History of art Books

Book SynopsisAs early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the master's prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavin's papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.Table of ContentsBernini and Antiquity - The Baroque Paradox. A Poetical View Bernini's Portraits of No-Body Bernini's Bust of Francesco I d'Este. "Impresa quasi impossibile" Bernini's Bust of the Medusa: An Awful Pun Bernini's Bust of the Savior and the Problem of the Homeless in Seventeenth-Century Rome Bernini's Image of the Ideal Christian Monarch Bernini's Bumbling Barberini Bees Bernini-Bozzetti: One More, One Less. A Berninesque Sculptor in Mid-Eighteenth Century France Bernini's Death Visions of Redemption The Rome of Alexander VII. Bernini and the Reverse of the Medal The Young Bernini "Bozzetto Style": The Renaissance Sculptor's Handiwork The Regal Gift. Bernini and his Portraits of Royal Subjects Urbanitas urbana. The Pope, the Artist, and the Genius of the Place Index

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Book SynopsisThe Armada Portrait is perhaps the most immediately recognisable depiction of Elizabeth I and, arguably, of any British monarch. It captures both the drama of a pivotal moment in Britain's history - the defeat of the Spanish Armada in 1588 - and the majesty of the Tudor monarchy. But while the image it presents is one of assuredness, success and might, the portrait both overstates English power and downplays the real dangers the Armada presented to England and its queen. By understanding the portrait and its symbolism, the history of the Armada and the turbulent Elizabethan age come to life.

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Book SynopsisThis beautifully designed and illustrated publication is the first comprehensive biography of the portrait painter Johan Zoffany (1733–1810), one of the leading figures of eighteenth-century British art. The German-born artist shot to fame with his charming conversation pieces and portraits of London celebrities, including actor David Garrick. He soon became the painter of choice of King George III, depicting the royal family with rare informality, and subsequently a founder-member of the Royal Academy of Arts. His pictures have earned him the right to stand alongside Hogarth, Gainsborough and Reynolds as one of the most important founding artists of the British School.

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Book SynopsisThis book accompanies an exhibition at Waddesdon that will unite Chardin’s four paintings of a boy with a house of cards for the first time (loans come from the Musée du Louvre, Paris; National Gallery, London; National Gallery of Art, Washington DC), allowing us to examine Chardin’s treatment of the subject in the context of his fascination with themes of play, childhood and adolescence.

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Book SynopsisBiography of Scottish Artist

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Book SynopsisTrade Review'Beginning with her childhood and taking us on a sensory and emotive journey through adolescence and onwards to her role as a wife and mother, Julia’s poems sparkle with wit, intrigue and richly captivating imagery. ' - Caitlin Miller, Irisi Magazine"In such images, Bird’s poetry shows how artwork is not separate to everyday life, but entwined with it – and, moreover, bound up with its transience: in these poems, omelettes, snowmen, marrows are all short-lived moments of artistic beauty. " - Jonathan Taylor, Everybody's Reviewing"This deftly composed poem sequence, paired with Anna Vaivare’s vibrant illustrations, moves through the life of a female artist during the early part of the twentieth century. Beginning from age nine, towards and past the point where the unnamed artist has a child of her own, Now You Can Look has a sharp, immediate quality which pulls you firmly into a life which both did and did not exist – vanished, imagined, or perhaps something else." PBS Bulletin -- Poetry Book Society * PBS Bulletin *

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Book SynopsisNick Hornby (b. 1980, London) is one of the leading sculptors of his generation in Britain today, creating works on both intimate and monumental scales, and at the intersection of art history and contemporary technology. Hornby’s practice uses software that allows him to extract, alter and hybridise sculptures from art history into new works made from marble, steel, bronze, resin, wood and composite materials. It could be said that Hornby has opened up a new sculptural language for the twenty-first century.This, his first major monograph, features approximately 175 images, many of which are reproduced here for the first time or have been commissioned for the publication. Alongside documentation of works presented in galleries and outdoor spaces are production images taken in the studio and fabrication workshops. Hornby’s practice is here divided into four categories: Intersections, Extrusions, Hydrographics and Collaborations.A foreword by Luke Syson, Director of the Fitzwilliam Museum, Cambridge, offers insight into Hornby’s internal and external relationship with sculpture, considering the links between two and three dimensions, abstraction and representation, the ‘real’ and the digital.Editor Matt Price’s introduction takes readers on a whistlestop tour of the artist’s oeuvre, from his early family life and studies at Chelsea and The Slade in London, to his latest major exhibitions and commissions. Price covers a range of significant aspects such as the importance of music and sound, which were key elements of Hornby’s early work, to sculptures made in collaboration with others, and recent pieces combining art history with technology in their design and fabrication.An essay by Dr Hannah Higham, Senior Curator of Collections and Research at the Henry Moore Foundation, provides the most substantial piece of critical writing on Hornby’s work to date, drawing out specific touchstones in the history of art and discussing the relationship between the work and time. Higham further explores the ways that the motion and position of the viewer alter the experience of the sculptures, with new angles revealing fresh artistic inspirations from Hans Arp or Elizabeth Frink to ideas from communities Hornby has worked with and other contemporary artists with whom he has collaborated.An interview with Dr Helen Pheby, Associate Director, Programme, at Yorkshire Sculpture Park, probes the artist further about his cultural and theoretical inspirations, methods, materials and ideologies, including his views on collaboration, the public nature of art and its accessibility. Their conversation provides an insight into the thinking of the artist at a crucial stage in his career.The monograph brings together works spanning Hornby’s career for the first time. It follows Hornby’s first institutional solo exhibition at MOSTYN, Wales, and his first permanent outdoor sculptural commission for Harlow Science Park in Essex.The publication is edited by Matt Price, designed by Herman Lelie, printed by EBS, Verona, and published by Anomie, London.Nick Hornby, born in 1980, is a British artist living and working in London. Hornby studied at The Slade School of Art and Chelsea College of Art where he was awarded the UAL Sculpture Prize. In the UK he has exhibited at Tate Britain, Southbank Centre, Leighton House (all London), Cass Sculpture Foundation, Sussex, MOSTYN, Wales, and the Fitzwilliam Museum, Cambridge. International exhibitions have been held at the Museum of Arts and Design, New York and Poznan Biennale, Poland, along with residencies with Outset, Israel, and Eyebeam, New York. In 2014 Hornby was made a Fellow of the Royal Society of Sculptors.

