Individual artists, art monographs Books

Book SynopsisThis work gathers together texts by contemporaries of Paul Cezanne (1839-1906) - including artists, critics and writers - that illuminate the painter's philosophy of art, particularly in his later years.Table of ContentsPreface Introduction by Richard Shiff Documents Gustave Geffroy: Excerpt from Claude Monet, His Life, His Times, His Works Ambroise Vollard: Excerpt from Paul Cezanne Leo Larguier: Excerpt from Sunday with Paul Cezanne Jules Borely: 'Cezanne at Aix' (L'Art Vivant) Emile Bernard: Letter to His Mother (5 February 1904) Paul Cezanne: Letters to Emile Bernard (April to June, 1904) Emile Bernard: 'Paul Cezanne' (L'Occident) Paul Cezanne: Letters to Emile Bernard (July 1904 to September 1906) Emile Bernard: 'Memories of Paul Cezanne' (Mercure de France) Francis Jourdain: Excerpt from Cezanne R. P. Riviere and J. F. Schnerb: 'The Studio of Cezanne' (La Grande Revue) Maurice Denis: Excerpt from the Journal Karl Ernst Osthaus: 'A Visit to Paul Cezanne' (Das Feuer) Paul Cezanne: My Confessions Interpretations Joachim Gasquet: 'What He Said to Me' (excerpt from Cezanne) Emile Bernard: 'A Conversation with Cezanne' (Mercure de France) Maurice Denis: 'Cezanne' (excerpt from Theories) Lawrence Gowing: 'The Logic of Organized Sensations' Notes Bibliography Index

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Book SynopsisTaking as case studies two paintings of circa 1621-22 attributed to Artemisia, this text examines the ways that identity, gender and market pressures interact both in the artist's work and in the criticism and conoisseurship that have surrounded it.Trade Review"In her new book, Garrard has taken two bold steps that challenge much received opinion in the 'discipline' of art history. Analyzing two of Gentileschi's least violent but most moving images, Garrard argues that the painter's personality is discernible no less in the subjects and their interpretation than in the 'style' of the works; consideration of both aspects is essential to understanding the meaning of these extraordinary pictures and her authorship. Perhaps even more important. Garrard makes crystal clear that Artemisia Gentileschi, far from a 'good woman painter,' was one of the major visual thinkers of her time." -Irving Lavin, coauthor with Marilyn Aronberg Lavin of La Liturgia d'Amore: Immagini dal Canto dei Cantici nell'arte di Cimabue, Michelangelo, e Rembrandt (Modena, 2000) "Linda Nochlin once famously asked: 'Why are there no great woman artists?' Challenged by that question, Mary Garrard has been brilliantly establishing the greatness of the Italian Baroque painter Artemisia Gentileschi. Now Garrard's findings culminate in a great book - one with all the acerbic panache of one of Artemisia's pictures." -George Hersey, author of Architecture and Geometry in the Age of the Baroque "By revealing a great woman painter's ways of expressing uniqueness while negotiating expectations, Mary Garrard helps each of us with the subtleties of remaining authentic while living in the world. Artemisia Gentileschi around 1622 is art history to live by." -Gloria Steinem"Table of ContentsList of Illustrations Acknowledgments Preface Introduction: Connoisseurship in a New Key Gender and the Social Construction of Artistic Identity Gender and the Personal Formation of Artistic Identity PART ONE: A New Magdalen A Tale of Two Pictures Artemisia and Mary Magdalene The Example of Caravaggio The Example of Michelangelo Artemisia as the Allegory of Painting The Magdalen as Melancholy The Reappropriation of Gendered Melancholy PART TWO: The Burghley House Susanna A Problem Picture Susanna in the Garden of Love Susanna as Social Scapegoat The Picture: Technical Analysis and Documentation Collaboration or Unauthorized Alteration? Artemisia and Susanna, Public and Audience Conclusion: The Shaping of a Complex Identity Notes Works Cited Index

