired assessment of the medium's ongoing importance in the digital era.Trade Review"Through its variety of voices, Vision Anew doesn't promote a new language to define "lens art," but dissects the languages that the medium itself has created." -- Taylor Dafoe The Brooklyn RailTable of ContentsAcknowledgments Foreword - Adam Bell Introduction - Charles Traub Part 1. From the Lens 1. Photography Is (1961) - Arthur Siegel 2. Keep It Simple Stupid, Just Make a Good Picture: The Basics of Photography (2012) - Gerry Badger 3. Excerpt from A New History of Photography: The World Outside and the Pictures in Our Heads (2008) - Ken Schles 4. Photographs about Photographs (2010) - Adam Bell 5. On Books and Photography (2012) - Ofer Wolberger, Jason Fulford, and Adam Bell 6. Stillness, Depth, and Movement Reconnected (2012) - Robert Bowen 7. A Little History of Photography Criticism; or, Why Do Photography Critics Hate Photography? (2010) - Susie Linfield 8. If You See Something, Say Something: Why We Need to Talk about and Teach Visual Literacy, Now (2014) - Marvin Heiferman Part 2. Vision and Motion 9. Excerpt from Vision in Motion (1947) - Laszlo Moholy-Nagy 10. Stillness (2008) - David Campany 11. The Annihilation of Time and Space (2004) - Rebecca Solnit 12. On Editing and Structure (2002) - Wolf Koenig 13. Flickering Screens (2008) - Ai Weiwei 14. A Lecture (1968) - Hollis Frampton 15. Flatness/Depth. Still/Moving. Photography/Cinema. (2012) - Grahame Weinbren 16. HD Vision (2012) - Bob Giraldi, Ethan David Kent, Christopher Walters, Charles Traub, and Adam Bell 17. Moving Away from the Index: Cinema and the Impression of Reality (2007) - Tom Gunning 18. Seeing around the Edge of the Frame (2001) - Walter Murch 19. Sensorial Cinema: Conjectures/Conversations (2014) - Scott MacDonald 20. Reconquering Space and the Screen (2005) - Pipilotti Rist and Doug Aitken 21. Looking and Being Looked At (2014) - Shelly Silver and Claire Barliant 22. It's about Time (2013) - Christian Marclay and Amy Taubin Part 3. Old Medium/New Forms 23. Photography and the Future (2010) - Tom Huhn 24. Machine-Seeing (2012) - Trevor Paglen and Aaron Schuman 25. There Is Only Software (2011) - Lev Manovich 26. Google Street View: The World Is Our Studio (2011) - Lisa Kereszi 27. Exploring Options (2011) - Alec Soth and Charles Traub 28. On (2014) - Charlie White 29. Sharing Makes the Picture (2012) - Barry Salzman 30. Posits and Questions (2014) - Fred Ritchin and Brian Palmer 31. Capture/Curate Touch/Play: Reality Is the New Fiction (2014) - Claudine Boeglin and Paul Pangaro 32. A Post-photographic Manifesto (2011) - Joan Fontcuberta (trans. Graham Thomson) 33. Feedback Manifesto (2010) - David Joselit 34. Ant!foto and the Antifoto Manifesto (2013) - Katja Stuke and Oliver Sieber 35. Creative Interlocutors: A Manifesto (1997) - Charles Traub Notes List of Contributors Credits
£27.00
University of California Press Brian ODoherty
Book SynopsisTrade Review"O’Doherty shifts between active participant and detached speculative mind with a fluidity and stylistic grace that propels you forward, even as it tugs at your sleeve and asks you to stop, reread, and give it more thought. O’Doherty wants us to inhabit what we perceive, to be an acute looker while fully engaging in the conundrums and contradictions that art puts to us. It is not an easy task, but it is one that he has managed admirably these many years." * Art in America *"O’Doherty is a gifted writer whose Irish-honed literary skills are placed at the service of New York’s cosmopolitan visual culture." * artcritical.com *"The present volume of this polymath’s criticism is perhaps most notable for its collection of O’Doherty’s writings on Edward Hopper and Mark Rothko, two painters whom the writer befriended and knew well. It also contains his latest word on the “white cube” (he coined the now-ubiquitous phrase) from 2009, an update to his influential 1976 Inside the White Cube, an early critique of institutional Modernism." * The New Criterion *Table of ContentsPreface: Field Notes from the Crossroads, by Liam Kelly / vii Introduction: A Ship’s Log of / to Modernism, by Anne-Marie Bonnet / 1 On the Nature of Masquerade, by Brian O’Doherty / 7 HOPPER / ROTHKO Hopper’s Look / 13 Word and Image: A Reciprocal Arrangement / 28 Windows and Edward Hopper’s Gaze / 37 Edward Hopper, Early Sunday Morning / 49 Rothko’s Dark Paintings: Tragedy and Void / 55 The Rothko Chapel / 72 Rothko’s Endgame / 80 Chamber Music in the Next Room / 89 ART-LIKE The Politics and Aesthetics of Heart Transplants / 99 The Microscopic Vision / 107 Highway to Las Vegas / 114 Las Vegas Revisited / 122 Miami and the Iconography of the Pompadour Style / 128 PHOTOGRAPHY / FILM / VIDEO Kane’s Welles: The Phantom of the Opus / 139 Et in Arkadin Ego / 148 Barzyk: Electronic Visionary / 158 The Worlds of Nam June Paik / 168 Hans Richter / 172 FACEtime: Katharina Sieverding and (Maybe) Oscar Wilde / 184 Narcissus in Hades / 190 Development Errors: Michener’s Photographs / 193 James Coleman: What Waiting Can Do, Given Time / 196 Terrible Beauty: On Steve McQueen’s Hunger / 201 Nigel Rolfe: Two Drums / 204 DISPATCHES FROM THE SIXTIES AND BEYOND Stella and Hesse: Dispatches from the Sixties / 211 Segal’s Metropolis / 222 Warhol: The Medium as Cultural Artifact / 233 Taking Duchamp’s Portrait / 241 Morton Feldman: The Burgacue Years / 250 Divesting the Self: A Striptease / 263 Rauschenberg / Counter-Rauschenberg / 274 Wesley’s Hip-Pop / 281 William Scharf: The Long and the Short Eye / 286 Chamberlain: Projective Sculpture / 292 Peter Hutchinson: A Green Thought in a Green Shade / 303 Joseph Cornell: Innocence and Experience / 317 WHITE CUBE / BLACK BOX Boxes, Cubes, Installations, Whiteness and Money / 327 List of Illustrations / 333
£27.00
University of California Press Theories of the Nonobject
Book SynopsisInvestigates the crisis of the sculptural and painterly object in the concrete, neoconcrete, and constructivist practices of artists in Argentina, Brazil, and Venezuela.Trade Review"By illustrating how Latin American artists liberally reworked and even rejected European trends, Amor reverses the colonial discourse that places Latin America always in the position of object." * Latin American Research Review *