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Book SynopsisHighlights Daniel Crews-Chubb?s mixed-media paintings that explore the human condition through figuration, abstraction, and diverse cultural references.Daniel Crews-Chubb (b.1984) is a London-based painter whose mixed-media works wrestle with the human condition and modes of self-expression. This monograph, Out of Chaos, is published to coincide with his solo exhibition at Timothy Taylor, New York, which brings together new paintings and works on paper. Crews-Chubb?s paintings exist somewhere between figuration and abstraction. They draw on a wide variety of references, including ancient cosmologies, historic artefacts, and sculpture, pre-Columbian deities, Cubism, Abstract Expressionism, and Hellenic myth. He intertwines canonical sources and classical allusions in his paintings, creating a highly personal, idiosyncratic lexicon of human, celestial, and bestial figures.Out of Chaos takes its title from the ancient Greek notion that chaos is a state of undifferentiated matter from which the universe emerged. The paintings that form this series feature urgent, gestural marks and passages of vivid color, centred around the figure as a motif. The bodies that he depicts are ageless, non-gendered, and non-racial?? conduits for feeling, rather than signifiers of individuals. This publication reproduces a selection of Crews-Chubb?s paintings from 2015 to 2024, starting with his early works and subsequently organised into seven series. Notable among these are the recent Immortals (2022?) and Out of Chaos, which is the focal point of his solo exhibition. The book also features an introduction by the writer Jennifer Higgie, an essay by art historian Matthew Holman, and an interview with writer Amah-Rose Abrams. Higgie considers Crews-Chubb?s exploration of the human condition and the role of spirituality in it. In his essay "Death, the World and All Our Woe", Holman expands on the artist?s references to myth and religion, describing him as a "creator who annihilates". Holman contextualises Crews-Chubb in an art-historical lineage, considering his work alongside that of Pablo Picasso, Paul Klee, and Willem de Kooning. In an in-depth interview, Crews-Chubb and Abrams delve into the artist?s time at art college, the development of his painting technique and the relationship between the past and present in his work. The book is edited by Matt Price and Lada Sorokopud, designed by Import/Export, and published by Anomie Publishing, London, in association with Timothy Taylor and Roberts Projects, Los Angeles. Daniel Crews-Chubb was born in Northampton in 1984. He completed his BA at Chelsea College of Arts, London, in 2009 and undertook the Turps Studio Programme, London, in 2013. He lives and works in London. His first solo museum exhibition will take place at the Long Museum, Shanghai, in November 2024.

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Book SynopsisMiss Kate Cranston opened four Glasgow Tea Rooms at the end of the 19th century/beginning of the 20th, including the famous Willow Tea Rooms. Ahead of her time, Miss Cranston ensured that her Rea Rooms were designed and furnished by talented young artists like Charles Rennie Mackintosh. Miss Cranston: Patron of Charles Rennie Mackintosh was first published in 1999 and is long out of print. It is being reissued to mark the 150th anniversary of the birth of Charles Rennie Mackintosh. This new edition has some rewriting and updating; it is in a larger format; it now has around 60 colour+black&white photographs and illustrations.Trade Review' … Perilla Kinchen reveals Miss Cranston's 'successful formula' and eccentric characteristics in an engaging style which entices readers to continue.' Scottish Field (online)Table of ContentsForeword Introduction 1. Growing up in George Square: the family hotels 2. 'A cup of Kaisow 2d, bread and cakes extra': the first tea rooms 3. Making a name: Miss Cranston's Tea Rooms 4. New art 'weirdry': Miss Cranston, Walton and Mackintosh 5. A new century: the Willow Tea Room 6. 'A real patron and friend'" more jobs for Mackintosh 7. 'Everyone knows Miss Cranston': a Glasgow personality 8. Back in George Square: the last years and the legacy Epilogue: Recovery and restoration Select Bibliography and sources Index