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Book SynopsisA collection of dialogues, talks, and writings by Philip Guston (1913-1980), one of the most intellectually adventurous and poetically gifted of modern painters.Trade Review"Lovingly compiled" Artforum "This hefty volume is 344 pages of smart art takes (Clark Coolidge, ed.) by the largely self-taught painter who, with pal Jackson Pollock, got expelled from L.A.'s Manual Arts High School in 1929." -- Christopher Knight Los Angeles Times, Culture Watch Blog "This is a book of wisdom, not only for artists but for anyone seeking to learn something from art." The Nation "Expansive" San Francisco Bay Guardian "Until now his influence has been through his art rather than his words. This collection gathers together interviews and studio discussions and commits the artist's words to print. -- Alexander Adams Art Newspaper "[Guston's] voice at its effusive best." Jewish ExponentTable of ContentsPreface Acknowledgments Introduction by Dore Ashton Statement in Art News Annual (1944) Statement in Twelve Americans (1956) Notes on Bradley Walker Tomlin (1957) Interview with Sam Hunter (1957) From the Chicago Panel (1958) Statement in Nature in Abstraction (1958) Statement in It Is (1958) Statement in The New American Painting (1957–58/1959) Interview with David Sylvester (1960). From Panel at the Philadelphia Museum School of Art (1960) Conversation with Bill Berkson (1964) Interview with Joseph S. Trovato (1965) Piero della Francesca: The Impossibility of Painting (1965) Philip Guston’s Object: Conversation with Harold Rosenberg (1965) Faith, Hope, and Impossibility (1965/66) Conversation with Joseph Ablow (1966) Interview with Karl Fortess (1966) On Morton Feldman (1967) Conversation with Morton Feldman (1968) The Image (1969) On Piero della Francesca (1971) Talk at Yale Summer School of Music and Art (1972) Conversation with Louis Finkelstein (1972) Conversation with Clark Coolidge (1972) Talk at Yale Summer School of Music and Art (1973) On the Nixon Drawings (1973) Ten Drawings (1973) On Survival (1974) On Drawing (1974) Conversation with Harold Rosenberg (1974) Talk at “Art/Not Art?” Conference (1978) From Panel at “Art/Not Art?” Conference (1978) Interview with Jan Butterfield (1979) Interview with Mark Stevens (1980) Interview with Joanne Dickson (1980) Studio Notes (1970–78) Bibliography List of Illustrations Index

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Book SynopsisA biographical dictionary which offers short, information-packed entries for approximately 1,800 Chinese artists of the twentieth and twenty-first centuries.Table of ContentsPreface Abbreviations Name Changes of Principal Art Academies Biographical Dictionary Bibliography

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Book SynopsisPieter Bruegel (1525-1569), generally considered the greatest Flemish painter of the sixteenth century, was described as a supremely comic artist. This book explores the function and production of laughter in the sixteenth century, and also examines the ways in which Bruegel exploited the comic potential of Hieronymus Bosch.Trade Review"In Pieter Bruegel and the Art of Laughter Walter Gibson makes it abundantly clear that laughter is a key feature in many of Bruegel's works. He examines witty and humorous elements in Bruegel's paintings, prints, and drawings and creates a context for understanding them as part of sixteenth-century culture. The material Gibson brings to bear on Bruegel will be new to many. This book will appeal to art historians and anyone interested in sixteenth-century thought and culture." - John Oliver Hand, Curator of Northern Renaissance Paintings at the National Gallery of Art, Washington "This book offers a much needed, and long overdue alternative to the primarily moralizing approach to Northern Renaissance and Baroque art and the works of Pieter Bruegel. Walter Gibson goes way beyond what art history has offered to date, giving a new, more balanced reading of Bruegel's art." - Alison Stewart, Associate Professor of Art History at the University of Nebraska-Lincoln"Table of ContentsList of Illustrations Acknowledgments prologue Deciphering Bruegel chapter 1 The Commodity of Laughter in the Sixteenth Century chapter 2 Bruegel's Art of Laughter chapter 3 A Bankrupt and His Bruegels chapter 4 Rustic Revels chapter 5 Making Good Cheer chapter 6 The Devil's Nemesis: Griet and Her Sisters epilogue Taking Laughter Seriously Notes Select Bibliography Index

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Book SynopsisIn the voluminous scholarship that's been written on Paul Cezanne, little has been said about the 24 portraits in oil that Cezanne made of his wife, Hortense Fiquet Cezanne, over an extended twenty-year period. This title focuses on these paintings as a group and looks at the differences that render many of them unrecognizable as the same person.Trade Review"This rich substantial reading raises Cezanne studies to a new level... Highly recommended." Choice "[Sidlauskas's] eloquent and penetrating visual analyses are a pleasure to read... [An] impressive and important book." Women's Art Journal "Sidlauskas's observations are detailed, sensitive and sometimes truly poetic." -- Karsten Schubert Burlington MagazineTable of ContentsAcknowledgments Introduction: Seeing Cezanne 1. The Counter-Muse A Brief History 2. The Color of Emotion 3. The Materiality of Vision 4. Toward an Ideal Dissolving Difference Conclusion: The Woman in Question Appendix: Paintings of Hortense Fiquet Cezanne Notes Bibliography List of Illustrations Index

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Book SynopsisA book on American sculptor Mark di Suvero that features more than two hundred images of his important works interspersed with short texts by the artist and by other writers who have inspired his art-making practice. It describes his artistic oeuvre and of his long, distinguished career.Trade Review"Shows the daring, greatness, and individuality of di Suvero's monumental work alongside the passions, poetry, and deep thoughts that drive him." -- Jan Garden Castro Sculpture Magazine "What makes Dreambook special is that it's so much more than it might have been." January Magazine "di Suvero is in a class of his own." American Style