£46.75
University of California Press Puja and Piety Hindu Jain and Buddhist Art from
Book SynopsisCelebrates the complexity of South Asian representation and iconography by examining the relationship between aesthetic expression and the devotional practice, or puja, in the three native religions of the Indian subcontinent. This title presents 150 objects created over the past two millennia for temples, home worship, festivals, and more.Trade Review"... a visually stunning coffee table conversation piece, and a stellar tool for use in a classroom to provide graphic, tactical examples of function and worship. Puja and Piety is a photographic journey exploring the intricate relationship that art holds within religion and lived spirituality." Reading Religion
£56.80
University of California Press Eccentric Modernisms
Book Synopsis"What if we ascribe significance to aesthetic and social divergences rather than waving them aside as anomalous? This book places queer demands on art history, tracing the relational networks connecting cosmopolitan eccentrics who cultivated discrepant strains of modernism in America during the 1930s and 1940s.Trade Review“Eccentric Modernisms is an inspiring act of queer archive building. In this elegant interdisciplinary study, Tirza True Latimer brings to light three unheralded modernist “documents” collaboratively produced by queer artists who, in Latimer’s view, advance “manifestos” of “eccentric modernism”.” * Art Bulletin *"Works like Latimer’s will undoubtedly become important records of the changing vocabulary of modernism, in which the structures that guided modernism’s conception in the United States (MoMA, Greenberg’s criticism, the ideal of abstraction, the words “original,” “style,” “kitsch,” and “pure”) are proven unstable. . . . Indeed, scholars of queer history and of artistic movements will find a wealth of primary sources to use in beginning or continuing deeper research into marginalized perspectives on American artistic movements.” * caa.reviews *Table of ContentsAcknowledgments Introduction: "Eccentric Propositions" 1. Dix Portraits 2. Four Saints in Three Acts 3. View: American Issues Conclusion: "How to Look at Modern Art in America" Notes Selected Bibliography Illustration Credits
£42.50
University of California Press Bruce Conner
Book SynopsisFrom early assemblages of the 1950s and 1960s to iconic and pioneering works in film, from photography and photograms to prints, drawings, and paintings, Bruce Conner's (1933-2008) oeuvre continues to exert tremendous influence on artists working today. This historic retrospective catalogue is a definitive resource on this important artist.Trade Review"[The exhibition] has an exceptional catalog." The New York Times
£999.99
University of California Press The Uses of Photography
Book SynopsisTracing a crucial history of photoconceptual practice, this book focuses on an artistic community that formed in and around the young University of California San Diego, founded in 1960, and its visual arts department, founded in 1967.Trade Review"This is a valuable introduction to the work of these individuals and, beyond that, a reasoned assessment of the nature and qualities of this aspect of an important art movement... Summing Up: Highly recommended." CHOICETable of ContentsFOREWORD ACKNOWLEDGMENTS LENDERS TO THE EXHIBITION 1 THE USES OF PHOTOGRAPHY 2 "THERE WAS NO RADICALIZATION....IT WAS NORMAL FOR US" 3 VARIOUS SMALL ETHNOFICTIONS OF COASTAL CALIFORNIA 4 DOCUMENTS AND DOCUMENTARY REMEMBERING RECORDING REPRESENTING CHECKLIST OF THE EXHIBITION SELECTED BIBLIOGRAPHY CONTRIBUTORS BOARD OF TRUSTEES STAFF INDEX IMAGE CREDITS
£34.20
University of California Press Repentant Monk
Book SynopsisTable of ContentsDirector’s Foreword Lawrence Rinder Acknowledgments Julia M. White Introduction Repentant Monk: Illusion and Disillusion in the Art of Chen Hongshou Julia M. White One Enigma and Intertextuality: Creative Response to Adversity Tamara H. Bentley Two Printed Beauties Hiromitsu Kobayashi Three Visions of the Occult in Early Figure Painting Shi-yee Liu Four Living in a World of Regret: Buddhist Paintings Patricia Berger Five Composite Identities: Portraits Richard Vinograd Catalogue Appendix Inscriptions and Documentation Julia Jaw Selected Bibliography Index
£42.50
University of California Press Wayne Thiebaud
Book SynopsisWayne Thiebaud: 1958-1968 examines Thiebaud's ongoing impact on contemporary art through in-depth analysis of the paintings and drawings made at the launch of his career, at a seminal moment when the art world was moving beyond Abstract Expressionism and redefining itself. By questioning Thiebaud's relationship to Pop art, his self-imposed distance from the movement, and the popular urge to affiliate him with it, Teagle explores the role of his painting in the traffic of images at the end of the twentieth century. Organized in close cooperation with the artist, this is the first study of the emergence of Thiebaud's mature style and the only museum exhibition to date to delve into a specific period of his production, a time that coincides with the start of his teaching career at University of California at Davis. Thiebaud's art, like that of the celebrated Pop artists with whom he shared early exhibitions, is ripe for critical reappraisal. The soft nature of Thiebaud's famous subjects, his creamy pies and dripping ice creams, positioned his art as fodder for social-political review on occasion, but rarely for serious historical analysis. Since the beginning of his career Thiebaud reminded critics of his formal interests and his deep affiliation with the history of painting. This exhibition takes as its starting point an understanding of Thiebaud's painterly language-its historical sources and contemporary affiliations. Shaped around the seminal exhibitions that marked Thiebaud's entrance onto the stage of contemporary art, it concludes with a close reading of the artists' expanded subject matter presented in a major traveling exhibition in 1968. Portraits and landscapes now joined the food that prevailed in early exhibitions, and all pictured in the artist's now signature style of objects deployed in neutral space, bounded by