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Book SynopsisVictoria Crowe is one of the world's most vital and original figurative painters. Her instantly recognisable work is represented in a large number of public and private collections. This extensively illustrated new book looks in depth at some of her own favourite portraiture. Looking at the psychology of her subjects and of herself in painting them, this is a fascinating book. Whether you are intrigued by the enigmatic stare of a psychiatrist, struck by the haunted eyes of an Auschwitz survivor or curious about the meaningful surroundings of her own self-portrait, this is an absorbing and enthralling read. Victoria Crowe lives in Scotland and Venice.

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Book SynopsisAccompanying an exhibition at the Barber Institute of Fine Arts - only the second exhibition ever devoted to the artist - this noteworthy publication considers De Beer’s work and career, working methods, and traces the history of De Beer’s paintings in British collections. The Antwerp painter Jan de Beer (c.1475-1527/28) was highly esteemed in his lifetime and still famous a couple of generations after his death, but then fell into oblivion until the early twentieth century. Only recently have his achievements been fully recognized and documented. The artist’s known oeuvre consists of forty works, mainly devotional paintings and triptychs but also a dozen drawings and a stained glass window, after a lost design. De Beer’s stylish and elegant art appealed to patrons and collectors, churches abroad, and copyists. His work is typically associated with that of the Antwerp Mannerists, a prominent group of mostly anonymous painters active in the city during his lifetime. This publication will accompany an exhibition at the Barber Institute of Fine Arts, University of Birmingham (25 October 2019 to 19 January 2020) that focuses on one of its and De Beer’s acknowledged masterpieces: the double-sided Joseph and the Suitors/ The Nativity. This is the only surviving fragment from what must have been a major altarpiece. It will be accompanied by a half-dozen key loans of paintings and drawings by De Beer and his workshop including all the attributed paintings in UK collections. These will provide both an instructive context for the Barber painting and for De Beer’s art more generally, with the whole chronological range of his career represented. It will be only the second ever exhibition devoted to De Beer, and the first to show the broad range of his work. The fully-illustrated catalogue will feature extended entries for all the exhibited works and three essays exploring the core themes of the show, written by Robert Wenley, Head of Collections at the Barber Institute and the lead curator of the exhibition, and two leading De Beer specialists. Professor Dan Ewing (Barry University, Miami Shores, Florida) will consider De Beer’s work and career; while Peter van den Brink (Director, Suermondt-Aachen Museum) will explore De Beer’s working methods, in particular as revealed by the underdrawings of his pictures. Robert Wenley’s essay will survey the history of De Beer’s paintings in British collections.

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Book SynopsisBurne-Jones (1833-98), British artist and designer closely associated with the later phase of the Pre-Raphaelite movement. The books is a series of paintings about the Perseus myth Book includes essays and illustrations about the artist.

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Book SynopsisAs a young man, living in Manhattan in the 1970s and ‘80s, Frank Rispoli was drawn to the New Wave and Punk club scenes. Recognising the inherent performance of sexuality and desire in both fashion and club culture, he documented the intertwining of the two. Always with a camera strapped around his neck, he frequented Danceteria, Tier 3, Max’s Kansas City, Studio 54 and many other clubs in Soho, Chelsea, the Lower East Side, and Midtown. Rispoli asked female clubgoers, bar patrons, singers, and band members if he could photograph their shoes, utilising the staged sets, props, and bathrooms of the clubs, and the taxis, sidewalks, and rooftops of the city, as his backdrops. A selection of these photographs forms the basis of his first book – High Heels. Rispoli attributes his interest in women’s shoes to his inability, as a teenager, to look women in the eye and, due to his shyness, focusing on their feet instead. He drew further inspiration from the work of Guy Bourdin, and his advertising photography of the period. Rispoli continues, in his photographs, to capture the fun, freedom, and performance found in other outsider communities and events, such as Wigstock, and the burgeoning art scene in Bushwick, Brooklyn.

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Book SynopsisMartin's work is characterised by a unique freedom, expressed through the possibilities of her chosen canvas - a piece of paper or textile, a sculptural surface, wall or screen. She interrogates 'who we are at the core, as people', and since her beginnings with live performance drawing in the mega clubs of Tokyo she has navigated creative worlds to interrogate and play with the role of artist and viewer. This monograph charts her career and includes early pieces, larg-scale murals and commissions, and collaborations with museums, technical institutes, museums and fashion brands.