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Book SynopsisA comprehensive, English-language study of early twentieth-century Japanese modern art. It constructs a critical theory of artistic modernism in Japan between 1900 and 1930 by analyzing the work of Yorozu Tetsugoro, whose paintings she casts as a polemic response to Japan's late-nineteenth-century encounter with European art.Trade Review"Definitively illuminates a new horizon for the field of modern Asian art... It is precisely what the discipline needs." -- Chun-Wa Chan, The University of Hong Kong Journal Of Oriental Studies "Forceful and eloquent... A substantially rigorous and provocative probe into the search for universalism in a differentiated world." -- Alice Y. Tseng International Journal Of Asian Studies "Deserves to be read by all historians of modern art and East Asian culture and contributes to the growing field of East-West cultural exchange." Journal Of Asian Stds (Jas) / Se Asia & Western Pacific "An impressive book, beautifully produced and sustaining intellectual rigour with its detailed, stimulating research." -- Helenkilpatrick Japanese Studies "Excellent... Exquisitely written." Art Bulletin (CAA) "Written beautifully and compellingly." Journal Of Japanese StudiesTable of ContentsAcknowledgments Note on Translation and Names Introduction: Painting "X" 1. Reverse Japonisme and the Structure of Modern Art in Japan 2. Nude Beauty: A Modernist Critique 3. Inventing the Self: The New Woman and the Revolutionary Artist 4. Expressionism and the "New Period of the Primitive" 5. Unified Rhythm: Toward a Universal Painting Epilogue: Japanese Modern Art in the World Notes Further Reading List of Illustrations Index

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Book SynopsisFinster began preaching as a teenager in the South in the 1930s. But it was not until he received a revelation from God at the age of sixty that he began to make sacred art. This book explores the life and religious-artistic significance of Finster and his work.Trade Review"An important book for anyone interested in outsider art, folk art, Southern studies, and American religion." - STARRED REVIEW Library Journal "Entertaining and insightful ... a thoroughly researched and illuminating book." -- John Foster Raw Vision "How [Girardot] came to write a book about Finster and Finster's art after a decade and a half of visiting him- and an additional decade of visiting his garden-is a story in itself, and Girardot's book is as much about that narrative as it is about the mythico-religious structure behind Finster's immense quantity of artwork. In many ways, this book is sui generis." Art Papers "Gives the flavor of the particular religious environment from which Finster emerged and how he transformed it through his art... Of importance, and contrary to typical readings of the work, the only fundamentalism that Girardot recognizes in Finster is the artist's own fundamental strangeness. But the core of that strangeness was core to his liberating message." The Outsider "Densely written but supremely readable. Much of its density comes from the author's often hilarious and often riotously poetic language, which echoes the ecstatic excesses of Paradise Garden itself... His inquiry, which both complicates and elucidates the Finster myth, demonstrates why Finster's lifework matters." Folk Art MessengerTable of ContentsNote on Internet Citations and Additional Web Resources Preface: Stories about Stories Introduction. Once upon a Time: Encountering the Word Made Flesh 1. On the Finster Trail: The Business of Howard Finster's Divine Busyness 2. Signs of the Times: Howard Finster and Prophetic Reenchantment 3. The Matter of My Mission: Howard Finster's Religious Template 4. The First and Second Noah: Howard Finster's Ark of Myth and Meaning 5. The Finster Mythos: Just the Facts in Howard Finster's Mythic Life 6. Snakes in the Garden: Life and Death in Paradise 7. The Strange Beauty of Bad and Nasty Art: Toward a Finsterian Aesthetic Conclusion. Howard Finster: The Hidden Man of the Heart Notes Acknowledgments List of Illustrations Index

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Book SynopsisFocuses on Philip Guston's controversial figurative paintings of the late 1960s and 1970s. This title looks at the early critical reception of these works to see what the artist was actually doing and, at another level, to investigate the odd alchemy of artists and their audiences. It deals with Guston's complicated relationship to Judaism.Table of ContentsIntroduction 1. Sick of Purity 2. Thinking Thoughtlessness 3. Allegory 4. Jewish Jokes Acknowledgments Notes Index

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Book SynopsisExamines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs after Walker Evans - taken from Evans' famous depression-era documents of rural Alabama - became central examples in theorizing postmodernism in the visual arts in the 1980s.Trade Review"A critical examination of how the art world's singular characterization of Levine's work began." -- Nogin Chung Afterimage "A hugely ambitious text... Singerman masterfully retools art history in favor of deep, precisionist yet associative reading." -- Judith Rodenbeck X-TRATable of ContentsAcknowledgments Introduction 1. Pictures 2. Photographs 3. Paintings 4. Endgame 5. Sculptures 6. Counting Notes List of Illustrations Index