halated light and casting long shadows of saturated color. With contributions from Alexander Nemerov and Margaretta Lovell. Published in association with the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis. Exhibition dates: Manetti Shrem Museum of Art, University of California, Davis: January 16-May 15, 2018Trade Review“...a strong and cohesive survey that offers a chance to reconsider Thiebaud’s early work and its influence on 20th century American painting.” * Sacramento Bee *"...an extraordinary opportunity to see original works from Thiebaud’s breakout period, together in one place." * San Francisco Chronicle *Table of ContentsForeword Ralph J. Hexter Acknowledgments Rachel Teagle Presence from Absence: Wayne Thiebaud and the Future of Painting Rachel Teagle Wayne Thiebaud’s Early Landscapes: Picturing Gravity Margaretta Lovell Exaggerations of the Real: Wayne Thiebaud and Joseph Heller Alexander Nemerov Plates with entries by Francesca Wilmott Artist’s Statement Wayne Thiebaud Illustrated Chronology Arielle Hardy Selected Bibliography Manetti Shrem Museum Advisory and Honorary Boards Lenders to the Exhibition Index
£39.10
University of California Press The Arts of China Sixth Edition Revised and
Book SynopsisInternationally renowned and a crucial classroom text, The Arts of Chinahas been revised and expanded by the late Michael Sullivan, with Shelagh Vainker. This new, sixth, edition has an emphasis on Chinese art history, not as an assemblage of related topics, but as a continuous story. With updated attributions and dating throughout and a revised bibliography, it reflects the latest archaeological discoveries, as well as giving increased attention to modern and contemporary art and to calligraphy throughout China's history, with additional discussions of work by women artists. Visual enhancements include all new maps, and approximately one hundred new color illustrationsbringing the total to well over four hundred color illustrations. Written in the engaging and lucid style that is Sullivan's hallmark,The Arts of Chinais readily accessible to general readers as well as to serious students of art history. Sullivan's approach remains true to the way the Chinese themselves view art, proTable of ContentsPreface to Sixth Edition Afterthoughts Chronological Table of Dynasties and Modern Republics Reign Periods of the Ming and Qing Dynasties 1 Before the Dawn of History 2 The Early Bronze Age: Shang and Western Zhou 3 Eastern Zhou and the Period of the Warring States 4 The Qin and Han Dynasties 5 The Three Kingdoms and the Six Dynasties 6 The Sui and Tang Dynasties 7 The Five Dynasties and the Song Dynasty 8 The Yuan Dynasty 9 The Ming Dynasty 10 The Qing Dynasty 11 The Twentieth Century and Beyond Notes Books for Reference and Further Reading List of Maps and Illustrations Index
£68.00
University of California Press Summer of Love Art Fashion and Rock and Roll
Book SynopsisFeaturing a wide array of iconic rock posters, period photographs, music memorabilia and light shows, "out-of-this-world" clothing, and avant-garde films, this title celebrates San Francisco's rebellious and colorful counterculture that blossomed in the years surrounding the 1967 Summer of Love.Trade Review"Summer of Love: Art, Fashion, and Rock and Roll does a remarkable job conveying both the ideas and the content of an exhibition many of us will never see. Its precision focus on one moment in one city in American history is the book’s greatest strength." * PopMatters *"The beautifully illustrated and very readable work provides the social, cultural, and political background that laid the era’s foundation." * Library Journal *Table of Contentsforeword map essays not past at all dennis mcnally selling san francisco’s sound colleen terry stitching a new paradigm jill d ’alessandro if you’re going to san francisco joel selvin catalogue and more (sittin’ on) the dock of the bay a trip without a ticket the gathering of the tribes love and haight the poster shop feed your head the music never stopped what are we fighting for? san francisco psychedelic rock posters victoria binder the sixties in san francisco van meter time line selected bibliography checklist index acknowledgments picture credits contributors
£46.75
University of California Press The Fruits of Empire
Book SynopsisThe Fruits of Empire is a history of American expansion through the lens of art and food. In the decades after the Civil War, Americans consumed an unprecedented amount of fruit as it grew more accessible with advancements in refrigeration and transportation technologies. This excitement for fruit manifested in an explosion of fruit imagery within still life paintings, prints, trade cards, and more. Images of fruit labor and consumption by immigrants and people of color also gained visibility, merging alongside the efforts of expansionists to assimilate land and, in some cases, people into the national body. Divided into five chapters on visual images of the grape, orange, watermelon, banana, and pineapple, this book demonstrates how representations of fruit struck the nerve of the nation's most heated debates over land, race, and citizenship in the age of high imperialism. Trade Review“Richly illustrated and supported with meticulous research, The Fruits of Empire demonstrates the essential need to understand the history and politics behind our food consumption. In the midst of a national reckoning with racism in the United States generally and in the arts specifically, we as art historians need to use our scholarly platforms to raise consciousness about the racist and nativist origins of our national visual culture. As Klein’s book deftly demonstrates in the context of the fruit industry, images matter. But, as she also argues, so do Black, Indigenous, Asian, and Latinx lives.” * Agricultural History *“Klein offers a concrete and approachable doorway to a discussion and study of race in America. She tells a compelling story, devoid of jargon and not requiring specialized knowledge, while still grounded in rigorous research.” * Food, Culture & Society *"The Fruits of Empire is a shrewdly articulated body of research. Shana Klein tells these stories with accessible panache and much conceptual