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Book SynopsisBuilding a beautiful ornamented 'white canoe' was a way for the Lau people of Malaita in Solomon Islands to honour the ghosts of their ancestors in the days before they became Christians. This book tells the story of the last of these canoes, built in 1968 by one of the few clans still following their traditional religion, as witnessed by the late anthropologist Pierre Maranda. Maranda observed how the great artistic projects of Malaita were once supported by elaborate ritual procedures and celebrated with community festivals, all richly illustrated here by his photographs. James Tuita was among the Lau boys who played with Maranda's son and, years later, he visited Quebec to help Maranda with his research. Besides writing the Lau text for this book, he contributes his own acutely felt insights into the radical changes in Lau society during his lifetime and the importance of maintaining its cultural traditions. Ben Burt, a curator at the British Museum, knew Maranda through his own anthropological research in Malaita and worked with James Tuita to ensure that Maranda's plans for his ethnographic research were realized after his death. It is published, as Maranda intended, in Lau and English languages, to return some of their cultural heritage to the people of Lau, Malaita and Solomon Islands.Trade ReviewThis invaluable bilingual ethnographic account records with care and respect the social and religious life of a Pacific Islands community. The Last White-Canoe describes a people struggling against the challenges of colonial and Christian modernity through the revitalization of the craftsmanship and sacred knowledge of canoe-making during the transition from traditional religion to Christianity. With their experience of working with local experts and appreciation of indigenous historical and cultural knowledge, the authors confidently take the reader into the sacred world of this Lau community and the cultural heritage of Malaita and Solomon Islands. It is a task well done. Revd Dr Ben Wate, Solomon Islands National University;This bilingual, international collaboration in scholarship offers rich insights into the complexities of making a major cultural object in Solomon Islands in the mid-twentieth century. This is not just a matter of the technical and practical manufacture, but of the day by day sourcing of resources, provisioning of food and shelter for the makers, the negotiations among men and with other beings, the ritual procedures and offerings,the eating and the talking and the celebrating. Vividly detailed, and illustrated with photographs taken throughout the process, the book makes a way of living and thinking alive to the reader.Dr Lissant Bolton, Keeper of Africa, Oceania and the Americas, British MuseumTable of ContentsChapter 1: Introduction (Ben Burt); Chapter 2: Fou'eda, from times past to the present (James Tuita Dede); Chapter 3: The Lau white canoe; Chapter 4: The ghosts demand a white canoe; Chapter 5: Preparing to build the white canoe; Chapter 6: Building the white canoe; Chapter 7: Preparing the concluding festival and finishing the canoe; Chapter 8: Ornamenting and blessing the white canoe; Chapter 9: Touring and normalizing the white canoe; Chapter 10: The concluding festival; References; Image credits; Index.

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Book Synopsis‘You haunt me everywhere.’ So wrote Edward Burne-Jones to Frances Graham, his muse for the last 25 triumphant years of his life: ‘I haven’t a corner of my life or my thoughts where you are not’. He drew her obsessively, included her in some of his most famous paintings, and showered her with gifts. Even when she betrayed him to marry, he would return to her. To him ’all the romance and beauty of my life means you.’ This is the first biography of his muse. In a discreet, subtle, human way, her life is a study in power – artistic, social, political, familial, local – and all the more fascinating for being played out from a perennial position of weakness. What makes a muse? The word conjures up for the artist a human cocoon of sexual allure and worship: part inspiration, part lover and protector. Yet however beguiling, demanding and volatile a muse could be, it remained a life surrendered to the art of another. In Victorian England, this was especially so with the hierarchies between the sexes so firmly entrenched. The life of a muse to a Pre-Raphaelite artist was no different: Ruskin and Effie Gray, Rossetti and Lizzie Siddal, both powerfully destructive relationships that ended respectively in divorce and death. The one who survived was Frances Graham. She had a restless, irrepressible intelligence, able to mix at her small dinners politicians and aristocrats with writers, artists and the up and coming, be they Oscar Wilde or Albert Einstein. In time, she became the confidante of three government ministers, including Asquith, the Liberal leader. 'The Portrait of a Muse' is the tale of a remarkable woman living in an age on the cusp of modernity.

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Book SynopsisFeaturing striking full-colour images and new research, this publication from the Hong Kong Palace Museum celebrates some of the most important works of horse art from the Palace Museum and the Louvre Museum. Five essays and forty-five entries highlight objects dating from the Han (206 BCE-220 CE) to Qing (1644-1911) dynasties, and explore the horse in art in a way that is accessible to general readers, encouraging them to think through comparisons with objects from both institutions. Centred on the question of human connection to the horse across time in China and beyond, the catalogue entries are divided into sections that examine the horse in mythology and religion, military culture, and transnational traversals, providing a means for reflecting on fundamental issues of human creativity, ambition, and tradition. This is a beautifully designed and thought-provoking volume that will find a ready market among those with an interest in Chinese art and culture. Published to celebrate the opening of the new Hong Kong Palace Museum in July 2022, Grand Gallop accompanies a major exhibition of the same name that is expected to generate significant media attention.Trade ReviewWinner of the Golden Pin Design Award 2022.Table of ContentsForewords; Horse Culture and Art in Early China by Ingrid Yeung and Jia Tianlong; The Art of the Horse in Chinese Painting by Xing Lunan; On the Interactions between Early Qing Emperors and the Imperial Stables by Chou Weichiang; The Horse in Islamic Art by Yannick Lintz; Three Realms by Sarah Kenderdine and Jeffrey Shaw; Galloping Across Time, Across Boundaries; Plates; Catalogue of the Exhibition; Acknowledgements