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Book SynopsisDavid Park (1911-1960), transplanted Bostonian turned ground-breaking West Coast painter, led the way in creating what became known as Bay Area Figurative Art - a daring move during the post-World War II years when abstract expressionism held sway. This biography traces Park's resolute search for a fresh kind of figuration.Trade Review"The first full biographical portrait, not a memoir, of Park (1911-1960), the reticent founder of Bay Area Figuration, the region's only modern art movement so far to win global recognition." -- Kenneth Baker San Francisco Chronicle "Even insiders who thought they knew this complicated artist will know him far better thanks to Boas." San Francisco Chronicle "Just as Park put the humanity back into an era of abstraction, Boas brings David Park the man into the foreground in a literary and historical sense." Huffington Post "A welcome volume." Los Angeles Times "[Boas's] passion shows in how persuasively she argues for a wider recognition of Park's importance." Art Critical "Shows how Park conferred a human presence on the painting of his time, influencing artists such as Richard Diebenkorn and Elmer Bischoff." San Jose Mercury News "An enthralling read." San Francisco Magazine "[David Park's] bold colors and everyday subjects helped usher in a new modernism." Berkeleyside "[A project] put together with care." San Francisco ChronicleTable of ContentsPrologue. Values, Not Scenes 1. First Years, 1911--1928 2. Out West, 1928--1930 3. New Friends, 1931--1934 4. Genesis, 1934--1936 5. Back East, 1936--1941 6. The War Effort, 1941--1944 7. The California School of Fine Arts, 1945--1946 8. In the Studio, 1946--1949 9. I Call Them Pictures, 1950--1953 10. A Single Self, 1953--1955 11. From Domestic Scenes to Bathers and Nudes, 1955--1958 12. Image and Void, 1958--1959 13. End Story, 1959--1960 14. The Life of the Work, after 1960 Coda. The Blaze in the Darkness Acknowledgments Notes Selected Bibliography List of Illustrations Index

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Book SynopsisOver the course of his career, Stephen De Staebler (1933-2011) created powerful, elegiac figurative sculptures in clay and bronze. This title provides a biographical portrait of the sculptor, and renowned art historian.

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Book SynopsisOffers an original approach to early French modernism, one informed by the art's unprecedented psychological intensity. Focusing on the early work of Paul Cezanne, this title offers a competing version for modern painting rooted in the evocation of emotive "expression," emblematized by scenes of murder, sexual violence, and anxious domesticity.Trade Review"Throughout the arguments are supported with a stunning array of contextual information, including both the expected and unexpected... Recommended." -- E. K. Mix, Butler University Choice "Life is beautifully produced. The use of illustrations is materly." -- Alex Danchev Times Higher Education Supplement "That Andre Dombrowski has contributed a highly original and persuasive interpretation of Cezanne's early work is indubitable." H-France Review "Probing ... very rewarding ... [enables] a more complete view of the origins of modernist painting." -- Allison Morehead Journal of Modern HistoryTable of ContentsIntroduction 1. Violent Beginnings: The Murder 2. "I Is Another": Self-Portraiture and the Modernization of Olympia 3. Poetry, Portraiture, and Interiority: Paul Alexis Reading to Emile Zola 4. Art Arranged for Piano: The Overture to "Tannhauser" 5. The Emperor's Last Clothes: Cezanne, Fashion, and L'Annee terrible Epilogue: The End of Violence Notes Further Reading List of Illustrations Acknowledgments Index

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Book SynopsisFocusing on the thirty-three paintings Philip Guston exhibited at the Marborough Gallery in 1970, this title reconsiders the history of postwar American art and the conception of figuration in modern art history.Trade Review"A superb book." Modern Painters "A sophisticated monograph on the postwar American painter Philip Guston." -- C. N. Robbins Choice "Slifkin is clearly smart and this first book promises a strong career." -- David Kaufmann The Burlington MagazineTable of ContentsPreface: Art, History, and the 1960s 1. Introduction: Figuration circa 1970 2. Literal, Lateral, Historical 3. Action Painting Refigured 4. Conclusion: Badness circa 1970 Notes Selected Bibliography List of Illustrations Acknowledgments Index

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Book SynopsisProvides an approach to understanding the range and impact of artist's practice, as well as its complex relationship to several key artistic and ideological debates of the late twentieth century, including the instability of identity, the role of appropriation, and the boundaries of expressionism.Trade Review"Amply illustrated . . . a lucid account that encourages the reader to look with refreshed eyes at the richness of the artist's work." * Times Higher Education *"Offers a compelling analysis that reveals and elucidates the complex language systems and cultural discourses at play in Basquiat’s work." * Art Practical *"In four chapters, the author gives the artist’s work the scholarly and historical attention it rightly deserves while contributing to the fields of American art, African American art, contemporary art, and diaspora art." * Nka: Journal of Contemporary African Art *Table of ContentsAcknowledgments Introduction: Reading Jean-Michel Basquiat 1. "The Black Picasso": Jean-Michel Basquiat and Questions of Race 2. Creativity Found and Made 3. The Language of Expressionism Notes Bibliography List of Illustrations Index

