History of art Books

Book SynopsisAfter World War I, artists without formal training crashed the gates of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson Grandma Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.Trade Review"Gatecrashers is an important contribution and corrective to our understanding of the history of American art in the crucial decades before and after the Second World War." * Burlington Magazine *"Gatecrashers successfully destabilizes received binaries, giving us crucial new insights into familiar 'representatives' of the self-taught moniker, which in turn complicate that status." * caa.reviews *Table of ContentsAcknowledgments ONE Modern Primitives and National Identity TWO “The Most Truly American” John Kane’s Naturalized Appeal THREE Both New Negro and American Horace Pippin’s Crossover Appeal FOUR Goodwill Grandma Anna Mary Robertson Moses’s Cold War Appeal FIVE Expanding the Matrix of American Art Notes Selected Bibliography List of Illustrations Index

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Book SynopsisTextiles were the second-most-traded commodity in all of world history, preceded only by grain. In the Ottoman Empire in particular, the sale and exchange of silks, cottons, and woolens generated an immense amount of revenue and touched every level of society, from rural women tending silkworms to pashas flaunting layers of watered camlet to merchants traveling to Mecca and beyond. Sea Change offers the first comprehensive history of the Ottoman textile sector, arguing that the trade's enduring success resulted from its openness to expertise and objects from far-flung locations. Amanda Phillips skillfully marries art history with social and economic history, integrating formal analysis of various textiles into wider discussions of how trade, technology, and migration impacted the production and consumption of textiles in the Mediterranean from around 1400 to 1800. Surveying a vast network of textile topographies that stretched from India to Italy and from Egypt to Iran, Sea Change illuTrade Review"That [textiles’] significance is underestimated by westward-thinking art historians is a wide gap in scholarship, which "Sea Change" begins to fill with clear delineations of prose offering readers meticulous insight into the pragmatics of the textile craft and the inspirations of its creative flourishing across classes and cultures." * Daily Sabah *"A valuable addition to the field of Ottoman textiles, art history, and Islamic studies. It offers a comprehensive and insightful examination of the history of Ottoman textile production and its significance in the Ottoman Empire and beyond. This book is a must-read for anyone interested in the subject and is highly recommended for scholars and students alike." * Journal of the Oriental Rug and Textile Society *"Well-researched and lavishly designed, Sea Change is a stunning exploration of the climate and our world's coastlines." * Midwest Book Review *Table of ContentsAcknowledgments Translations, Transliterations, and Terminologies Introduction PART 1 1. Technology, History, and Terminology, ca. 1200–1400 2. Weaving in Anatolia: International Styles and Local Production, 1390–1500 PART 2 3. Imperial Appetites, Shared Technologies, 1500–1650 4. Regulation and Contravention, 1500–1700 PART 3 5. Worlds of Goods: Consumption and Production, 1550–1750 6. Emulation, Imitation, and Novelty, 1700–1800 Conclusion Appendix Abbreviations Glossary Notes Bibliography List of Illustrations Index

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Book SynopsisEven ardent fans of Andy Warhol (19281987) may be surprised to learn that the artist created a significant body of western work. In fact, Warhol was drawn to the lore and lure of the American West throughout his life. He was heavily influenced by the mythology and iconography of the American West, conveyed primarily through film and television, and revealed at various points in his life by toys, clothing, and travel. His lifelong fascination with the West culminated with his 1986 series Cowboys and Indians, a print portfolio that represents an important milestone in the artist's late career and a shift in the conception of contemporary western American art. One of the last major projects Warhol completed prior to his death, Cowboys and Indians received very little critical or public attention at the time of its release and remains one of the most understudied aspects of the artist's career. Warhol and the West explores for the first time the range of western imagery Warhol produced.Trade Review"Featuring bold depictions of heroes of the West — including towering figures such as John Wayne, Annie Oakley, Geronimo, and Theodore Roosevelt, as well as symbolic objects like an Indian Head nickel, a Northwest Coast mask, and kachina dolls — it’s an excellent companion to the traveling exhibition or a terrific stand-in if you can’t make the show." * Cowboys & Indians *"The writings that take seriously the way Warhol’s obsessions have (re)produced white America’s fantasy of indigenous life are particularly effective at offering a new read on Warhol as an artist. . . .the text exposes...an emptiness in Warhol’s work, ultimately revealing the power and seduction of a fantasy about America that has always been harmful." * H-Net: Humanities and Social Science Reviews *Table of ContentsDirectors' Foreword Curators' Acknowledgments Introduction Faith Brower Michael R. Grauer Seth Hopkins Essays Warhol and the West: Following Faint Trails to the Lost Gold Mine Seth Hopkins The American Indian and Warhol's Fantasy of an Indigenous Presence heather ahtone Make It Pop: Contemporary Western and Native American Pop Art Faith Brower Contributors Index

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Book SynopsisHinges: Sakaki Hyakusen and the Birth of Nanga Painting is the first US exhibition focusing on the art of Sakaki Hyakusen (16971752), the founding father of the Nanga school of painting in Japan. The exhibition, together with a fully illustrated catalog and extensive public programs, will demonstrate Hyakusen's pivotal role as a key figure in the transformation of Japanese painting of the eighteenth century. Highlighting the recent conservation of Mountain Landscape, a rare pair of six-panel landscape screens by Hyakusen, alongside Chinese landscape paintings by traditional masters and works by influential Nanga school painters, the exhibition promises to add significantly to public understanding of the art of conservation and important crosscultural and artistic connections emerging in Japan in the seventeenth and eighteenth centuries. With an introductory essay by curator Julia M. White, the fully illustrated catalog will include approximately fifty images, and three additional essay

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Book SynopsisAcclaimed for treading new ground in operatic studies of the period, Simon Morrison's influential and now-classic text explores music and the occult during the Russian Symbolist movement. Including previously unavailable archival materials about Prokofiev and Tchaikovsky, this wholly revised edition is both up to date and revelatory. Topics range from decadence to pantheism, musical devilry to narcotic-infused evocations of heaven, the influence of Wagner, and the significance of contemporaneous Russian literature. Symbolism tested boundaries and reached for extremes so as to imagine art uniting people, facilitating communion with nature, and ultimately transcending reality. Within this framework, Morrison examines four lesser-known works by canonical composersPyotr Tchaikovsky, Nikolay Rimsky-Korsakov, Alexander Scriabin, and Sergey Prokofievand in this new edition also considers Alexandre Gretchaninoff's Sister Beatrice and Alexander Kastalsky's Klara Milich, while also making the case for reviving Vladimir Rebikov's The Christmas Tree.Trade Review“Worth investigation by anyone interested in the culture of this period or the composers discussed.” * Times Literary Supplement *“Ploughs new ground. . . . A fascinating study [and] a challenging mixture of literary and musical analysis.” * Opera Journal *“A rewarding and valuable study not only because of its insight and richness but also because of the accompanying reproductions of musical scores.” * Slavic & East European Journal *“Morrison draws on an impressive array of sources and disciplines…. His use of contemporary secondary sources is particularly effective, given his interest in the culture of reception.” * Slavic Review *“Morrison’s book has become a standard reading-list item and the accepted starting point for the researches of a new generation of graduate students. Ideas that were striking and fresh [when first published] have become common currency—a tribute to the book’s success.” * Journal of the American Musicological Society *Table of ContentsAcknowledgments A Note on Transliteration and Dates Introduction 1 • Decadence: Tchaikovsky at the Edge Interlude • Symbolism’s Nutcracker 2 • Syncretism: Rimsky-Korsakov and Belsky Interlude • Klara Milich 3 • Theurgy: Scriabin and the Impossible Interlude • Another Church Musician Writes an Opera 4 • Mimesis: Prokofiev’s Demons Conclusion Notes Index

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Book SynopsisCabinet cards were America's main format for photographic portraiture throughout the last quarter of the nineteenth century. Standardized at 6 x 4 inches, they were just large enough to reveal extensive detail, leading to the incorporation of elaborate poses, backdrops, and props. Inexpensive and sold by the dozen, they transformed getting one's portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends. The cards reinforced middle-class Americans' sense of family. They allowed people to show off their material achievements and comforts, and the best cards projected an informal immediacy that encouraged viewers to feel emotionally connected with those portrayed. The experience even led sitters to act out before the camera. By making photographs an easygoing fact of life, the cards forecast the snapshot and today's ubiquitous photo sharing. Organized by senior curator John Rohrbach, Acting Out is the first ever in-depthTrade Review"Acting Out adds to the historical narrative of photography." * Dallas Morning News *