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Book SynopsisThe significant influence of the periodical Signature on fine art has long been overlooked. While few people nowadays will have read it, no journal has greater claim to have stimulated the taste that became British neo-romanticism in the mid-20th century. Oliver Simon, its editor, publisher, patron and printer was something of an enigma. Although shy, he somehow knew 'everyone' in the London literary and arts scene during the 1930s and 40s. So outwardly conservative to be dubbed 'the archbishop' by Ben Nicholson, Oliver elicited adventurous art from his artist contributors to Signature. The Signature artists were fellow travellers on a journey: young artists working in commercial art to pay the bills. Having mastered graphic techniques for applied purposes they then began to apply what they learned to their own artwork. Then they went off to War... Those interested in the work of Paul Nash, John Piper, Graham Sutherland, Edward Bawden, and Barnett Freedman will enjoy the story of the influence and fellowship of Oliver Simon, Signature, and the Curwen Press, on their art.Trade Review"Neil Wells' fascinating Accidental Alchemy brings to life the story of Signature and its quietly pioneering impresario, Oliver Simon. Backed by prodigious research and replete with insights into aesthetic connections and artists' lives, this entertaining, handsomely illustrated book deepens our understanding of a key strand in mid-century English Modernism." Andy Friend, Author of Ravilious & Co: The Pattern of Friendship (Thames & Hudson, 2017) and John Nash: the Landscape of Love and Solace (Thames & Hudson 2020). "A rarity - an author who combines aesthetic sensitivity, with technical understanding and psychological insight. No other books in this subject area quite weave the threads to make such an original carpet as in this text. Here is a rich mind, obsessively researching, wandering imaginatively ... just relax and bask in the originality of it all." Ruth Artmonsky, Author Art for Everyone: Contemporary Lithographs Ltd. "Neil Wells charmingly and informatively relays the story of Oliver Simon and his championing of Neo-Romantic artists via Signature magazine. The seminal art and writings Simon elicited from artists such as Paul Nash, Graham Sutherland and John Piper warrant revisiting to understand how they came about. The book is a triumph - original, full of human rationale and therefore very readable, carrying a time capsule of images and ideas that still resonate creatively today." Hugh Fowler-Wright, Co-Author The Art of John Piper (Unicorn).

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Book SynopsisThis volume brings together over 25 scholarly essays, reviews and shorter contributions by Peter Hecht, preceded by an introduction on what he thinks his life in art history has taught him. The title indicates what his collected papers have in common: together they represent an attitude of listening to what you see. Hecht is very suspicious of applying a method and believes that looking at an image until it speaks is essential to understanding it. Also, he has done much to prove that it not only pays to study the subject of a picture as part of an iconographical tradition, but that one should study it within the oeuvre of the artist who made it as well.

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Book SynopsisPortrait miniatures were highly prized in Europe for nearly four hundred years and, unusually, artists based in Britain were the acknowledged masters of this specialised field. Many of the best painters are represented in this remarkable but relatively little-known collection. As is illustrated and described in this book, miniatures were frequently made as tokens of love or memorials of loved ones; part-likeness, part reliquary and part-jewel, they might be wearable in a locket, on a bracelet or even on a finger ring, but their portability also made them desirable as gifts. Styles, techniques and modes of presentation naturally evolved between 1560 (the date of the first miniature in the catalogue) and around 1900\. Some changes happened rapidly; in England, for example, the foundation of exhibiting societies in 1760s created a demand for larger miniatures that could hang on the wall alongside full-sized portraits. The Thomson collection includes fine examples of the work of Nicholas H

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Book SynopsisHow artists build and shape a myriad of knowledge forms, spanning the decolonial to the transnational and the multilingualWhat types of knowledge do artists produce? How do they give that knowledge form? Featuring works by 11 artists from 9 different countries, whose birth years range from 1946 to 1992, Ways of Knowing highlights different ways artists give form to complex ideas. The catalog, documenting an exhibition at Minneapolis' Walker Art Center, highlights the strategies by which some of today's most compelling artists resist assumptions about how information should be gathered and shared, bringing their own perspectives to cultural artifacts and histories. Some focus on the ethics of research or the connections between culture, place and language, while others examine the impacts of colonialism across continents or the historical formation of gender identity, among other themes.Artists include: Iosu Aramburu, Sammy Baloji, Anna Boghiguian, Cabello/Carceller, Chang Yuchen, Petrit Halilaj, Sky Hopinka, Christine Howard Sandoval, Eduardo Navarro, Gala Porras-Kim, Rose Salane.