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Book SynopsisPresents an examination of Pablo Picasso's use of religious imagery and the religious import of many of his works with secular subject matter.Trade Review"[Dillenberger] provides a fresh outlook that connects [Picasso] to the spiritual upbringing in his childhood and the classical past world of art." Library Journal "... a powerful study... Dillenberger argues powerfully that Picasso, too, was in his best works searching to express the presence of transcendence in the here and now, seeking 'some other realm of feeling and thought where he, too, despite his profession of atheism, could take part in the Christian drama as it unfolded under his own hand'." -- Charles Pickstone Art & Christianity EnquiryTable of ContentsForeword Michael Morris, OP Preface Jane Dillenberger 1. The Crucifixion 2. The Early Years 3. Picasso and the Church 4. Guernica: Ultimate Concern 5. The Corrida and the Sketchbooks of the 195s Notes Selected Bibliography List of Illustrations Index

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Book SynopsisHow does photography shape the way we see sculpture? In this book, the author broaches this question through an in-depth consideration of the photography of American sculptor David Smith (1906 1965).Trade Review"Does more than reveal the important role photography played in Smith's art; it fundamentally alters how we see the works he photographed." Bookforum "...thorough research and exceedingly compelling and rigorously formal readings of individual works." -- Christa Noel Robbins Oxford Art JournalTable of ContentsAcknowledgments Introduction: The Problem of Photography and Sculpture 1. Toward Mass Reproduction as a Public Display 2. Aerial Vision, Photographic Abstraction, and the Surface of Sculpture 3. Images of Nonbelonging: Dramatizing Autonomy in the Sculptural Group 4. Picturing Color in Space 5. The Terrain of the Vulgar: Smith's 1963--64 Nudes Conclusion: Framed and Unframed Space Notes Bibliography List of Illustrations Index

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Book SynopsisA fascinating and indispensable book.Christopher Knight, Los Angeles TimesBest Books of 2018The GuardianGold Medal for Contribution to Publishing,2018 California Book Awards Carleton Watkins (18291916) is widely considered the greatest American photographer of the nineteenth century and arguably the most influential artist of his era. He is best known for his pictures of Yosemite Valley and the nearby Mariposa Grove of giant sequoias. Watkins made his first trip to Yosemite Valley and Mariposa Grove in 1861 just as the Civil War was beginning. His photographs of Yosemite were exhibited in New York for the first time in 1862, as news of the Union's disastrous defeat at Fredericksburg was landing in newspapers and while the Matthew Brady Studio's horrific photographs of Antietam were on view. Watkins's work tied the West to Northern cultural traditions and played a key role in pledging the once-wavering West to Union. Motivated by Watkins's pictures, Congress would pass legislatiTrade Review"A fascinating and indispensable book." -- Christopher Knight, * Los Angeles Times *"The more that Green reveals about this enigmatic figure the more you want to see. As Green does with the events of Watkins’ life, he builds a web of beauty and risk, of boom and bust, and of serenity and exploitation in and in between Watkins’ pictures. There are still plenty of shadows, but Green puts us in a better place to see into them." -- David D'Arcy, * San Francisco Chronicle *"The book is convincing in its central argument, relating the sublimity of Watkins’s photography to American Transcendentalism, particularly the poetry of Emerson. It is also quite beautiful on the meanings of early Californian culture. In this sense Green’s research is not just about Watkins, but about the significance of the American West, and in some ways the definition of America itself. Ultimately, the book makes a strong case for photography as the first and most American art: much like Watkins’s work, Making the West American is at once technical and transcendent." * Aperture *"This is highly effective scholarship that maps out art, politics and science in which Watkins takes his place alongside his fellow photographer Eadweard Muybridge." * Art Newspaper *"Carleton Watkins is a treasure of a book, which hopefully will bring more attention to this particular photographer’s work and achievement. With its numerous illustrations of photographs discussed by the author, in all likelihood a reader will come away with a deep sense of appreciation of both the artist in question but also his biographer." -- Jörg M. Colberg, * Conscientious Photography Magazine *"Tyler Green’s marvellous biography of the gold rush photographer Carleton Watkins, who more or less created the image of America’s midwest, is all startling drama in both the life and art." -- Laura Cumming, * The Guardian *"Green’s clearly written chronological narrative traces Watkins’s life and career. His inclusion of many of Watkins’s most notable photographs enriches the portrait of a photographer whose work left an indelible mark on an expanding country. This is a book to be appreciated both textually and visually." * Foreword Reviews *"The most meticulously researched portrait of the photographer to date, adding a treasure trove of compelling new details. . . . Green skillfully weaves a web of historical context around Watkins, placing him and his photographs as connectors to major cultural, political, and industrial changes, most especially the burgeoning conservation movement, the railroad industry and settlement of the West, and the men and women who shaped the region." * Oregon Historical Quarterly *Table of ContentsList of Illustrations Acknowledgments Introduction 1. Sunrise in the Foothills of the Catskill Mountains 2. Arriving in California 3. Creating Western Culture at Black Point 4. Secession or Union? 5. To Yosemite in Wartime 6. Sharing Yosemite 7. Exhibiting Yosemite in Wartime 8. Expanding the Western Landscape 9. The Birth of the Nature Park Idea 10. Assisting American Science 11. To Oregon (for Industry) 12. Volcanic Landscapes 13. Basking in Achievement, Building a Business 14. Celebrating Gilded Age Wealth 15. Taking Shasta, Discovering Glaciers 16. The Boom Years 17. San Francisco’s Borasca 18. The Comeback 19. Creating Semi-tropical California 20. Showing California Its History 21. Enter William H. Lawrence 22. Rebuilding a Business 23. Mapping from the Mountaintops 24. Becoming Agricultural 25. Traveling the West (Again) 26. The New Industrial Agriculture near Bakersfi eld, California 27. The Last Great Picture 28. The Long, Slow End List of Abbreviations Notes Bibliography Index