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Book SynopsisLong viewed as a tabula rasa, the deserts of the American West have played a distinct role in the projection of American cultural identities. Historically represented through fantasies of individualism, frontier ruggedness, and land acquisition, the desert is also the site of extreme social and environmental violence. The Invention of the American Desert brings together a wide-ranging group of interdisciplinary essays that explore, through diverse perspectives, dialectical problems posed by an environment that has served as a testing ground for modernist experimentation in art and architecture, military-industrial incursions, and ecological disasters throughout the twentieth and twenty-first centuries. In light of the urgent climate crisis and the planet's increasing desertification, this volume reflects on the nature and legacy of the desert as a crucible for competing visions of land, environment, and art.Table of ContentsAcknowledgments Introduction Lyle Massey and James Nisbet PART ONE: CONTAMINATION 1. Desolate Dreams Joseph Masco 2. Air, Wind, Breath, Life: Desertification and Will Wilson’s AIR (Auto-Immune Response) Jessica L. Horton PART TWO: FABRICATION 3. Notes from Bioteknika Albert Narath 4. Troglodyte Modernists Lyle Massey 5. Explosive Modernism: Hiram Hudson Benedict's Bouldereign and Zabriskie Point at Fifty Edward Dimendberg PART THREE: INVISIBILITY 6. Point Omega / Omega Point: Desert in Three Parts Stefanie Sobelle 7. The Desert in Fine Grain Emily Eliza Scott PART FOUR: DYSTOPIA 8. The Desert as Black Mythology Bridget R. Cooks 9. On the Recalcitrance of the Desert Island, by way of Andrea Zittel's A–Z West James Nisbet CODA 10. Four Theses for the Coming Deserts Hans Baumann and Karen Pinkus List of Contributors List of Illustrations Index

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Book SynopsisThe first in-depth biography of Sam Francis, the legendary American abstract painter who broke all the rules in his personal and artistic life. Light on Fire is the first comprehensive biography of Sam Francis, one of the most important American abstract artists of the twentieth century. Based on Gabrielle Selz's unprecedented access to Francis's files, as well as private correspondence and hundreds of interviews, this book traces the extraordinary and ultimately tragic journey of a complex and charismatic artist who first learned to paint as a former air-corps pilot encased for three years in a full-body cast. While still a young man, Francis saw his color-saturated paintings fetch the highest prices of any living artist. His restless desire resulted in five marriages and homes on three continents; his entrepreneurial spirit led to founding a museum, a publishing company, a reforestation program and several nonprofits. Light on Fire captures the art, life, personality, and talent of a man whom the art historian and museum director William C. Agee described as a rare artist participating in the visionary reconstruction of art history, defying creative boundaries among the likes of Jackson Pollock, Mark Rothko, and Willem de Kooning. With settings from World War II San Francisco to postwar Paris, New York, Tokyo, and Los Angeles, Selz crafts an intimate portrait of a man who sought to resolve in art the contradictions he couldn't resolve in life.Trade Review"Quality research supplies a dramatis personae that's a hit list of 20th-century art giants. . . . An engaging read, avoiding hagiography. This biography of a mercurial rogue has something to amuse or annoy most aficionados." * Library Journal *"Selz’s engaging book gamely takes readers along for the ride as Francis hops between countries, lovers, and commissions, eternally courting the change and drama that fueled his work. . . . Selz manages to capture the expansive, unwieldy story of Francis — a vivacious, ego-absorbed searcher — in both his intimate and larger-than-life moments." * Hyperallergic *"Selz's writing achieves a depth of feeling, marked sympathy, and a grasp of the man as well as the myth, with an insider's knowledge of his gigantic, imperfect life. Elegant and precise, her writing paints a captivating portrait of this complex artist." * East Hampton Star *“Selz’s engaging book gamely takes readers along for the ride as Francis hops between countries, lovers, and commissions, eternally courting the change and drama that fueled his work. . . . Selz manages to capture the expansive, unwieldy story of Francis—a vivacious, ego-absorbed searcher—in both his intimate and larger-than-life moments.” * Hyperallergic *"The first full biography of the artist, its existence is more than justified by the remarkable facts and dramatic episodes of Francis’s life. . . . Selz​ . . . succeeds at maintaining a scholarly distance, casting Francis as a highly imperfect if charismatic and larger-than-life character." * Leonardo *"Gabrielle Selz’s accomplished biography of American abstract artist Sam Francis, Light on Fire, investigates the artist-muse relationship . . . obliquely . . . but with no less nuance. . . . Selz uses the case study of one 'genius' artist to deconstruct the very concept of artistic genius, at the core of which lies total emotional impotence. That emotional impotence, of course, wreaks havoc in their lives." * Los Angeles Review of Books *"About a quarter of the way into Gabrielle Selz’s Light on Fire: The Art and Life of San Francis, I found myself thinking: this book should be a movie. . . . Light on Fire delivers a riveting portrait of a man driven (and riven) by huge appetites: for painting, women, fame, family, philanthropy and, most of all, a desire to pierce the veil separating life and death. . . .The book unfolds like a page-turner.” * Square Cylinder *“About a quarter of the way into Gabrielle Selz’s Light on Fire: The Art and Life of San Francis, I found myself thinking: this book should be a movie. . . . Light on Fire delivers a riveting portrait of a man driven (and riven) by huge appetites: for painting, women, fame, family, philanthropy and, most of all, a desire to pierce the veil separating life and death. . . . The book unfolds like a page-turner.” * Square Cylinder * "A comprehensive look into the life and work of a complex artist who played an important role in the history of American art." * CHOICE *Table of ContentsAcknowledgments Introduction Part I 1923–1950 Color is light on fire 1. Traumatic Beginnings 2. First Love, First Muse 3. An Unexpected Battle 4. The Keys to the Kingdom 5. A First Coalescence Part II 1950–1956 Paris was the psychic mother of me 6. A Tiny Room at the Hôtel de Seine 7. Ambition and Lies 8. I Paint Time 9. A Homecoming of Joy and Anguish Part III 1956–1962 Go as far as you can as fast as you can 10. Wanderlust 11. Feverish Intensity 12. An Internationalist in New York 13. I Am a Seismograph 14. A Dance with Mr. Death Part IV 1962–1985 I am your change-bearer, I am your instrument of expansion 15. Resurrection 16. I Love My Desires 17. The Space at the Center Is Reserved for You 18. The Artist Is His Work and No Longer Human 19. My Consciousness Is an Image 20. Art Is the Heart of the Matter 21. A New Era for Los Angeles 22. My Virtue Is to Be Myself Part V 1986–1994 I am steering by the torch of chaos and doubt 23. Don't Be Sorry for Nothing 24. Death Is a Curve in Harmony with Life Epilogue Notes on Sources Illustration Credits Index

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Book SynopsisWhat happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regularity since the advent of the War on Terror, when drones began migrating into civilian platforms of film, photography, installation, sculpture, performance art, and theater. In this groundbreaking study, Thomas Stubblefield attempts not only to define the emerging genre of drone art but to outline its primary features, identify its historical lineages, and assess its political aspirations. Richly detailed and politically salient, this book is the first comprehensive analysis of the intersections between drones, art, technology, and power.Trade Review"In Drone Art, [Stubblefield] ruminates on the profound implications of a technology that can, by cross-referencing historical patterns, provide ‘limitless temporal parameters.'" * London Review of Books *"Stubblefield manages to masterfully intertwine art criticism and critical theory with some remarkably lucid explanations of the actual operations of drone warfare." * Cultural Critique *Table of ContentsAcknowledgments Introduction: The Perverse Symmetry of Drone Art 1. Signature Strikes and World-Making 2. How to Photograph a Drone: The Nesting Logic of Vertical Empire 3. From the Ground Below: Spotting Industries, Smartphones, and the Post-Panopticism of Drones 4. The Animal Remainder: Excavating Nonhuman Life from Contemporary Drones 5. Showing Sensing: Drone Space and Postmedia in Film and Theater Conclusion: Supersymmetry, Capital, and War Notes Bibliography List of Illustrations Index