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Book SynopsisBoth personal and universal, Harris' oeuvre weaves together legacies of family dynamics, queer histories and Afro-cosmopolitanismGathering photographs, assemblages, video installations and archival selections from his celebrated and lesser-known series, Our first and last love charts new connections across the artistic practice of New Yorkbased artist Lyle Ashton Harris (born 1965). Informed by an adolescence that unfolded in New York City and Dar es Salaam, Tanzania, as well as several years spent living in Ghana, Harris explores the complexities of African and African American collective identity while forging his own personal narrative as a Black queer man.This book and its accompanying solo survey exhibition chronicles Harris' approach to representation and self-portraiture while tracing recurrent themes and formal techniques in his work over the last 35 years. Central to this curated selection is Harris' most recent series titled Shadow Works, mixed-media assemblages of photographic prints embedded in Ghanaian printed textiles with cowrie shells, pottery, handwritten notes, clippings of the artist's dreadlocks and other personal ephemera. In both the exhibition and its catalog, these works serve as thematic anchors underscoring Harris' layered approach to his ongoing creative explorations.

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Book SynopsisOne of the most significant artists to emerge in the late 1980s and early 1990s, Felix Gonzalez-Torres’s reduced formal vocabulary, conceptual rigor, and evocative use of everyday materials resonates with meaning that is at once specific and mutable, rigorous and generous, poetic and political.Featuring several key bodies of work from throughout the artist’s career, this publication showcases a series of distinct installations at David Zwirner in New York in 2017. The interplay with the specific architecture of the gallery and the way works are installed is highlighted throughout the catalogue, with images that explore the poetics of how space and work influence each other. Together, in their radical openness to interventions of site, audience, and context, the works on view challenge perceived notions of what constitutes an exhibition space, a public, an artwork itself. Despite the resolute abstraction of much of his work, Gonzalez-Torres worked with familiar materials, from his iconic candy spill works and his evocative light string pieces, but also including mirrors, clocks, and curtains. His work activates the architecture of the various spaces, the physicality of the viewer, the past and present, continuously maintaining its relevance. Opening with details of the exhibition and images of visitors in the spaces, the publication walks the reader through each piece. New text by David Breslin explores the variety of works included here while contextualizing Gonzalez-Torres’s contribution to art history.

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Book SynopsisBringing together the work of over twenty international scholars from various disciplines, Cultural Histories of the Material World provides a substantial collection of works that explore materiality and material culture from a historical perspective. These scholars represent some of the most innovative voices in their respective fields, using historiographical lens to chronicle how the field of material culture has operated between multiple disciplines and has grown to prominence in the last two decades, both inside and beyond the academy. Essential reading for the study of material culture and including writing by Bill Brown, Nancy Troy, Horst Bredekamp, Ja&sacute Elsner, and Pamela H. Smith, this book builds on the recent proliferation of works that address materiality and offers unified collection of key perspectives on the material turn across the humanities.

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Book SynopsisA volume considering questions of conservation that arise with new artistic mediums and practices. Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved. This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object—Event—Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators. Trade Review“Object—Event—Performance lays out several tantalizing observations on the ways that art since the 1960s increasingly challenged the traditional values found in art and conservation. . . . The volume is ambitious and informative, and the approach particularly germane to the artistic practices that are predicated upon live performance, variously conceived, with elements captured in ways difficult to preserve or transfer. It is a valuable contribution to conversations that continue to be explored within the field of conservation.” -- Joyce Tsai, University of Iowa“This collection is promising for its conception of conservation as a ‘participative practice’ that alters as much as conserves an object or a work and for its emphasis on the dynamic changeability of art’s materialities. It is also promising for the ways that it attempts to speak across audiences who are often segregated into either practitioners, scholars, curators, or conservators.” -- Rebecca Schneider, Brown UniversityTable of ContentsSenior Editor’s PrefaceAcknowledgementsIntroduction: Object—Event—PerformanceHanna B. Hölling1. Introducing Fluxus with ToolsHanna B. Higgins2. Exhausting Conservation: Object, Event, Performance in Franz Erhard Walther’s WerkstückeHanna B. Hölling3. Video Art’s Past and Present “Future Tense:” The Case of Nam June Paik’s Satellite WorksGregory Zinman4. Resurrecting Hannah Wilke’s Homage to a Large Red LipstickAndrea Gyorody5. Mutable and Durable: The Performance Score after 1960Alison D’Amato6. Sometimes An Onion: Simone Forti and the Choreographic Logic of Objects and InstitutionsMegan Metcalf7. Views of Nature: Preserving Land (Art) with Collective IntentRebecca Uchill8. Enlivened Pieces: Richard Tuttle at the Whitney Museum of American Art 1975Susanne Neubauer9. The Cheapness of Writing Paper, and Code: Materiality, Exhibiting and Audiences after New Media ArtBeryl Graham10. The Propensity toward Openness: Bloch as Object, Event, and PerformanceJohannes M. Hedinger and Hanna B. HöllingList of ContributorsIndex