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Book SynopsisNorman Lewis was the sole African American artist of his generation who became committed to issues of abstraction at the start of his career and continued to explore them over its entire trajectory. This is an illustrated catalogue that accompanies the first major museum retrospective of the painter Norman Lewis (1909-1979).Trade ReviewWinner, 2017 Alfred H. Barr Jr. Award College Art Association

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Book SynopsisUsing examples of works by Nam June Paik (1932-2006), the hugely influential Korean American artist who is considered the progenitor of video art, he author explores the relation between the artworks' concept and material, theories of musical performance and performativity, and the Bergsonian concept of duration.Trade Review““How do we care for the increasing number of artworks that challenge previously accepted notions of time and space? Hanna Hölling’s new book is an ambitious and clear-eyed attempt to provide an answer to that question, calling for a fundamental rethinking of curatorial and conservational notions of time and change in media artworks. . . . And yet, as Hölling makes clear, there is no going back when it comes to Paik. . . . Her combined museological and academic outlooks uniquely shape Paik’s Virtual Archive, a book that will likely become required reading in curatorial and preservation graduate programs, and which will also be of keen interest to scholars in the fields of modern and contemporary art and media studies.” * The Art Bulletin *“As an Art Historian and Conservator, Hölling offers a deep and lucid meditation on ephemerality that is both theoretical and practical. . . . She draws from a range of European theorists to offer her post-structural view of the archive as a place of potentials: ‘divorcing the archive from its exclusive “pastness,” one might conceive of the museum archive as a place where conservators and curators undertake the process of de – and re-activating artwork. . . . Hölling provides a compelling rationale for not dismissing attempts to re-imagine the artist’s concept that makes sense for precarious digital works that may gain a new, different life separate from their original coded existence.” * Visual Studies *"In a memorable opening to Paik’s Virtual Archive: Time, Change, and Materiality in Media Art, conservator and scholar Hanna Hölling recounts how she received the devastating news that Canopus, a laserdisc video work by Nam June Paik, had crashed down from a wall at her then-workplace. By taking this and other Paik “multimedia installations” as the book’s narrative thread– originally her PhD thesis–Hölling generously unpacks her theme: How does the identity of a multimedia artwork persist through every act of conservation, every replacement or renewal, every redisplay, and every re-interpretation, especially given its inexorable material decay along the way? . . . She hints at a radical future where any difference between art and archive become more and more equivocal in terms of authorship, curation, and preservation.” * Journal of the American Institute for Conservation *“Hölling's explanations...show how the practice of media art is integrated into the institutional conventions on the one hand, and how it can cause an institutional structural change on the other. The study is characterized by the fact that it not only describes the current change, but also makes theoretical suggestions in order to grasp the changing work identity of a multimedia installation between storage and presentation. Hölling's book also provides a fundamental access to the current debate within the contemporary restoration discussion, which has so far hardly been received in the German-speaking context. . . . Because, as Hölling shows convincingly, these works are constantly being reconstituted in the context of conservation practices and are accordingly incomplete.” * Kunst Chronik *"The author does not only offer an analysis of the installations in the traditional context of conservation of works of art, that is to say in the conditions of observation, measurement and analysis. Rather, it seeks to understand their conception in a regime of cultural, scientific and dynamic relationships. The book takes its originality from the museographic approach, which is broken down into three parts: the first, "Concept and Materiality", where artistic and performative media are mentioned; the second, “Time and Changeability”, which deals with questions of time and conservation; and the third, "Archive and Identity", where the concepts of the material and immaterial archive are advanced, with archival and museographic implications." * Critique d’art *Table of ContentsList of Illustrations Acknowledgments Introduction: Revisiting the Object PART I. CONCEPT AND MATERIALITY 1. Two Works 2. Conceptual and Material Aspects of Media Art 3. Musical Roots of Performed and Performative Media PART 2. TIME AND CHANGEABILITY 4. Zen for Film 5. Changeability and Multimedia Art 6. Time and Conservation 7. Heterotemporalities: Film Time, Video Time, and Paik Time PART 3. ARCHIVE AND IDENTITY 8. The Material and the Immaterial Archive 9. Archival Implications Conclusion: The Many Archai of Conservation and Curation Notes Bibliography Index