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Book SynopsisWhat happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regularity since the advent of the War on Terror, when drones began migrating into civilian platforms of film, photography, installation, sculpture, performance art, and theater. In this groundbreaking study, Thomas Stubblefield attempts not only to define the emerging genre of drone art but to outline its primary features, identify its historical lineages, and assess its political aspirations. Richly detailed and politically salient, this book is the first comprehensive analysis of the intersections between drones, art, technology, and power.Trade Review"In Drone Art, [Stubblefield] ruminates on the profound implications of a technology that can, by cross-referencing historical patterns, provide ‘limitless temporal parameters.'" * London Review of Books *"Stubblefield manages to masterfully intertwine art criticism and critical theory with some remarkably lucid explanations of the actual operations of drone warfare." * Cultural Critique *Table of ContentsAcknowledgments Introduction: The Perverse Symmetry of Drone Art 1. Signature Strikes and World-Making 2. How to Photograph a Drone: The Nesting Logic of Vertical Empire 3. From the Ground Below: Spotting Industries, Smartphones, and the Post-Panopticism of Drones 4. The Animal Remainder: Excavating Nonhuman Life from Contemporary Drones 5. Showing Sensing: Drone Space and Postmedia in Film and Theater Conclusion: Supersymmetry, Capital, and War Notes Bibliography List of Illustrations Index

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Book SynopsisThis stunning exhibition unveils the remarkable art and historical legacy of two mysterious kingdoms of ancient China. Phoenix Kingdoms brings to life the distinctive Bronze Age cultures that flourished along the middle course of the Yangzi River in South Central China about 2,500 years ago. With over 150 objects on loan from five major Chinese museums, Phoenix Kingdoms explores the artistic and spiritual landscape of the southern borderland of the Zhou dynasty, featuring remarkable archaeological finds unearthed from aristocratic tombs of the phoenix-worshipping Zeng and Chu kingdoms. By revealing the splendid material cultures of these legendary states, whose history has only recently been recovered, Phoenix Kingdoms highlights the importance of this region in forming a southern style that influenced centuries of Chinese art. This exhibition catalogue includes six essays that contextualize the stylistically rich materialmythical creatures, elaborate patterns, and elegant formsand introduces readers to the technologically and artistically sophisticated cultures that thrived before China's first empire. Lavishly illustrated with over 240 images, Phoenix Kingdoms showcases works from the exhibition across six categoriesjades, bronze ritual vessels, musical instruments and weapons, lacquerware for luxury and ceremony, funerary bronze and wood objects, and textiles and unique objects featuring distinctive designsmany of which are considered national treasures. Published in association with the Asian Art Museum of San Francisco.Table of ContentsContents Forewords Jay Xu and Fang Qin Acknowledgments Fan J. Zhang Maps Introduction Fan J. Zhang Part I Exploring Zhou’s Southern Borderland ONE Unearthing a Lost State: The Discovery of Zeng Jay Xu TWO Discovering Chu: The Legacy of the Southern Lands Fan J. Zhang THREE Art and Religion on the Ancient Jiang-Han Plain John S. Major Part II Material Culture of the Middle Yangzi River Region FOUR Jades of the Chu and Zeng States Colin Mackenzie FIVE Ritual and Musical Traditions in the States of the Jiang-Han Plain Haicheng Wang SIX Obsession with the Supernatural and Luxuries: Chu-Style Lacquerware, Textiles, and Funerary Objects Guolong Lai and I-fen Huang Part III Catalogue Jades, Agate, and Glass Bronze Ritual Vessels Musical Instruments and Weapons Lacquerwar Special Mortuary Objects Textiles, Gold, and Miscellanea Inscriptions Reigns of Zhou Kings and Zeng and Chu Lords Chronology Bibliography Index

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Book SynopsisTable of ContentsAcknowledgments Introduction 1. Visual Field Theory: Nature and Composition in Twentieth-Century Boston 2. Reality’s Invisible: Visual and Environmental Studies at Harvard 3. The Arts of Environment: The Center for Advanced Visual Studies, MIT 4. Eco-Art and Rudolf Arnheim’s Cellular Metaphor 5. Jack Burnham and the "Disposable Transient Environment" Notes Selected Bibliography List of Illustrations Index

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Book SynopsisSpeculative Landscapes offers the first comprehensive account of American artists' financial involvements in and creative responses to the nineteenth-century real estate economy. Examining the dealings of five painters who participated actively in this economyDaniel Huntington, John Quidor, Eastman Johnson, Martin Johnson Heade, and Winslow HomerRoss Barrett argues that the experience of property investment exposed artists to new ways of seeing and representing land, inspiring them to develop innovative figural, landscape, and marine paintings that radically reworked visual conventions. This approach moved beyond just aesthetics, however, and the book traces how artists creatively interrogated the economic, environmental, and cultural dynamics of American real estate capitalism. In doing so, Speculative Landscapes reveals how the provocative experience of land investment spurred painters to produce uniquely insightful critiques of the emerging real estate economy, critiques that uncovered its fiscal perils and social costs and imagined spaces outside the regime of private property. Trade Review"Barrett illuminates a number of new perspectives from the period which make Speculative Landscapes…worth reading." * Nineteenth Century Art Worldwide *"[The book] is exemplary in its purposeful investigations that, in breaking from standard interpretations, enables readers to see and understand multifaceted aspects of works of art with clarity while opening the door to other new inquiries." * Nineteenth Century: The Magazine of the Victorian Society in America *Table of ContentsContents Introduction 1. Land, Looking, and Futurity in the Hudson Valley 2. Digging for Gold: Allegories of Speculation on the Illinois Frontier 3. Picturing Land and Labor in the Old Northwest and New England 4. Perilous Prospects: Speculation and Landscape Painting in Florida 5. Painting and Property on Prouts Neck Conclusion Acknowledgments Notes Selected Bibliography List of Illustrations Index

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Book SynopsisTrade Review"Places revolutionary activism and explicitly political practices at the center of art created by women in the region. . . . The author’s recollection of the abortion rights movement’s activity in Argentina, which successfully won its legalization in the country two years ago, resonates especially strongly as reproductive rights remain under attack." * Hyperallergic *"A nuanced examination of the way female-identifying artists responded to the social and political movements of the late twentieth century and how their art and performance transformed in relation to diversifying frameworks of feminist thought." * The Latin Americanist *Table of ContentsContents ACKNOWLEDGMENTS Introduction 1. Art and Feminism: Politics of Representation 2. Artists between Activisms: Clemencia Lucena and María Luisa Bemberg—A Comparative Study 3. A Portrait in Absentia: Narcisa Hirsch and Experimental Film in Buenos Aires 4. Feminist Arts in Mexico: Manifestos, Lectures, Exhibitions, and Activisms 5. Archives, Performance, and Resistance: Nelbia Romero and Art from Uruguay under Dictatorship 6. Feel, despite Everything: Paz Errázuriz, Photography, and Dictatorship in Chile 7. Black Art Is Brasil: Rosana Paulino, Archives, and Memory of Slavery 8. Art and Feminism in Argentina Now GLOSSARY BIBLIOGRAPHY LIST OF ILLUSTRATIONS INDEX

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Book SynopsisTrade Review"Diego Rivera’s America reintroduces Rivera to twenty-first century audiences by reinforcing the deep-rooted historical and cultural foundations between the neighboring countries that must be reexamined rather than overlooked. The content innovates within the field of art history as well as interdisciplinary fields like Chicana/o/x studies and Central American studies, analyzing Rivera’s perspective on America as an interconnected body of people, land, and culture beyond geopolitical borders." * Latin American and Latinx Visual Cultures *Table of ContentsContents FOREWORD Neal Benezra LENDERS TO THE EXHIBITION INTRODUCTION James Oles DIEGO RIVERA’S CREATION: SYNTHESIS FOR A NEW NATION Sandra Zetina FROM MURALS TO PAINTINGS: SCENES OF EVERYDAY LIFE James Oles THE EMBROIDERER James Oles THE FLOWERED CANOE Adriana Zavala FROM MURALS TO PAINTINGS: MOTHERS AND CHILDREN James Oles THE OFFERING Dafne Cruz Porchini and James Oles MURALS ON PAPER James Oles DIEGO RIVERA’S NEW AMERICAN ART: SAN FRANCISCO, 1930–31 Maria Castro DESIGNS FOR THE PARAMOUNT THEATRE Rachel Kaplan FRIDA KAHLO: SAN FRANCISCO PORTRAITS, 1930–31 Adriana Zavala DESIGNS FOR H.P. Claire F. Fox DIEGO RIVERA PAINTS THE PROLETARIAT John Lear THE RED SQUARES OF MANHATTAN John Lear STUDY FOR A MURAL Rachel Kaplan RIVERA IN THE STUDIO James Oles LUZ JIMÉNEZ, WEAVER James Oles GIRL IN BLUE AND WHITE James Oles SYMBOLIC LANDSCAPES Dafne Cruz Porchini and James Oles DIEGO RIVERA’S PAN-AMERICA Claire F. Fox SELF-PORTRAITS IN SANTA BARBARA James Oles AFTER RIVERA: ICONOCLASTIC MESTIZAJE Jennifer A. González PRESERVING PAN AMERICAN UNITY Michelle Barger and Kiernan Graves Works in the Exhibition Selected Reading Acknowledgments Image Credits