originality. . . . In an enterprising new field, her book has already set an exacting standard." * The World of Fine Wine *“The selection of works in The Fruits of Empire leaves little place for humor, irony, or disapproval. Part of the reason for Klein’s largely deterministic interpretation may well lie in the absence of any attempt at classifying visual images and the different values and aims that propel advertisement (sales), painting (aesthetics), and photography (record). Yet, if Klein does not capture the entire, complicated story of art and imperial expansion, she tells an important and often sorry part of it.” * Journal of Interdisciplinary History *"The book’s strength…rests in its accessibility and relevance to readers well beyond the classroom. A captivating read, it offers clear insight into the growth of the fruit industry and the many ways in which its attendant images sowed the seeds for the rhetorical and physical violence against Asian, Black, Latinx, and women-identified people that continues to haunt the United States to this day." * Panorama: Journal of the Associations of Historians of American Art *"Klein’s creativity, clear prose, and thoughtful exploration of fruit and the iconography of empire have produced an excellent book." * Journal of American History *"This well-written, well-illustrated book perceptively analyzes visual depictions of fruit and fruit cultivation from the nineteenth century to our own time." * Diplomatic History *Table of ContentsAcknowledgments Introduction 1. Westward the Star of Empire: California Grapes and Western Expansion 2. The Citrus Awakening: Florida Oranges and the Reconstruction South 3. Cutting Away the Rind: A History of Racism and Violence in Representations of Watermelon 4. Seeing Spots: The Fever for Bananas, Land, and Power 5. Pineapple Republic: Representations of the Dole Pineapple from Hawaiian Annexation to Statehood Conclusion: New Directions in Scholarship on Food in American Art Notes Bibliography List of Illustrations Index
£46.75
University of California Press Beyond the Pink Tide Art and Political
Book SynopsisHow can we create a model of politics that reaches beyond the nation-state, and beyond settler-colonialism, authoritarianism, and neoliberalism? InBeyond the Pink Tide,Macarena Gómez-Barris explores the alternatives of recent sonic, artistic, activist, visual, and embodied cultural production. By focusing on radical spaces of potential, including queer, youth, trans-feminist, Indigenous, and anticapitalist movements and artistic praxis, Gómez-Barris offers a timely call for a decolonial, transnational American Studies. She reveals the broad possibilities that emerge by refusing national borders in the Americas and by seeing and thinking beyond the frame of state-centered politics. Concrete social justice and transformation begin at the level of artistic, affective, and submerged political imaginariesin Latin America and the United States, across South-South solidarities, and beyond.Table of ContentsOverview ix Preface xi Introduction 1 Beyond the Pink Tide 1. Sounds Radical 22 Ana Tijoux, Student Protests, and Palestinian Solidarity 2. How Cuir Is Queer Recognition? 46 A Manifesto from the Sexual Underground 3. Art in the Shadow of Border Capitalism 68 Migration, Militarism, and Trans-Feminist Critique 4. An Archive of Starlight 88 Remapping Patagonia through Indigenous Memories Conclusion 107 Rogue Waves
£64.00
University of California Press Beyond the Pink Tide
Book SynopsisTable of ContentsOverview ix Preface xi Introduction 1 Beyond the Pink Tide 1. Sounds Radical 22 Ana Tijoux, Student Protests, and Palestinian Solidarity 2. How Cuir Is Queer Recognition? 46 A Manifesto from the Sexual Underground 3. Art in the Shadow of Border Capitalism 68 Migration, Militarism, and Trans-Feminist Critique 4. An Archive of Starlight 88 Remapping Patagonia through Indigenous Memories Conclusion 107 Rogue Waves
£15.19
University of California Press Music of the Renaissance
Book SynopsisTrade Review“Music of the Renaissance is a fascinating discourse on the cultural and aesthetic relationships that characterize musical thought and practice from roughly the fifteenth to the seventeenth centuries. …It is a brilliant piece of work that packs a world of information into a relatively slim volume. Highly recommended.” * Journal of the Anglican Association of Musicians *"The vast scope of the study and the short length of the book mean that we are presented with various tantalizing snapshots of a rich musical culture that connects more broadly with the liberal arts." * European History Quarterly *"Unlike traditional histories of music IN the Renaissance, this stud of music OF the Renaissance eschews the detailed and comprehensive examination of the oeuvres of individual composers, the development of different genres and the identification of musical styles in favour of attempting to understand how musical production and practice "fits" or meshes with general artistic expression and tendencies of the period. . . . Music of the Renaissance is highly recommended reading for anyone with an interest in cultural creativity and activity in the fifteenth and sixteenth centuries." * Revue de Musicologie *Table of ContentsForeword by Christopher Reynolds Preface Chapter 1 • The Era and Its Terms Chapter 2 • Social Reality and Cultural Interaction Chapter 3 • Text and Texts Chapter 4 • Forms of Perception Chapter 5 • Memoria Glossary Notes Bibliography Index
£50.15
University of California Press Cartoon Vision UPA Animation and Postwar