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Book SynopsisSixteen international artists at the forefront of feminism This book focuses on a selection of midcareer international artists whose oeuvres are informed by the legacies of feminist thought. Each artist adds to the feminist discourse, whether by reclaiming women’s marginalized creative histories, using gender discrimination as a method of institutional critique or creating alternate research methodologies that confront patriarchal norms. The book includes sculpture, painting, video, installation and performance art, and features lesser-known projects or entirely new commissions that recast sociopolitical realities throughout the world. In addition to extensive illustrations, the book includes essays by Anne Ellegood and Connie Butler, curators and art historians whose practices have also been dedicated to a discussion of women’s rights. Artists include: Leonor Antunes, Yael Bartana, Pauline Boudry / Renate Lorenz, Candice Breitz, Shu Lea Cheang, Minerva Cuevas, Vaginal Davis, Every Ocean Hughes, Bouchra Khalili, Laura Lima, Teresa Margolles, Otobong Nkanga, Okwui Okpokwasili, Lara Schnitger and Beverly Semmes.Trade ReviewEmploys colored borders to distinguish each artist, for whom there is a full page discussion along with extensive illustrations. Major texts by the two curators are placed in the middle and printed on different stock, narrower than the bulk of the volume, which gives the beautifully-printed volume an unusual physical presence. -- Andrea Kirsh * Artblog *

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Book Synopsis“JONES STUDIO HOUSES Sensual Modernism” is a self-imposed limited look at the 40-year-plus career of Eddie Jones. Almost unheard of outside the southwest United States, Jones has quietly accumulated a body of work ranging beyond residential design to include major federal projects impacting the edges of America... to be featured in a soon to be published monograph! Supported by Aaron Betsky’s insightful forward, plus an enlightening interview with Vladimir Belogolovsky, and comments from many of his famous colleagues, Jones summarizes his lifelong dance with architecture through the personal stories embedded in each house. Refusing to repeat himself, the work tests the reality of gravity on a diverse spectrum of interpretive vernacular responses to climate, landscape and function. Although designed by the same hand, the forms vary as much as the choice of materials. Rammed earth, concrete, wood and metal are explored together and separately yet remain subordinate to Jones’ fascination with glass. Utilizing photographs, hand-drawings and first-person accounts, the motivations and joy of being an architect are expressed by an exceptional whole informed by many ordinary parts.

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Book SynopsisThis volume tackles a pressing issue in Roman art history: that many sculptures conventionally used in our scholarship and teaching lack adequate information about their find locations. Questions of context are complex, and any theoretical and methodological reframing of Roman sculpture demands academic transparency. This volume is dedicated to privileging content and context over traditions of style and aesthetics. Through case studies, the chapters illustrate multivariate ways to contextualize ancient objects. The authors encourage Roman art historians to look beyond conventional interpretations; to reclaim from the study of Greek sculpture the Roman originals that are too often relegated to discussions of "copies" and "models"; to consider the multiple, dynamic, and shifting contexts that one sculpture could experience over the centuries of its display; and to recognize that post-antique receptions can also offer insight into interpretations of ancient viewers. The collected topics were originally presented in three conference sessions: "Grounding Roman Sculpture" (Archaeological Institute of America, 2019); "Ancient Sculpture in Context" (College Art Association, 2017); and "Ancient Sculpture in Context II: Reception" (College Art Association, 2019).Table of Contents1 Introduction Anne Hrychuk Kontokosta and Peter D. De Staebler 2 The Statues on the Propylon of the Sebasteion Complex at Aphrodisias: "Grounding" and the Interpretation of Archaeological Context Julia Lenaghan 3 Grounding the Ny Carlsberg Vespasian: Analysis and Alternatives Steven L. Tuck 4 The Bronze Captive in the Rhone River and Roman Art History Kimberly Cassibry 5 The Sleeping Hermaphrodite: Reception and Interpretation in Three Eras Elizabeth McGowan 6 The "Lansdowne Homer": A Neo-Attic Relief Depicting the Seer Calchas Grounded in Ancient and Modern Collections Kenneth Lapatin 7 Provenance, Historic Restorations, and the "Perseus Triumphant" Statue Type: An Overlooked Group of Heroic Hunter Portrait Statues from Imperial Rome Mark B. Abbe 8 Investigating the Ungrounded: The Paired Portrait Busts of Septimius Severus and Julia Domna in the Eskenazi Museum of Art, Indiana University Julie Van Voorhis and Mark B. Abbe 9 The Farnese Hercules and Hercules within Roman Baths Maryl B. Gensheimer 10 Body/Culture: Display and Reception of the Farnese Hercules Marice Rose 11 Roman Sarcophagi in Context from the Catacomb of Praetextatus Sarah Madole Lewis 12 Lions at the Door: Ancient Context, Reuse, and Recreation on Italian Romanesque Facades Steve Burges 13 Eros and the Army (Constantinople and Context) Benjamin Anderson 14 Virtual Context for Roman Sculpture Sebastian Heath 15 Further Reflections on Groundedness Elizabeth Marlowe Contributors