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Book SynopsisThis expansive catalogue illuminates the social and cultural rootsand global importanceof iconic Filipino American artist and educator Carlos Villa's artwork and career. Carlos Villa has been described as the preeminent Filipino American artista legend in artistic circles for his groundbreaking approaches and his influence on countless artistsbut he remains littleknown to many fans and scholars of modern and contemporary art.Carlos Villa: Worlds in Collision is the first museum retrospective of his work, presented at the San Francisco Art Institute and the Asian Art Museum of San Francisco. Villa was trained at the San Francisco Art Institute in the 1950s as an abstract expressionist, and over time he transformed his practice to address issues of ethnic and cultural diversity. He concurrently assumed a leadership role in Third World and multicultural international art movements, and his large-scale works reference non-Western traditions, including tattoo, scarification, ritual, and ceremony. He was also an important theorist, curator, and organizer of public forums that he called actions. This book traces the arc of his career from 1969 until his death in 2013, with emphasis on his feathered works from the 1970s, as well as later works that address aspects of the history of Filipinos in the United States. It illuminates the social and cultural rootsand global importanceof Villa's art and teaching career as he sought to forge a new kind ofart-world inclusion that reflected his own experience, commitment to diversity, andboundary-bending imagination. Published in association with the San Francisco Art Institute. Exhibition dates: Newark Museum of Art: February 8, 2022May 8, 2022 San Francisco Art Institute & Asian Art Museum:June 17, 2022Fall 2022Table of ContentsACKNOWLEDGMENTS Jennifer Rissler PREFACE Tracing Carlos Villa’s Path Jay Xu FOREWORD Making the World Smaller: Carlos Villa’s Polyculturalism Lucy R. Lippard INTRODUCTION Roots, Rituals, Actions : Worlds in Collision Mark Dean Johnson and Trisha Lagaso Goldberg Carlos Villa: Ascent against the Odds Paul J. Karlstrom PORTFOLIO Ethnographic Inspirations: Works from the 1970s Mark Dean Johnson, Trisha Lagaso Goldberg, and Sherwin Rio Transcultural Sampling: The Reimagined Worlds of Carlos Villa Margo Machida PORTFOLIO A Smaller World: Carlos Villa and the Global Collections at the Newark Museum Tricia Laughlin Bloom Villa’s Fake Book Theodore S. Gonzalves America Is In His Art: Carlos Villa’s Poetics of Multiculturalism Luis H. Francia PORTFOLIO Words in Space: Carlos Villa’s 1990s Notepad Drawings Mark Dean Johnson, Trisha Lagaso Goldberg, and Sherwin Rio Worlds in Collision, Exploding Galaxy, Voyage into the Absolute Patrick D. Flores CATALOGUE Mark Dean Johnson and Sherwin Rio CHRONOLOGY Sherwin Rio SELECTED BIBLIOGRAPHY CONTRIBUTORS INDEX

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Book SynopsisEliza Pratt Greatorex (18191897) was America's most famous woman artist in the mid-nineteenth century, but today she is all but forgotten. Beginning with her Irish roots, this biography brings her art and life back into focus. Breaking conventions for female artists at that time, Greatorex specialized in landscapes and streetscapes, traveling from the Hudson River to the Colorado Rockies and across Europe and North Africa. Her crowning achievement, a monumental tome of drawings and narratives titled Old New York, awakened the public to the destruction of the city's architectural heritage during the postCivil War era. Exploring Greatorex's fierce ambition and creative path, Katherine Manthorne reveals how her success at forging an independent career in a male-dominated world shaped American gender politics, visual culture, and urban consciousness.Trade Review“One of the best things about this book is that, in spite of its multitextured account of the artist’s life and work, the reader wants to know more about women artists in this period. . . . The author’s clear and accessible prose helps the reader digest the multifaceted view that emerges from the book.” * Panorama: Journal of the Association of Historians of American Art *"Manthorne’s prose is quite lyrical at times, and her visual analysis of Greatorex’s compositions provide a fluid and balanced assessment of her work." * Imprint, Journal of the American Historical Print Society *"Manthorne’s study is a fascinating voyage...filled with a wealth of historical and social context. Most importantly, it significantly adds to our knowledge of nineteenth-century women artists and their experiences both in the US and abroad, and encourages us to further explore their roles as travelers and writers, and their efforts to occupy public spaces, whether on the streets, the exhibition gallery, or the studio, which they had been long denied." * Nineteenth Century Art World *"Manthorne “chases [a] shadow” to craft a robust and, at times, moving account of the life of this painter and etcher." * Irish Journal of American Studies *Table of ContentsAcknowledgments Introduction Prologue: The Old Church 1. Maeve’s Daughters: From Ireland to America, 1819–1848 2. Art, Domesticity, and Enterprise, 1850–1861 3. Civil War and Architectural Destruction 4. Success in the New York Art World, 1865–1870 5. In the Footsteps of Dürer, 1870–1872 6. Taming the West: Summer Etchings in Colorado (1873) 7. Old New York (1875): Witnessing Urban Transformation 8. Centennial Women, 1876–1878 9. Transatlantique: From New York City to Paris, from Cragsmoor to Morocco, 1878–1897 Epilogue: Kathleen and Eleanor Greatorex Carrying On Alone Notes Bibliography List of Illustrations Index

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Book SynopsisA new reality for the art object has emerged in the world of contemporary art: it is now experienced less as an autonomous, inanimate form and more as an active material agent. In this book, Kaira M. Cabañas describes how such a shift in conceptions of art's materiality came to occur, exploring key artistic practices in Venezuela, Brazil, and Western Europe from the mid-twentieth century to the present. Immanent Vitalities expands the discourse of new materialisms by charting how artists, ranging from Gego to Laura Lima, distance themselves from dualisms such as mind-matter, culture-nature, human-nonhuman, and even Westernnon-Western in order to impact our understanding of what is animate. Tracing migrations of people, objects, and ideas between South America and Europe, Cabañas historicizes changing perceptions about art's agency while prompting readers to remain attentive to the ethical dimensions of materiality and of social difference and lived experience.Trade Review"Immensely interesting and thought provoking. Dr. Cabañas’s work is a great example of how art historians can interweave multiple areas, histories, and theories to explore art and innovation." * Book Riot *"Immanent Vitalities is an important, theoretically sophisticated contribution to the scholarship on art in Latin America, one that admirably integrates this art into a global modern and contemporary context." * CHOICE *"An important contribution to studies on Latin American art." * Latin American and Latinx Visual Culture *Table of ContentsPreface Introduction 1 Color Is Active Life 2 For the Love of Metal 3 Painting’s Countenance 4 Art without Art 5 Entangling the Grid 6 Apersonal Rituals Epilogue Notes Illustration Credits List of Illustrations Index

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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 personasâthe 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 demon

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Book SynopsisTrade Review"[A] profound labour of love. . . . Sunya’s book is a gift to faculty and students of both undergraduate and graduate studies because of its depth, lucidity, and accessibility." * FemAsia *"Sirens of Modernity provides a rigorous and scholarly, yet accessible and engrossing, contribution to Indian cinema studies that will be useful for world cinema studies, sound studies, and gender studies." * Film Quarterly *"Sunya’s groundbreaking and sophisticated study of Indian commercial cinema, its self-reflexivity, and its excesses. . . .will inspire more research that centers media texts, objects, and contexts beyond bipolar Cold War imaginaries of the field and open new routes of historiographic and theoretical inquiry." * Journal of Cinema and Media Studies *

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Book SynopsisHumanity has precipitated a planetary crisis of resource consumptiona crisis of stuff. So ingrained is our stuff-centric view that we can barely imagine a way out beyond substituting a new portmanteau of material things for the one we have today. In The Human Scaffold, anthropologist Josh Berson offers a new theory of adaptation to environmental change. Drawing on niche construction, evolutionary game theory, and the enactive view of cognition, Berson considers cases in the archaeology of adaptation in which technology in the conventional sense was virtually absent. Far from representing anomalies, these cases exemplify an enduring feature of human behavior that has implications for our own fate. The time has come to ask what the environmental crisis demands of us not as consumers but as biological beings. The Human Scaffold offers a starting point. Trade Review“Berson's mind is on display in all its brilliance and eccentricity. Be prepared. . . . Berson's analytical discernment of contemporary culture burying ourselves with ‘stuff’ and mindlessly devouring the world's natural resources rings with descriptive eloquence. . . . Keep writing, Josh Berson. We need you." * National Catholic Reporter Online *Table of ContentsList of Figures Preface: Living Epiphytically Kansha 1. Treadmills 2. Scaffolds 3. Equilibria 4. Landscapes 4boro. Landscapes and Scaffolds 5. Ditch Kit Postscript: Foaminess Glossary Notes Sources Index