Book SynopsisIn Cartoon Vision Dan Bashara examines American animation alongside the modern design boom of the postwar era. Focusing especially on United Productions of America (UPA), a studio whose graphic, abstract style defined the postwar period, Bashara considers animation akin to a laboratory, exploring new models of vision and space alongside theorists and practitioners in other fields. The linkstheoretical, historical, and aestheticbetween animators, architects, designers, artists, and filmmakers reveal a specific midcentury modernism that rigorously reimagined the senses. Cartoon Vision invokes the American Bauhaus legacy of László Moholy-Nagy and György Kepes and advocates for animation's pivotal role in a utopian design project of retraining the public's vision to better apprehend a rapidly changing modern world.Trade Review"Cartoon Vision treats animation with all the seriousness it deserves, and in so doing captures a messier modernism that rightly brings avant-garde practice into contact with a more diverse field of popular taste." * Oxford Art Journal *Table of ContentsList of Illustrations Acknowledgments Introduction 1 • Postwar Precisionism: Order in American Modernist Art and the Modern Cartoon 2 • Unlimited Animation: Movement in Modern Architecture and the Modern Cartoon 3 • Condensed Works: Communication in Graphic Design and the Modern Cartoon 4 • The Design Gaze: Cartoon Logic in Hollywood Cinema and the Avant-Garde Conclusion Notes Bibliography Index
£999.99
University of California Press Isamu Noguchis Modernism
Book SynopsisExploring the complex interweaving of race, national identity, and the practice of sculpture, Amy Lyford takes us through a close examination of the early US career of the Japanese American sculptor Isamu Noguchi (1904-1988). The years between 1930 and 1950 were perhaps some of the most fertile of Noguchi's career. Yet the work that he produced during this time has received little sustained attention. Weaving together new archival material, little-known or unrealized works, and those that are familiar, Lyford offers a fresh perspective on the significance of Noguchi's modernist sculpture to twentieth-century culture and art history. Through an examination of his work, this book tells a story about his relation to the most important cultural and political issues of his time. By focusing on Noguchi's reputation, and reception as an artist of Japanese American descent, Lyford analyzes the artist and his work within the context of a burgeoning desire at that time to define what modern AmerTrade Review“Written in animated and lucid prose, this book is that of a seasoned scholar whose intervention in Noguchi criticism performs the tremendous work of critiquing and making socially relevant inroads in the field of art history.” * Society for US Intellectual History *“Written in animated and lucid prose, this book is that of a seasoned scholar whose intervention in Noguchi criticism performs the tremendous work of critiquing and making socially relevant inroads in the field of art history.” * Society for U.S. Intellectual History *Table of ContentsAcknowledgments Introduction Part 1. Labor 1. Earthworks, the Depression Economy, and Monument to the Plow 2. Modernism, Public Art, and Sculpture as Social Practice in the 1930s 3. Reinventing Labor in New York Part 2. Race 4. Negotiating Japanese American Confinement 5. Reimagining Humanity in the 1940s 6. Noguchi, Asian America, and Artistic Identity in Postwar New York Postscript: Beginnings and Ends at the Venice Biennale Appendix A. Noguchi’s “A Plan for Government Sponsored Farm and Craft Settlement for People of Japanese Parentage” Appendix B. Noguchi’s “I Become a Nisei” Notes Selected Bibliography List of Illustrations Index
£27.00
University of California Press Gans Constructivism Aesthetic Theory for an
Book SynopsisTrade Review"Kristin Romberg delivers an earth-shattering reevaluation of the Russian constructivist discipline of tectonics in her new biography of the art movement’s leading agit-man, Aleksei Gan. . . she has written such a tectonically textured testament to Gan—a book that attempts to synthetically respond to the demands of other fields external to history or Slavic studies—as might have made its protagonist proud." * H-Net *"Devotedly and dauntingly researched (ten archives combed, no page unturned, every typeface identified by font and size), convincingly argued and eloquently written." -- Yuri Tsivian, * Russian Review *"Romberg’s book illuminates the past but is oriented toward the future. It exemplifies a participatory, rather than receptive, mode for critical writing. Most importantly, it recalibrates the reader’s assumptions about the history of Constructivism, who makes it, and how it can be written." * ARTMargins *"What is particularly noteworthy in Romberg’s account . . . is an awareness that no discussion of the Constructivist object is complete without considering, first, the changed material and social conditions for its production, including a new conceptualization of artistic labor; and, second, without allowing for its status as art, even where that term must no longer be understood, bourgeoisie-style, in terms of representation or institution." * Art Journal *Table of ContentsAcknowledgments Introduction. Embedded Aesthetics and Situated History 1. Critical Masses: Mass Action and the Prehistory of Russian Constructivism GAN’S CONSTRUCTIVISM 2. Gan’s Constructivism: Aesthetic Theory for an Embedded Modernism 3. Constructivist Tectonics and the Wegenerian Revolution 4. The Typographic and Tectonic Conditions of Gan’s Constructivism GAN’S PRODUCTIVISM 5. The Communist City: The Total Work of the Constructivist Object 6. The Communist City, Side B: Montage and the Concrete Human Character 7. Art in the Battle for Time: Cinematic Realism and the Rationalization of Labor Abbreviations for Archival Sources Notes List of Illustrations Index
£46.75
University of California Press Mediums and Magical Things Statues Paintings and
Book SynopsisStatues, paintings, and maskslike the bodies of shamans and spirit mediumsgive material form and presence to otherwise invisible entities, and sometimes these objects are understood to be enlivened, agentive on their own terms. This book explores how magical images are expected to work with the shamans and spirit mediums who tend and use them in contemporary South Korea, Vietnam, Myanmar, Bali, and elsewhere in Asia. It considers how such things are fabricated, marketed, cared for, disposed of, and sometimes transformed into art-market commodities and museum artifacts.Trade Review"Mediums and Magical Things makes a valuable contribution to the study of material religion, anthropology of religion, and religion in modernity. It is a timely volume that will no doubt fulfill Kendall’s hope that it ‘propel others down similar paths’." * Nova Religio *"Mediums and Magic Things contributes to the study of material religion and the anthropology of religion in a very readable and easily accessible way." * Religious Studies Review *Table of ContentsList of Illustrations Preface and Acknowledgments Conventions 1. MacGuffins and Magical Things 2. Ensoulments 3. Materiality, Making, and Magic 4. Agency and Assemblage 5. The Ambiguities of the Unsacred 6. Afterlives Conclusion Notes Bibliography Index