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Book SynopsisThe renowned artist Ed Ruscha was born in Nebraska, and worked in Southern California since the late 1950s. The everyday landscapes of the West, are the primary motifs of his often deadpan and instantly recognizable paintings and works on paper. This book offers a full exploration of the painter's fascination with the evolving American West.Trade Review"Viewing the west through Ruscha's eyes offers planners to think about the opposite of roadside America: the vibrancy of center cities so often dismissed as "crowds;" the pedestrian environments so ripe for redesign; the public spaces that we forgot to build as we expanded; and, most of all, the zoning laws, street patterns, and real estate typologies that pretend as if we can expand infinitely, all the way to that long horizon." California Planning and Development Report

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Book SynopsisTable of ContentsAcknowledgments A Note on the Texts Introduction THIRTIES AND FORTIES Media: The Materials of the Artist, by Max Doerner, 1935 Current Exhibitions: Abstract Painting in America, 1935 In America You Feel, 1935–36 An Expression of Emotion That Cannot Be Put into Words, 1935–36 The Concept Is Primary, 1938–39 The Architect Should Be Able to Judge, 1939–40 Modern Sculpture and Society, 1939–40 Abstract Art in America, 1940 Medals for Dishonor, Responses to Questions from Elizabeth McCausland, 1940 Sculpture: Art Forms in Architecture—New Techniques Affect Both, 1940 Medals for Dishonor, 1940 The Recurrences of Totemism, c. 1945 The Visual Arts, 1945 I Have Erected a Solid, c. 1945 A River Mts, c. 1945 The Sculpture Produces an Environment, c. 1945 To Keep from Becoming Enslaved, c. 1945 The Technique, Brushstrokes, Chisel Marks, c. 1946 Landscape Fish Clouds, 1946–47 The Question—What Is Your Hope, c. 1947 One of the Early Impressions, c. 1947 Lecture, Skidmore College, 1947 The Landscape; Spectres Are; Sculpture Is, 1947 Design for Progress—Cockfight, 1947 The Sculptor’s Relationship to the Museum, Dealer, and Public, 1947 The Golden Eagle—A Recital; Robinhood’s Barn, 1948 Foreword, Dorothy Dehner: Drawings, Paintings, 1948 FIFTIES Report for Interim Week, 1950 Statement, Herald Tribune Forum, 1950 Sculpture Hopes to Be, 1950 Notes on Books, 1950 The Question—What Are Your Influences, 1950 Autobiographical Notes, 1950 What I Believe about the Teaching of Sculpture, 1950 The Flight Paths of Birds Moths Insects, 1950–51 Notes—Watch a Torn Sheet, c. 1951 What Happens to Barnyard Grass, 1951 Foreword—(Apology of a Juryman), 1951 Notes on Seven Sculptures, 1951 Progress Report and Application for Renewal of Guggenheim Fellowship, 1951 And So This Being the Happiest—Is Disappointing, 1951 Notes for Elaine de Kooning, 1951 The Joint Is Foul with Smoke, 1951 Sketchbook Notes: The Red of Rust; The Metaphor of a Symbol; The Position for Vision; Reading, 1951–52 Sketchbook Notes: Music; The Cloud; Space; And in the Best of Squares, 1951–52 Lecture, Williams College, 1951 Problems of the Contemporary Sculptor, 1952 The Language Is Image, 1952 The New Sculpture, 1952 Atmosphere of Early ’30s, 1952 A Head Is a Drawing, c. 1952 The Modern Sculptor and His Materials, 1952 I Have Seen Some Critics, 1952 Lecture, Skowhegan School of Painting and Sculpture, 1952 Lecture, Fourth Annual Woodstock Art Conference, 1952 Relative to Tanktotem I (Pouring), 1952 How Far Away from Imitation of Reality, 1952 Statement, WNYC Radio, 1952 Who Is the Artist?, 1952 Notes on Details—Technical, c. 1952–53 Do We Dare to Do Bad Works, 1952–53 Sometimes a Drawing Gets Too Complete, 1953 Lecture, Portland Art Museum, 1953 Books: African Classics for the Modern, 1953 Sketchbook Notes: From the Textures; The Part to the Whole; There Is Something Rather Noble About Junk, 1953 Notes While Driving, 1953 The Artist and Art in America, 1953 I Sat Near My Window, 1953 Thoughts on Sculpture, 1953 Symposium: Art and Religion, 1953 How Little I Know, 1953–54 The Artist’s Image, 1954 Notes from a Sketchbook Titled “Nature,” 1954 Second Thoughts on Sculpture, 1954 The Artist, the Critic, and the Scholar, 1954 Tradition, 1954 Lecture, Skowhegan School of Painting and Sculpture, 1954 Contribution by the Aesthetician, 1954–55 Defi ne Technique, c. 1955 Editions, Duplication, c. 1955 It Has Got to Make Big, 1955 Notes—Improvised Upon, 1955 To Make a Mark, 1955 The Artist in Society, 1955 Drawing, 1955 And Drawings before the Etching or the Print, 1955 Sketch—Oil Painting—The Infl uence—The Historian, c. 1956 González: First Master of the Torch, 1956 Lecture, Skowhegan School of Painting and Sculpture, 1956 Sketchbook Notes: He May Be Intuitive Enough to Make It; Nothing Put Down with Force and Conviction Is Meaningless, 1957 Sculpture and Architecture, 1957 Selden Rodman, Conversation with David Smith, 1957 False Statements; Editor’s Letters, 1957 Contemporary Sculpture and Architecture, 1957 Letters: American Art at the Met, 1958 Is Today’s Artist With or Against the Past?, 1958 Culture and the Ideal of Perfection, 1959 Lecture, Ohio State University, 1959 SIXTIES Notes on My Work, 1960 Interview by David Sylvester, 1960 Thoughts Travel and Come Unexpectedly, 1960 Memories to Myself, 1960 A Protest Against Vandalism; Letters; Rescue Operation, 1960 What Is the Triumph, 1961 Letter to the Board of Trustees of the Carnegie Institute, 1961 Collective Concept, 1961 Interview by Katharine Kuh, 1962 Sculpture Today, 1962 Sketchbook Notes: The Great Decision; To Think—To Dream; I Do Not Care for the Home Environment, 1962 Sketchbook Notes: The Found Object; Isn’t It Good, 1962 Letter to David Sylvester, 1962 Report on Voltri, 1962–63 A Bin Full of Balls, c. 1963 365 Sketchbook Notes: CUBE III; Drawings Are a Change; Once in a Lifetime You Meet an Ironworks; You Rule Your Own World, 1962–63 Jim and Minnie Ball, c. 1963 I Like to Eat, c. 1964 Interview by Thomas B. Hess, 1964 The Subject Is Me, c. 1964 Interview by Marian Horosko, 1964 Interview by Frank O’Hara, 1964 Some Late Words from David Smith, 1964 Chronology List of Illustration Credits Index