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Book SynopsisA mold-breaking memoir of Asian American identity, political activism, community, and purpose. Not Yo' Butterfly is the intimate and unflinching life story of Nobuko Miyamotoartist, activist, and mother. Beginning with the harrowing early years of her life as a Japanese American child navigating a fearful west coast during World War II, Miyamotoleads readers into the landscapes that defined the experiences of twentieth-century America and alsoforegrounds the struggles of people of color who reclaimed their histories, identities, and power through activism and art. Miyamoto vividly describes her early life in the racialized atmosphere of Hollywood musicals and then her turn toward activism as an Asian American troubadour with the release of A Grain of Sandconsidered to be the first Asian American folk album. Her narrative intersects with the stories of Yuri Kochiyama and Grace Lee Boggs, influential in both Asian and Black liberation movements. She tells how her experience of motherhood with an Afro-Asian son, as well as a marriage that intertwined Black and Japanese families and communities, placed her at the nexus of the 1992 Rodney King riotsand how she used art to create interracial solidarity and conciliation. Through it all, Miyamoto has embraced her identity as an Asian American woman to create an antiracist body of work and a blueprint for empathy and praxis through community art. Her sometimes barbed, often provocative, and always steadfast story is now told.Trade Review"Frank and fierce, her story is bound to inspire." * Ms. Magazine *"Starts with a bang and takes off into a poetic whirlwind. . . . The memoir captures an important part of American history that, at this point, has been rarely written about, especially by someone who lived it." * Rafu Shimpo *"Playful, provocative, never boring. . . . The memoir captures an important part of American history that has been rarely written about. It is well worth reading." * Nichi Bei Weekly *Table of ContentsList of Illustrations Intro First Movement 1 • A Travelin' Girl 2 • Don’t Fence Me In 3 • A Tisket, a Tasket, a Brown and Yellow Basket 4 • From a Broken Past into the Future 5 • Twice as Good 6 • Shall We Dance! 7 • School Daze 8 • Chop Suey 9 • There's a Place for Us 10 • We Shall Overcome Second Movement 11 • Power to the People 12 • A Single Stone, Many Ripples 13 • Something About Me Today 14 • The People's Beat 15 • A Song for Ourselves 16 • Somos Asiáticos 17 • Foster Children of the Pepsi Generation 18 • A Grain of Sand 19 • Free the Land 20 • What Will People Think? 21 • Some Things Live a Moment 22 • How to Mend What's Broken Third Movement 23 • Women Hold Up Half the Sky 24 • Our Own Chop Suey 25 • What Is the Color of Love? 26 • Talk Story 27 • Yuiyo, Just Dance 28 • Float Hands Like Clouds 29 • Deep Is the Chasm 30 • To All Relations 31 • Bismillah Ir Rahman Ir Rahim 32 • The Seed of the Dandelion 33 • I Dream a Garden 34 • Mottainai—Waste Nothing 35 • Black Lives Matter 36 • Bambutsu—All Things Connected Epilogue Acknowledgments Notes Index

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Book SynopsisA mold-breaking memoir of Asian American identity, political activism, community, and purpose. Not Yo' Butterfly is the intimate and unflinching life story of Nobuko Miyamotoartist, activist, and mother. Beginning with the harrowing early years of her life as a Japanese American child navigating a fearful west coast during World War II, Miyamotoleads readers into the landscapes that defined the experiences of twentieth-century America and alsoforegrounds the struggles of people of color who reclaimed their histories, identities, and power through activism and art. Miyamoto vividly describes her early life in the racialized atmosphere of Hollywood musicals and then her turn toward activism as an Asian American troubadour with the release of A Grain of Sandconsidered to be the first Asian American folk album. Her narrative intersects with the stories of Yuri Kochiyama and Grace Lee Boggs, influential in both Asian and Black liberation movements. She tells how her experience of mothTrade Review"Frank and fierce, her story is bound to inspire." * Ms. Magazine *"Starts with a bang and takes off into a poetic whirlwind. . . . The memoir captures an important part of American history that, at this point, has been rarely written about, especially by someone who lived it." * Rafu Shimpo *"Playful, provocative, never boring. . . . The memoir captures an important part of American history that has been rarely written about. It is well worth reading." * Nichi Bei Weekly *Table of ContentsList of Illustrations Intro First Movement 1 • A Travelin' Girl 2 • Don’t Fence Me In 3 • A Tisket, a Tasket, a Brown and Yellow Basket 4 • From a Broken Past into the Future 5 • Twice as Good 6 • Shall We Dance! 7 • School Daze 8 • Chop Suey 9 • There's a Place for Us 10 • We Shall Overcome Second Movement 11 • Power to the People 12 • A Single Stone, Many Ripples 13 • Something About Me Today 14 • The People's Beat 15 • A Song for Ourselves 16 • Somos Asiáticos 17 • Foster Children of the Pepsi Generation 18 • A Grain of Sand 19 • Free the Land 20 • What Will People Think? 21 • Some Things Live a Moment 22 • How to Mend What's Broken Third Movement 23 • Women Hold Up Half the Sky 24 • Our Own Chop Suey 25 • What Is the Color of Love? 26 • Talk Story 27 • Yuiyo, Just Dance 28 • Float Hands Like Clouds 29 • Deep Is the Chasm 30 • To All Relations 31 • Bismillah Ir Rahman Ir Rahim 32 • The Seed of the Dandelion 33 • I Dream a Garden 34 • Mottainai—Waste Nothing 35 • Black Lives Matter 36 • Bambutsu—All Things Connected Epilogue Acknowledgments Notes Index

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Book SynopsisSpeaking Out of Turn is the first monograph dedicated to the forty-year oeuvre of feminist conceptual artist Lorraine O'Grady. Examining O'Grady's use of language, both written and spoken, Stephanie Sparling Williams charts the artist's strategic use of direct addressthe dialectic posture her art takes in relationship to its viewersto trouble the field of vision and claim a voice in the late 1970s through the 1990s, when her voice was seen as out of turn in the art world. Speaking Out of Turn situates O'Grady's significant contributions within the history of American conceptualism and performance art while also attending to the work's heightened visibility in the contemporary moment, revealing both the marginalization of O'Grady in the past and an urgent need to revisit her art in the present.Table of ContentsList of Illustrations Acknowledgments Introduction 1. Mark My Words 2. "I Am Not a Performance Artist" 3. Manifestos and Mythmaking 4. The Diptych and "Spatial Narrative" Notes Bibliography Index

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Book SynopsisVisions of Nature revives the work of late nineteenth-century landscape photographers who shaped the environmental attitudes of settlers in the colonies of the Tasman World and in California. Despite having little association with one another, these photographers developed remarkably similar visions of nature. They rode a wave of interest in wilderness imagery and made pictures that were hung in settler drawing rooms, perused in albums, projected in theaters, and re-created on vacations. In both the American West and the Tasman World, landscape photography fed into settler belonging and produced new ways of thinking about territory and history. During this key period of settler revolution, a generation of photographers came to associate nature with remoteness, antiquity, and emptiness, a perspective that disguised the realities of Indigenous presence and reinforced colonial fantasies of environmental abundance. This book lifts the work of these photographers out of their provincial conTrade Review"Visions of Nature… is a rigorous and broad-ranging exploration that spans the highly local to the constructed ‘global’ and offers its readers new threads and connections to follow." * H-Net: Humanities and Social Science Reviews Online *"Hore has written a series of microhistories that combine to tell a fascinating transnational narrative of late-19th-century colonial environmentalism." * Journal of Australian Studies *"Visions of Nature is a well-researched, unique work in the field of environmental history, geography, settler colonial theory, and the history of photography. The book takes a bold approach to its subject matter and pulls together immense amounts of information and evidence from various intellectual fields of study and geographical regions and is a significant work of interdisciplinary research." * Journal of Arizona History *Table of ContentsContents List of Illustrations Acknowledgments Introduction: Dispossession in Focus: Between Ancestral Ties and Settler Territoriality 1. Six Geobiographies: Senses of Site in the White Settler World 2. Space and the Settler Geographical Imagination: The Survey, the Camera, and the Problematic of Waste 3. A Clock for Seeing: Revelation and Rupture in Settler Colonial Landscapes 4. Tanga Whakaāhua or, the Man Who Makes the Likenesses: Managing Indigenous Presence in Colonial Landscapes 5. Colonial Encounter, Epochal Time, and Settler Romanticism in the Nineteenth Century 6. Noble Cities from Primeval Forest: Settler Territoriality on the World Stage 7. Settler Nativity: Nations and Nature into the Twentieth Century Conclusion: Settler Colonialism, Reconciliation, and the Problems of Place Notes Bibliography Index