£63.90
University of California Press Gordon MattaClark Physical Poetics
Book SynopsisTrade Review"Examining the titles of Matta-Clark’s works, as well as private notebooks, aphoristic notecards, letters and loquacious statements he made to various interviewers, Richard—herself a poet—maps with obsessive precision the ways in which the artist’s language use frames and enlarges his artworks, many of which exist now only in the form of documentation. . . . Richard’s nimble exegesis of her subject and his language sets the stage for conjuring a vision of Matta-Clark working in the landscape." * Chicago Review of Books *"Richard conscientiously treats Matta-Clark's written word as another facet of his artistic production, which serves to contextualize and deepen an understanding of his short-lived career. Presenting these musings, complete with words crossed-out, spelling errors, arrows, and marginal notations from books, provides a conduit to Matta-Clark's archive and displays his playful use of language. This book is remarkable in its ability to systematically weave Matta-Clark's thought process with his artwork in a way that remains directly connected to the archives while still reading narratively. It would be an excellent resource for anyone interested in Matta-Clark and his milieu in the 1970s Soho art scene." * ARLIS/NA Reviews *"Richard's compelling and crystalline prose make it quite the page-turner. Reading it under lockdown during a pandemic has been a particularly thought-provoking experience. Physical Poetics exemplifies the kind of rigorous work that is difficult to achieve, so thorough is its analysis of the archival and the material evidence. It reads at once like a biography, an essay and an inventory; it is a Matta-Clark concordance, but much more thrilling than that sounds." * Burlington Magazine *"Richard authors an extensively researched and dense text that examines the archives of the artist, focussing predominantly on his prosaic texts and irreverent semantic aphorisms recorded on notecards. For any fan or interest in the artist, the book serves as part-analysis of the archive, with a nuanced insight into New York’s emerging contemporary art scene of the late 1960’s and early 70’s. However, the volume also works as semi-biographical, charting Matta-Clark’s tumultuous parentage and maturation, in a parallel to his works, interests, and backdrop of famous connections past, present, and future." * Visual Studies *Table of ContentsIntroduction. CONFUSION GUIDED BY A CLEAR SENSE OF PURPOSE; or, a comet, which would have its tail in front PART ONE. TOTAL (SEMIOTIC) SYSTEM: READING GORDON MATTA-CLARK “Total (Semiotic) System” Walking and Reading WORKING AT SEVERAL DIMENTIONS “A step taken in the fog” “Kool Killer, or the Insurrection of Signs” PART TWO. ANARCHITECTURE AS POETIC DEVICE: GORDON MATTA-CLARK AND THE SOHO CONVERSATION Anarchitecture as Poetic Device “The Poetics of Psycho-Locus” AVAILABLE “Metaphoric Void”Arche and the Alpha Privative "Ambiguity Is All” Art World Prince BEST LATED WISHES Of Trees, Burial, Cooking, and Cannibalism “Another name more or less the same” Venn Diagram To THE MEETING and THE MOB (AGAIN) MAKING NOT SOLVING PROBLEMS The Irrational Village and the Non-u-ment Un-monumentalizing Conversation Monument, Non-u-ment, and Site/Non-site Smithson Coda: The IslandsQuadrille, Walls paper, et al.Fake Estates LAYERED REALITY, Thin Edge, and Space Between “Been Gone”: Notes on the Index Cut/Draw/WriteImmune versus Cancer Cells PART THREE. A SILENT FORCE: THE LEGACIES OF MATTA AND DUCHAMP DEMENTIONS “A Silent Force” Matta and Pajarito: “Psychological Morphology” and Réalité parallèle Noguchi “Jestures”Étant . . . Anartist and AnarchitectureInframince and Thin Edge Bullet Holes Phenomena of Infra- Readymade and Ready-to-be-unmade The Alchemical Pun PART FOUR. SPACISM: GORDON MATTA-CLARK AND THE POLITICAL “We chose to build a world of our own” “My understanding of art . . .” and THE JOY OF GETTING AWAY WITH IT SPACISM “I woundered who it is for . . .” Chile and the Bienal de São PauloWindow Blow-OutArc de Triomphe for WorkersA Resource Center and Environmental Youth Program for Loisaida THE VOYEURIST'S SPACE Violent Space, SECURITY MEASURES, and THE SIGN POST ANARCHIE The Money Photographs Cornell ’69 “Gordon Matta-Clark and Individualism” “A fine-tuned language and logic of the body” Conclusion. “WITHIN ABSURDITY THERE IS A FANTASTIC FREEDOM” Acknowledgments Abbreviations Notes List of Illustrations Index
£34.20
University of California Press John Waters
Book SynopsisIt has been more than fifty years since John Waters filmed his first short on the roof of his parents' Baltimore home. Over the following decades, Waters has developed a reputation as an uncompromising cultural force not only in cinema, but also in visual art, writing, and performance. This major retrospective examines the artist's influential career through more than 160 photographs, sculptures, soundworks, and videos he has made since the early 1990s. These works deploy Waters's renegade humor to reveal the ways that mass media and celebrity embody cultural attitudes, moral codes, and shared tragedy. Waters has broadened our understanding of American individualism, particularly as it relates to queer identity, racial equality, and freedom of expression. In bringing bad taste to the walls of galleries and museums, he tugs at the curtain of exclusivity that can divide art from human experience. Waters freely manipulates an image bank of less-than-sacred, low-brow referencesElizabeth Taylor's hairstyles, his own self-portraits, and pictures of individuals brought into the limelight through his films, including his counterculture muse Divineto entice viewers to engage with his astute and provocative observations about society. This richly illustrated