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Book SynopsisNew works from the celebrated Brazilian virtuoso of joyously chromatic abstraction Published in conjunction with the Brazilian artist Beatriz Milhazes’ (born 1960) first solo exhibition at Pace since she joined the gallery in 2020, this book spotlights 10 vibrant, large-scale paintings she created during pandemic quarantine, as well as an immersive multimedia installation titled Gamboa III (2020), which incorporates materials found in carnival props. Including additional images of Milhazes’ previous sculptural works and new texts that illuminate her highly generative practice, the publication immerses readers in the artist’s colorful, spiritual world. An essay by curator Mark Godfrey explores Milhazes' art as it relates to the terms “landscape” and “logo,” “structure” and “spontaneity” and “surface” and “spirituality”; and a conversation between Milhazes and fellow artist Polly Apfelbaum delves into Milhazes’ emergence within the international art scene and her relationship with her practice today.

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Book SynopsisA recent film trilogy addressing the insidious and violent nature of whiteness, privilege and misogyny New York–based artist Jordan Strafer (born 1990) makes highly narrative films that are absurd and fantastical meditations on power and violence. This volume presents her latest trilogy of videos, drawing from autobiography and cultural sources to create a "Mad Libs–like" collage of visual and textual references.

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Book SynopsisIn MAINTENANT 18, contemporary dada writers and artists from around the world redistribute a wealth of new ideas, to shape public opinion using the theme of PLUTOCRAZY. “Timely and relevant.” —Tribe LA Magazine.  “Proof that dada is not dead.” —MADJAN Magazine (Serbia) Creativity is the currency here and the amount has no limit. In nearly 250 pages of full color art and incisive writing, MAINTENANT 18 separates Merch and State by forging a non-monetary vision which exposes strategies to achieve socio-political and economic equality and serves against the military-industrialist complex linking warfare with capitalism, shining a light through every crack for “we the people.” Features the work of artist and writers from around the world, including cover art by Molly Crabapple. A fascinating collection of contemporary dada art and writing from around the world that proves dada continues to be

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Book SynopsisA multidisciplinary illustrated reader unpacking imperialist representations of Africa by promoting dialogue, memory and everyday practice, and reimagining cultural institutions and the arts—from museums to academia, from architecture to art In 2017, curator and art historian Anita N. Bateman and architect and professor Emanuel Admassu initiated research on the traditional positioning and mispositioning of the arts across the African continent. Where Is Africa has been an extended set of exchanges with contemporary artists, curators, designers and academics who are actively engaged in representing the continent—both within and outside its geographic boundaries. By examining artist collectives, new currents in art history and the rise of contemporary art festivals in and about Africa from the past 10 years, the project unpacks the imperialist foundations of cultural institutions and their anthropological fascination with African objects, people and places. The interviews in Where Is Africa examine African and African-diasporic identities and spaces through questions of positionality in relation to specific disciplinary, cultural and political contexts. The texts address Afro-diasporic aesthetic practices and the curatorial, museological and artistic matrices that confront epistemologies of dominance and exclusion. The commissioned essays and images offer concise methodologies that expand or complicate issues addressed by the interviewees. Where Is Africa is a conceptual project that accompanies a conceptual place, driven by the desire to dislodge Africa from categorical fixity and the representational logics of nation-states. Africa can never be fully enclosed by the residue of colonial violence or the totalitarian gaze of neoliberalism; instead, it creates infinite malleability, where place and concept are untethered from each other. Contributors include: Mikael Awake, Salome Asega, Tau Tavengwa, Anthony Bogues, Jay Simple, Eric Gottesman, Rebecca Corey, Aida Mulkozi, Rakeb Sile, Mesai Haileleul, Mpho Matsipa, Niama Safia Sandy, Adama Delphine Fawundu, Rehema Chachage, Robel Temesgen, Valerie Amani, Meskerem Assegued, Elias Sime, Olalekan Jeyifous, Amanda Williams, Germane Barnes and Mario Gooden.

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Book SynopsisA scintillating record of Cynthia Hawkins' work and the Black gallery scene of 1970s and 1980s New YorkSince the 1970s, Cynthia Hawkins (born 1950) has investigated the potentials of abstract painting. Her process-oriented practice embraces the improvisational to create a space for her continually evolving vocabulary. From 1979 to 1981, Hawkins documented these developments in a journal. A record of routine and the everyday, the journal also gathers sketches, notes for new and in-progress works, and responses to contemporary art and criticism, bringing the artist's reflections into relief. Art Notes, Art also offers a picture of the burgeoning Black-owned gallery scene in New York that Hawkins was an important participant inincluding Just Above Midtown, where she had her first solo exhibition in 1981as well as the women artists' circle she was an active member of. Art Notes, Art is richly illustrated with works by the artist produced during this key period, photographs and ephemera, and a visual archive of contemporaneous work by her peers.

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Book SynopsisThe book showcases new and recent work by John Jennifer Marx and Form4, from private residences to Silicon Valley masterplans.

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Book Synopsis

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