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Book SynopsisA free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. At the forefront of the entertainment industries of the late nineteenth and early twentieth centuries were singular actors: Sarah Bernhardt, Gabrielle Réjane, and Mistinguett. Talented and formidable women with global ambitions, these performers forged connections with audiences across the world while pioneering the use of film and theatrics to gain international renown.Transnational Trailblazers of Early Cinema traces how these women emerged from the Parisian periphery to become world-famous stars. Building upon extensive archival research in France, England, and the United States, Victoria Duckett argues that, through intrepid business prowess and the use of early multimedia to cultivate their celebrity image, these three artists strengthened ties between countries, continents, and cultures during pivotal years of Trade Review "With her new book, Duckett models how we feminist film historians may approach not only Mistinguett but many other silent comediennes like Sarah Duhamel and Little Chrysia, whose careers on stage and in the cinema still require further research. I have no doubt that more scholars too will enjoy Duckett’s Transnational Trailblazers of Early Cinema, for its fascinating case studies, breadth of historical knowledge and depth of archival research." * Early Popular Visual Culture *

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Book SynopsisA cultural geographer and an art historian offer fresh interpretations of Muybridge's famous motion studies through the lenses of mobility and race. In 1878, Eadweard Muybridge successfully photographed horses in motion, proving that all four hooves leave the ground at once for a split second during full gallop. This was the beginning of Muybridge's decades-long investigation into instantaneous photography, culminating in his masterpiece Animal Locomotion. Muybridge became one of the most influential photographers of his time, and his stop-motion technique helped pave the way for the motion-picture industry, born a short decade later. Coauthored by cultural geographer Tim Cresswell and art historian John Ott, this book reexamines the motion studies as historical forms of mobility, in which specific forms of motion are given extraordinary significance and accrued value. Through a lively, interdisciplinary exchange, the authors explore how mobility is contextualized within the traTable of ContentsContents Introduction Anthony W. Lee Visualizing Mobility Tim Cresswell Race and Mobility John Ott Notes Index

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Book SynopsisIn the 1960s, multinational corporations faced new image problemsand turned to the art world for some unexpected solutions. The 1960s saw artists and multinational corporations exploring new ways to use art for commercial gain. Whereas many art historical accounts of this period privilege radical artistic practices that seem to oppose the dominant values of capitalism, Alex J. Taylor instead reveals an art world deeply immersed in the imperatives of big business. From Andy Warhol's work for packaged goods manufacturers to Richard Serra's involvement with the steel industry, Taylor demonstrates how major artists of the period provided brands with forms of persuasion that bolstered corporate power, prestige, and profit. Drawing on extensive original research conducted in artist, gallery, and corporate archives, Taylor recovers a flourishing field of promotional initiatives that saw artists, advertising creatives, and executives working around the same tables. As museums continue tTrade Review"Forms of Persuasion is a well-researched, revealing account of how avant-garde art and design filled the ‘fishbowl foyers’ of Midtown Manhattan, the imaginations of board members and the pockets of a lucky few artists. . . . This sophisticated new kind of sales pitch, Mr. Taylor argues, helped secure the global dominance of the American corporation." * Wall Street Journal *"Sheds light on the mechanisms by which contemporary visual art elevated corporate image. . . . Taylor’s methodology is a worthy model for art historians interested in post–WW II corporate art partnerships that provided cultural capital, enhanced overall images, and international appeal. They were precursors to today’s ubiquitous corporate branding intertwined with a thoroughly commodified art world." * CHOICE *Table of ContentsContents Acknowledgments Introduction: The Culture Sell PART 1: REPACKAGING POP 1. Trademarking Campbell’s Soup 2. Container Corporation’s Art Direction 3. The Bold New Taste of Philip Morris PART 2: ABSTRACTION AT WORK 4. Chase Manhattan’s Executive Vision 5. A Passport for Peter Stuyvesant PART 3: MARKETING MATERIALS 6. Modernizing Italsider 7. The Rusting Face of U.S. Steel 8. Collapse at Kaiser Steel Conclusion: Conceptualizing Corporate Sponsorship List of Abbreviations Notes List of Illustrations Index

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Book SynopsisA bold, compelling, and original study of nonhuman life in Warhol. Like a Little Dog examines a dimension of Andy Warhol that has never received critical attention: his lifelong personal and artistic interest in nonhuman life. With this book, Anthony E. Grudin offers an engaging new overview of the iconic artist through the lens of animal and plant studies, showing that Warhol and his collaborators wondered over the same questions that absorb these fields: What qualities do humans share with other life forms? How might the vulnerability of life and the unpredictability of desire link them together? Why has the human/animal/plant hierarchy been so rigidly, violently enforced? Nonhuman life impassioned every area of Warhol's practice, beginning with his juvenilia and an unusually close creative collaboration with his mother, Julia Warhola. The pair codeveloped a transgressive animality that permeated Warhol's prolific career, from his commercial illustration and erotica to his writingTable of ContentsContents Acknowledgments A Note on Terminology Introduction: Warhol's Nonhuman Life 1. "Like a Little Dog" 2. Factory Badlands 3. Machines, Animal and Vegetal 4. "Philosophy of the Fragile" 5. Queer Beauty and Extinction Conclusion: The Python Priestess Notes Selected Bibliography List of Illustrations Index

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Book SynopsisAdmired for his trompe l'oeil style, American painter William Harnett (18481892) was as intellectually ambitious as he was technically skilled. The first scholarly monograph on the artist, William Harnett's Curious Objects details Harnett's career-long effort to position still life as a serious art. Nika Elder elevates the significance of Harnett's academic training and questions his apparent turn away from it. Reading his still lifes in relation to wartime visual culture, literary realism, museum display, and industrial design, she shows how Harnett experimented with inanimate objects and pictorial techniques to represent the human condition without depicting the human body. His paintings illustrate late nineteenth-century American material culture, but they also represent Reconstruction, interiority, death and life, and the imagination. By engaging such lofty themes, Harnett reimagined history painting for the modern era. His work thus locates Gilded Age art and culture in the lonTable of ContentsContents Acknowledgments Introduction: Harnett’s Objects 1. Civil War Relics and the End of History Painting 2. Text and the Transformation of Still Life 3. Specimens and the Art of Trompe l’Oeil 4. Manufactures and the Politics of Painting Epilogue: Still Life and Its Afterlives Notes Selected Bibliography List of Illustrations Index

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Book SynopsisWhy do so many contemporary Chinese artists use porcelain in their work? In New Export China, Alex Burchmore presents a deep dive into a unique genre of ceramic art to describe a framework for a broader art practice. Focusing on the work of four artists from the 1990s through the 2010sLiu Jianhua, Ai Weiwei, Ah Xian, and Sin-ying HoBurchmore reveals how the materiality of ceramics has been used to highlight China's role in global trade and to explore the function of this medium as a vessel for the transmission of Chinese art, culture, and ideas. From its historical pedigree and transcultural relevance to its material allure and anthropomorphic resonance, porcelain offers artists a unique way to move between the global and the intimate, the mass produced and the handmade, and the foreign and the domestic. By dissecting both the legacy of porcelain export and current networks of exchange, Burchmore ultimately demonstrates why this ceramic practice is crucial to understanding the deveTable of ContentsContents Acknowledgments Introduction 1. Porcelain Production 2. Porcelain Past 3. Porcelain Renaissance 4. Porcelain Clay Conclusion: A Porcelain Aesthetic? Notes Bibliography List of Illustrations Index

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Book SynopsisTable of ContentsContents Director's Foreword Christopher Bedford Acknowledgements Janet Bishop and Nancy Lim Introduction: The Singular Journey of Joan Brown Nancy Lim PLATES 1. Finding the Figure 2. Day In, Day Out 3. New Style Animal 4. Self-Portraits 5. Dancing, Drinking, Painting, Love 6. Swimming in the Bay 7. Energy Fields 8. Spiritual Journey With Introductory Texts by Nancy Lim To Look At, Over and Over Again: Joan Brown and Western Art Janet Bishop Joan Brown's Things and Other Things Soloman Adler Joan Brown's Self-Portraits Helen Molesworth Joan Brown's New Age Marci Kwon Chronology Jenny Dally and Nancy Lim Index of Illustrated Works by Joan Brown