book explores themes including the artist's childhood and identity; Pop culture and the movie business; Waters's satirical take on the contemporary art world; and the transgressive power of images. The catalogue features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; critic, curator, and artist Robert Storr; as well as an interview with Waters by photographer Wolfgang Tillmans. Published in association with the Baltimore Museum of Art. Exhibition dates: The Baltimore Museum of Art: October 7, 2018January 6, 2019 Wexner Center for the Arts: February 2April 28, 2019Trade Review“Until someone writes the definitive biography, ‘John Waters: Indecent Exposure’, the catalog for the filmmaker’s Baltimore Museum of Art retrospective, is as complete a portrait of an unclassifiable artist as possible. The focus is on gallery work, sculptures of Charles Manson, conceptual pieces (see ‘Hetero Flower Shop’ — please) and much more transgressive works, but mixed with Q&As, essays on Water’s ‘queer ethics’ and the artist’s unassailable cheer, it offers a powerful argument for free expression itself.” * The Chicago Tribune *Table of ContentsForeword Lenders to the Exhibition Acknowledgments INAPPROPRIATION Kristen Hileman PLATES 1–35 JOHN WATERS’S QUEER ETHICS Jonathan D. Katz PLATES 36–68 QUEERING THE PITCH Robert Storr PLATES 69–101 WOLFGANG TILLMANS in Conversation with JOHN WATERS PLATES 102–159 Works in the Exhibition Filmography Selected Bibliography Index Image Credits
£37.80
University of California Press When I Remember I See Red
Book SynopsisWhen I Remember I See Red: American Indian Art and Activism in Californiafeatures contemporary art by First Californians and other American Indian artists with strong ties to the state. Spanning the past five decades, the exhibition includes more than sixty-five works in various media, from painting, sculpture, prints, and photography, to installation and video. More than forty artists are represented, among them pioneers such as Rick Bartow, George Blake, Dalbert Castro, Frank Day, Harry Fonseca, Frank LaPena, Jean LaMarr, James Luna, Karen Noble, Fritz Scholder, Brian Tripp, and Franklin Tuttle, as well as emerging and mid-career artists. Taking cues from their forebears, members of the younger generation often combine art and activism, embracing issues of identity, politics, and injustice to produce innovativeand frequently enlighteningwork. The exhibition, along with the accompanying catalogue, transcends borders, with some California artists working outside the state, and several artists of non-California tribes living and creating within its boundaries. Diverse cultural influences coupled with the extraordinary dissemination of images made possible by technology have led to new forms of expression, makingWhen I Remember I See Reda richly layered experience. Published in association with the Crocker Art Museum Exhibition dates: Crocker Art Museum, Sacramento: October 20, 2019January 26, 2020 Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe: August 14, 2020January 3, 2021 Autry Museum of the American West, Los Angeles: July 18, 2021February 27, 2022Trade Review"From [Frank] LaPena’s lithograph “History of California Indians” to Linda Aguilar’s basket decorated with shells, bingo markers, and cut-up credit cards, the images challenge stereotypes in astonishing ways." * Alta: The Journal of California *"When I Remember I See Red: American Indian Art and Activism in California represents an important confluence of moments, a bridge across generations of artists, thinkers, and cultural practitioners who have been engaged in a conversation that is embodied, multiple, and always happening." * Native American and Indigenous Studies *"This sumptuously illustrated catalog and the Crocker Art Museum’s glorious exhibition for which it stands are eminent introductions to the astonishing range of contemporary California Indian art and its makers, yet even more significantly, together they retrospectively reveal and announce a landmark event in the history of American art at large. . . .The book displays the magnificent and persuasive evidence of where American Indian art has most fully matured on its own terms." * American Indian Culture and Research Journal *Table of ContentsForeward Edmund G. "Jerry Brown Jr." Director's Message Lial A. Jones Forward W. Richard "Rick" West Jr. California Indian Traditional Tribal Territories Introduction The Continuity of Change: The Fifth World Frank LaPena Artists One Still Here Malcolm Margolin Two Reflecting the Creative Spirit Julian Lang Three San Francisco's American Indian Contemporary Arts, 1983-2000: A Personal Narrative Janeen Antoine Four A Critical Site: American Indian Art in California Nicolas G. Rosenthal Five American Indian Art at the Crocker Art Museum Scott A. Shields Six Identity Matters in Contemporary Art by Indigenous Women Kristina Perea Gilmore Seven California's Community-Based American Indian Artists Mark Dean Johnson Timeline Governmental Policies, Indian Activism, Community Cultural Development, and Visual Art Milestones, 1950's-2018 Janeen Antoine and Mark Dean Johnson Exhibition Checklist Contributors Index
£37.80
University of California Press The Mask of Socrates
Book SynopsisThis richly illustrated work provides a new and deeper perspective on the interaction of visual representation and classical culture from the fifth century B.C. to the fourth century A.D. Drawing on a variety of source materials, including Greco-Roman literature, historiography, and philosophy, coupled with artistic renderings, Paul Zanker forges the first comprehensive history of the visual representation of Greek and Roman intellectuals. He takes the reader from the earliest visual images of Socrates and Plato to the figures of Christ, the Apostles, and contemporaneous pagan and civic dignitaries. Through his interpretations of the postures, gestures, facial expressions, and stylistic changes of particular pieces, we come to know these great poets and philosophers through all of their various personasthe prophetic wise man, the virtuous democratic citizen, or the self-absorbed bon vivant. Zanker's analysis of how the iconography of influential thinkers and writers changed demonst