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Book SynopsisVenezuela's turbulent twentieth century saw boom and bust as the former Spanish colony transformed into a major postwar cultural player. In this sweeping study of visual and material production, Sean Nesselrode Moncada explores the integral relationship between the global oil industry and the celebrated rise of geometric abstraction, kinetic art, and modern architecture in midcentury Venezuela. Oil provided the crucible for national reinvention, ushering in a period of dizzying optimism and bitter disillusion as artists, architects, graphic designers, activists, and critics sought to define the terms of modernity. An innovative, transdisciplinary reevaluation of Venezuelan modernism,Refined Materialreveals how the logic of refinement conditioned the terms of development and redefined our relationship to nature, matter, and one another.Table of ContentsContents ACKNOWLEDGMENTS Introduction: The Alchemy of Refinement 1 Designing Oil 2 Refi ning Amuay 3 Building the Vista 4 Vibrating Nature 5 Killing the Well Epilogue: The Ooze of History NOTES SELECTED BIBLIOGRAPHY LIST OF ILLUSTRATIONS INDEX

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Book SynopsisThis stunning exhibition catalog visualizes what freedom looks like for Black Americans today and the legacy of the Civil War in 2023 and beyond. Emancipation: The Unfinished Project of Liberation sits at the intersection of history and contemporary life. Building upon in-depth conversations about representations of enslavement and emancipation at the close of the Civil War, this project originates from an analysis of sculptor John Quincy Adams Ward's The Freedman (1863), one of the first bronze representations of a Black person in the United States, and expands into an investigation of how living artists envision emancipation, freedom, and liberation today. Featuring interviews with artists Sadie Barnette, Alfred Conteh, Maya Freelon, Hugh Hayden, Letitia Huckaby, Jeffrey Meris, and Sable Elyse Smith, the exhibition catalog explores their practices along with cutting-edge scholarship by Kirsten Pai Buick and Kelvin Parnell, among others, as well as a haunting story of embodiment and exploitation by celebrated science-fiction author N. K. Jemisin. Burdened by failed promises but buoyed by hope, this project is mournful and melancholy yet also reflective and celebratory in its aspirations for a brighter future. Published in association with the Amon Carter Museum of American Art Exhibition dates: Amon Carter Museum of American Art: March 12July 9, 2023 Newcomb Art Museum at Tulane University: August 5November 11, 2023 Williams College Museum of Art: February 16June 16, 2024Table of ContentsCONTENTS ARTIST INTERVIEW Jeffrey Meris ARTIST INTERVIEW Sadie Barnette THE FREEDMAN IN MULTIPLE: A LOOK AT ITS CASTING HISTORY Thayer Tolles ARTIST INTERVIEW Maya Freelon AN ANTIDOTE TO MELANCHOLY Margaret C. Adler WALKING AWAKE N. K. Jemisin INDEX

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Book SynopsisAnxiety Aesthetics is the first book to consider a prehistory of contemporaneity in China through the emergent creative practices in the aftermath of the Mao era. Arguing that socialist residues underwrite contemporary Chinese art, complicating its theorization through Maoism, Jennifer Dorothy Lee traces a selection of historical events and controversies in late 1970s and early 1980s Beijing. Lee offers a fresh critical frame for doing symptomatic readings of protest ephemera and artistic interventions in the Beijing Spring social movement of 197880, while exploring the rhetoric of heated debates waged in institutional contexts prior to the '85 New Wave. Lee demonstrates how socialist aesthetic theories and structures continued to shape young artists' engagement with both space and selfhood and occupied the minds of figures looking to reform the nation. In magnifying this fleeting moment, Lee provides a new historical foundation for the unprecedented global exposure of contemporary Chi

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Book SynopsisThis first major retrospective of Amalia Mesa-Bains unearths her significant contributions to Chicanx/Latinx art and feminism. Best known for her pioneering altar installations, Amalia Mesa-Bains is one of the most innovative feminist and Latinx artists of her generation. In herforty-year career as an artist, activist, educator, and scholar, she has explored theexperiences, spiritual practices, and histories of Mexican American women andaddressed the colonial erasure and recovery of Mexican, African American, andIndigenous Californians. Appropriately called an archaeological practice, Mesa-Bains's art creates sacred spaces imbued with cultural memory, leading viewers on amagical journey of discovery through what might otherwise be lost to existing canons ofhistory. Amalia Mesa-Bains: The Archaeology of Memoryis the exhibition catalog accompanying the first major retrospective of her work, bringing her installations from the 1970s tothe present together for the first time. Featuring an essay by the artist and an interviewwith her, the book also brings together top-tier scholars who explore the ecofeminism, migranthistories, spirituality, and politics of erasure that ground her interdisciplinary practice. As a whole, the book cements Mesa-Bains's place as atrailblazing artist within the history of art. Published in association with the Berkeley Art Museum and Pacific Film Archive. Exhibition dates: Berkeley Art Museum and Pacific Film Archive: February 4-August 13, 2023 Phoenix Art Museum: November 2023-March 2024 El Museo del Barrio, New York City: April 2024-August 2024 San Antonio Art Museum: October 2024-January 2025 Cheech Marin Center for Chicano Arts and Culture, Riverside, CA: March 2025-August 2025Table of ContentsContents Director's Foreword Juli Rodrigues Widholm Acknowledgments Laura E. Perez and Maria Esther Fernandez Chapter 1 Amalia Mesa-Bains: Storytelling and the Archaeology of Memory Maria Esther Fernandez Chapter 2 Archaeology of the Immaterial: Absence and Presence in the Installations of Amalia Mesa-Bains Laura E. Perez Chapter 3 Sixty Objects in My Art Life Amalia Mesa-Bains Plates Chapter 4 In Conversation: Amalia Mesa-Bains's Feminisms Lowery Stokes Sims Chapter 5 Unruly Erotic Jennifer A. Gonzales Plates Chapter 6 Flowers and Songs: Memory, Nature, and the Empowered Feminine in the Prints and Books of Amalia Mesa-Bains Adrianna Zavala Chapter 7 The Latino Wunderkammer Tomas Ybarra-Frausto Plates Chronology Exhibition History Selected Bibliography Essay Bibliographies Works in the Exhibition Contributors

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Book SynopsisPresents the argument that Neolithic symbolism, including figurines, decorated pottery, burial rituals as well as other symbols found in archaelogical settlement sites, hold the key to understanding social and economic changes central to the origins of farming and a settled mode of life.Table of ContentsAcknowledgements Preface 1. Introduction 2. The Domestication of Society 3. The Domus in the Neolithic of SE Europe 4. Domus and Agrios in SE Europe 5. Dominating Boundaries and Entrances: The Earlier Neolithic in Central Europe 6. Towards a Higher Domain: The Later Neolithic in Central Europe 7. Domes of Rock: The Neolithic in Southern Scandinavia 8. Dames and Axes: Parallel Lines of Development in Northern France 9. Taming the Landscape: Changing Idioms of Power in the Neolithic of Lowland Britain 10. Beginning by Ending References.

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Book SynopsisBy viewing urban landscapes in relation to the individuals and organizations responsible for their creation, this book aims to proveide a crucial missing dimension to urban landscape history and an insight into the dynamics of contemporary urban change.Trade Review"The clear message I wish to give is that the author has been successful in exploring this approach to the making of the urban landscape: what is offered here is an example of how to get an insight into the activities of those who are at work in changing the face of our towns, and the excellent bibliography tells us where to turn for supporting material. This is strongly recommended for the shelves of the library." Applied Geography "The book is clearly presented in a technically correct style, with good maps, diagrams and illustrations. The volume can be recommended to those requiring detailed and up-to-date examples of urban morphological change with which to compare their own research." Planning Perspectives "Commended to urban geographers, planners, developers and conservatists alike." Urban Studies "A thoughtful and new approach to looking at the physical development and management of urban landscapes." The Professional GeographerTable of ContentsPreface. 1. Introduction. 2. Commercial Cores. 3. Institutional and Public Areas. 4. Residential Areas. 5. Urban Landscape Management. 6. Conclusion. References. Index.