£35.70
University of California Press Abstract Crossings
Book SynopsisToward the middle of the 1950s, abstract art became a dominant trend in the Latin American cultural scene. Many artists incorporated elements of abstraction into their rigorous artistic vocabularies, while at the same time, the representation of geometric lines and structures filtered into everyday life, appearing in textiles, posters, murals, and landscapes. The translation of a field-changing Spanish-language book, Abstract Crossings analyzes the relationship between, on the one hand, the emergence of abstract proposals in avant-garde groups and, on the other, the institutionalization and newfound hegemony of abstract poetics as part of Latin America's imaginary of modernization. A profusion of mid-century artistic institutional exchanges between Argentina and Brazil makes a study of the trajectories of abstraction in these two countries particularly valuable. Examining the work of artists such as Max Bill, Lygia Clark, Waldemar Cordeiro, and Tomás Maldonado, author María Amalia García rewrites the artistic history of the period and proposes a novel reading of the cultural dialogue between Argentina and Brazil. This is the first book in the new Studies on Latin American Art series, supported by a gift from the Institute for Studies on Latin American Art (ISLAA).Trade Review"García’s study serves as a model of the ways in which thoughtful and creative archival research can significantly alter the narratives we tell of both individual artists and larger movements. What this author builds from archival sources is a compelling story in which nationalism and internationalism are irrevocably intertwined, and the most genuine desire for the latter can be made to serve the former. It thus presents South American concretism as both an avant-garde project and a tool of cultural politics and argues that the line between the two is not easily fixed." * Art Journal *"A game changer for the histories of Latin American abstraction." * Latin American Research Review *Table of ContentsPREFACE TO THE ENGLISH-LANGUAGE EDITION AND ACKNOWLEDGMENTS LIST OF ABBREVIATIONS Introduction 1.Arturo Magazine and the Re-Situating of the Avant-Garde in the Southern Cone 2.Inventionism’s Projects and Projections: The Asociación Arte Concreto-Invención (Concrete-Invention Art Association) 3.Buenos Aires–São Paulo: Interconnections between Cultural Institutions and Art Criticism in the Construction of Abstract Art 4.New Visions of Tradition: The Place of Concrete Art on the Argentine-Brazilian Map 5.Regional Concretism: South American Interventions on and Confrontations with the Paradigm of Modern Art and Architecture 6.Art Exhibitions and Policies of Exchange: Argentine Art in Brazil and Brazilian Art in Argentina 7.Inside or Outside Art’s Transformations? Conclusion ARCHIVES AND SOURCES REFERENCES LIST OF ILLUSTRATIONS INDEX
£35.70
University of California Press Making Images Move Handmade Cinema and the Other
Book SynopsisMaking Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of handmade cinema from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema's shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.Trade Review"Written with careful precision and breadth. . . chronicling a rich, 100-year history of handmade moviemaking in which artists similarly trespass into other areas of creative practice." * Los Angeles Review of Books *"Gregory Zinman’s excellent new book on movies made (or remade) through the direct, often tactile engagement of artists and their filmstrips, video-feedback loops, and myriad other animated oozes and vibrant viscosities, Making Images Move: Handmade Cinema and the Other Arts is everything one wants in this age of over-scribbling at the margins of cinema. Lucid, smart, but entirely readable, and compellingly illuminated with color illustrations of the wonders it describes." * Cinema Scope Magazine *"Devoid of zeitgeisty romanticizations of the analog, Gregory Zinman's Making Images Move presents a defiant yet clear-eyed alternative history of the origins of cinema. . . . Zinman's prose sparkles in recounting artists' use of chemicals, bodily fluids, and elements like wind and water, which often render celluloid fragile or ephemeral." * Film Comment *"Zinman’s is the book perched on our balconies. It is worth way more than two in the bush. That’s the great thing about books that are also birds. Their singleness multiplies in hands that hold them. Running fingers through their feathered figures to thread additional ones in responds to their song." * Critical Inquiry *"Zinman explores the history of camera-less filmmaking in an exciting intervention that ennobles an underdiscussed mode of film production and challenges our very conception of what constitutes a 'movie.' . . . A groundbreaking immersion into a previously uncelebrated filmmaking practice." * Historical Journal of Film, Radio and Television *"Rather than manifesting a site of contestation between painting, film, sculpture, or photography, Making Images Move espouses the handmade's medium-collaborative impulse through material investigations of light in time. . . . Though Zinman situates the return to craft as a response to mass digitization, the current pandemic transfigures Zinman's politics of handmade joy into something almost elegiac, as even the possibility of direct artistic experience remains untenable." * Millennium Film Journal *Table of ContentsList of Illustrations Acknowledgments Introduction A Shadow History of the Moving Image PART I. HANDMADE FILM 1. Between Canvas and Celluloid Visual Music, Motion Paintings, and Cameraless Photography 2. Abstractions in Time Painting and Scratching on Film 3. By Chemical, by Body, by Mechanism Other Handmade Methods 4. Beyond the Frame Cameraless Questions of Politics and Representation PART II. HANDMADE MOVING IMAGES 5. Light in Motion The Moving Image between the Plastic Arts and Cinema 6. Making Space, Making Time Light Art of the 1950s and 1960s 7. Forms of Radiance The Practice and Significance of the Psychedelic Light Show 8. Video Art Analog Circuit Palettes, Cathode Ray Canvases Conclusion Handmade Moving Images in the Digital Era Notes Index
£68.00