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Book Synopsis* Compiled as a cutting--edge critical companion to the major anthology. * Contains 18 key essays on Romanticism written in the last 10 years. * Represents a wide range of theoretical approaches. * Major contributors include Edward Said, Jerome J. McGann, Marilyn Butler, Tom Paulin and others. .Table of ContentsIntroduction. A Note on Texts and Abbreviations. Acknowledgements. Abbreviations. Blake:. 1. Blakean Zen: Nelson Hilton. 2. Blake's Concept of the Sublime: Vincent Arthur De Luca. Wordsworth:. 3. Wordsworth, Rousseau and the Politics of Education: James K. Chandler. 4. The History of Imagination: Alan Liu. Coleridge: . 5. 'Kubla Khan' and the Art of Thingifying: Kathleen M. Wheeler. 6.'Christabel': The Wandering Mother and the Enigma of form: Karen Swan. Shelley: . 7. Adonais : Shelley's Consumption of Keats: James A. W. Heffernan. . 8. Deconstruction or Reconstruction: Reading Shelley's Prometheus Unbound (Tilottama Rajan) . Byron: . 9. Don Juan and Byron's Imperceptiveness to the English Word: Peter J. Manning. 10. Byron and the Anonymous Lyric: Jerome J. McGann. Keats:. 11. The Two Hyperions : Compositions and Decompositions: Balachandra Rajan. 12. Imagination and Growth in the Great Odes: Leon Waldoff. Other Writers: . 13. Godwin, Burke and Caleb Williams: Marylin Butler. 14. Murder Incorporated: Confessions of a Justified Sinner: Eve Kosofsky Sedwick. 15. Bearing Demons: Frankenstein's Circumvention of the Maternal: Margaret Homas. 16. John Clare in Babylon: Tom Paulin. 17. 'A Revolution in Female Manners': Anne K. Mellor. 18. Jane Austen and Empire: Edward Said. List of Contributors. Bibliography. Index.

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Book SynopsisIt has become apparent that criticism has fallen on hard times. This book explores contemporary approaches which have sought to renew criticism's energies in the wake of a 'theatrical turn' in visual arts practice, and the emergence of a 'performative' arts writing over the decade or so.Trade Review"After Criticism is crucial to any discussion regarding the status of criticism and critical theory after post-structuralism and, equally importantly, is one of few texts that is innovative in its illumination of context, history, aesthetic judgement and, rare for an academic text, enjoyable to read." Art Monthly "After Criticism is no doubt the most intriguing collection of performative writing published yet. Being refreshing, entertaining as well as inspiringly confusing, it is essential reading for anyone writing on art who does not only think of what to write, but also how to write it." Contemporary "Though it seems contradictory to write words of praise for a book that deeply interrogates the marketability of praiseful language (in the guise of art criticism), Gavin Butt's collection deserves them. Framed by Butt's astute introduction, these performative essays pulse with vitality. Food for thought, this book makes us think, again, about art and its interpretations in a new way. Critical writing as a kind of performance – delicious." Amelia Jones, University of Manchester "This anthology is an excellent overview of performative critical discourse edited and introduced by one of its leading proponents. All the contributions have an experimental or improvisational edge that preserves a sense of the critical encounter. The book is at the cutting edge of art theory and will be read with enthusiasm by a large number of people engaged with contemporary art practice and criticism." Margaret Iversen, University of EssexTable of ContentsList of Illustrations vii Notes on Contributors viii Series Editor’s Preface xi Introduction: The Paradoxes of Criticism 1Gavin Butt Part I Performing Art’s Histories 21 1 Solo Solo Solo 23Rebecca Schneider 2 Binding to Another’s Wound: Of Weddings and Witness 48Jane Blocker 3 This is I 65Niru Ratnam Part II Distracted and Bored: The Critic Looks Elsewhere 79 4 The Trouble with Men, or, Sex, Boredom, and the Work of Vaginal Davis 81Jennifer Doyle 5 Utopia’s Seating Chart: Ray Johnson, Jill Johnston, and Queer Intermedia as System 101José Esteban Muñoz 6 Looking Away: Participations in Visual Culture 117Irit Rogoff Part III Critical Response/Performative Process 135 7 Itinerant Improvisations: From “My Favorite Things” to an “agency of night” 137John Seth 8 The Experience of Art as a Living Through of Language 156Kate Love 9 A Transparent Lecture 176Matthew Goulish Selected Bibliography 207compiled by Andrew Walby Index 212

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Book SynopsisIt has recently become apparent that criticism has fallen on hard times. Either commodification is deemed to have killed it off, or it has become institutionally routine. This book explores contemporary approaches which have sought to renew criticism''s energies in the wake of a ''theatrical turn'' in recent visual arts practice, and the emergence of a ''performative'' arts writing over the past decade or so. Issues addressed include the ''performing'' of art''s histories; the consequences for criticism of embracing boredom, distraction and other ''queer'' forms of (in)attention; and the importance of exploring writerly process in responding to aesthetic experience. Bringing together newly commissioned work from the fields of art history, performance studies, and visual culture with the writings of contemporary artists, After Criticism provides a set of experimental essays which demonstrate how ''the critical'' might live on as a vital and efficacious force within contTrade Review"After Criticism is crucial to any discussion regarding the status of criticism and critical theory after post-structuralism and, equally importantly, is one of few texts that is innovative in its illumination of context, history, aesthetic judgement and, rare for an academic text, enjoyable to read." Art Monthly "After Criticism is no doubt the most intriguing collection of performative writing published yet. Being refreshing, entertaining as well as inspiringly confusing, it is essential reading for anyone writing on art who does not only think of what to write, but also how to write it." Contemporary "Though it seems contradictory to write words of praise for a book that deeply interrogates the marketability of praiseful language (in the guise of art criticism), Gavin Butt's collection deserves them. Framed by Butt's astute introduction, these performative essays pulse with vitality. Food for thought, this book makes us think, again, about art and its interpretations in a new way. Critical writing as a kind of performance – delicious." Amelia Jones, University of Manchester "This anthology is an excellent overview of performative critical discourse edited and introduced by one of its leading proponents. All the contributions have an experimental or improvisational edge that preserves a sense of the critical encounter. The book is at the cutting edge of art theory and will be read with enthusiasm by a large number of people engaged with contemporary art practice and criticism." Margaret Iversen, University of EssexTable of ContentsList of Illustrations vii Notes on Contributors viii Series Editor’s Preface xi Introduction: The Paradoxes of Criticism 1Gavin Butt Part I Performing Art’s Histories 21 1 Solo Solo Solo 23Rebecca Schneider 2 Binding to Another’s Wound: Of Weddings and Witness 48Jane Blocker 3 This is I 65Niru Ratnam Part II Distracted and Bored: The Critic Looks Elsewhere 79 4 The Trouble with Men, or, Sex, Boredom, and the Work of Vaginal Davis 81Jennifer Doyle 5 Utopia’s Seating Chart: Ray Johnson, Jill Johnston, and Queer Intermedia as System 101José Esteban Muñoz 6 Looking Away: Participations in Visual Culture 117Irit Rogoff Part III Critical Response/Performative Process 135 7 Itinerant Improvisations: From “My Favorite Things” to an “agency of night” 137John Seth 8 The Experience of Art as a Living Through of Language 156Kate Love 9 A Transparent Lecture 176Matthew Goulish Selected Bibliography 207compiled by Andrew Walby Index 212

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Book SynopsisFashion deals with a world of illusion on the one hand and a hard-bitten, multifaceted and multi-billion pound industry on the other. This book shows how fashion operates on various levels: the mystery of haute couture is explained, the complexities of ready to wear are simplified, and the power of mass production assessed and evaluated.Trade ReviewIt is thoroughly researched, attractively presented and appealing in its unpretenious style. It is accessible, pertinent to different levels of expertise, and provides a distinctive insight to the fashion industry. Journal of Fashion Marketing and Management, vol 10, no 1; 2006Table of ContentsIntroduction. Couture. Ready-to-wear. Mass production. Tailoring. Menswear. Dressmaking. Millinery and accessories. The designers. Distribution. Fashion organisation and calendar. Considerations for the future. Appendices. Glossary. Bibliography. Useful addresses and websites

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Book SynopsisMexico-based artist, architect, and cultural agent Pedro Reyes turns existing social problems into opportunities for effecting tangible change through collective imagination. Ad Usum: To Be Used is a full-color illustrated survey of Reyes's projects including images, interviews, and critical essays by leading scholars in diverse fields.Trade ReviewA handsome career-long survey accompanied by scholarly responses to the work. -- Jeremy D. Goodwin * Boston Globe *

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