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Book SynopsisPublished in conjunction with a retrospective exhibition of the American painter's fifty-year career, this book reassesses De Forest's art-historical position, placing him in a national rather than solely West Coast context.Trade Review"It is a major book, a deeply researched biography of De Forest and an analysis of his art and career." -- Charles Desmarais The San Francisco Chronicle "In this thoroughly professional, immaculately organized, and factually overflowing book, the reader is set to be inspired by the adventure that was Roy De Forest." New York Journal of BooksTable of ContentsDirector’s Foreword and Acknowledgments Lori Fogarty Introduction Roy De Forest: Tough Nut Michael Duncan 1 Origins 2 Postwar San Francisco 3 In Pursuit of the Marvelous 4 Valley of the Dots: The Early Years at UC Davis 5 The Phantasmagoric Artist 6 Framing the Journey: Sculpture and Late Work Chronology Tirumular Chandrasekaran Narayanan Selected Bibliography Kristina Baybayan Index

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Book SynopsisTable of ContentsDirector’s Foreword Lawrence Rinder Acknowledgments Julia M. White Introduction Repentant Monk: Illusion and Disillusion in the Art of Chen Hongshou Julia M. White One Enigma and Intertextuality: Creative Response to Adversity Tamara H. Bentley Two Printed Beauties Hiromitsu Kobayashi Three Visions of the Occult in Early Figure Painting Shi-yee Liu Four Living in a World of Regret: Buddhist Paintings Patricia Berger Five Composite Identities: Portraits Richard Vinograd Catalogue Appendix Inscriptions and Documentation Julia Jaw Selected Bibliography Index

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Book SynopsisHarvey Quaytman's paintings are distinct for their inventive, whimsical exploration of shape, meticulous attention to surface texture, and experimental application of color. While his works display a rigorous commitment to formalism, they are simultaneously invested with rich undertones of sensuality, decorativeness, and humorexpressed, too, in his playful poetic titles, such as A Street Called Straight and Kufikind. Demonstrating the arc of Quaytman's oeuvre, from his radically curvilinear canvases of the late 1960s and 1970s, to his exploration of serialized geometric abstraction in the 1980s, and finally to his serene cruciform canvases of the 1990s, this retrospective exhibition and accompanying illustrated catalogue is a timely reconsideration of Quaytman's influential work, placing him and his work more prominently in the trajectory of American modern art. With contributions by Suzanne Hudson and John Yau, as well reflections by R. H. Quaytman, an artist and the daughter of Harvey Quaytman, on her father's work and life. Published in association with the Berkeley Art Museum and Pacific Film Archive (BAMPFA). Exhibition dates: October 17, 2018January 27, 2019, Berkeley Museum of Art Pacific Film Archive (BAMPFA).Table of ContentsDirector’s Foreword Acknowledgments Harvey Quaytman’s Arc: Against the Static Apsara DiQuinzio Plates HQ of My Mind R. H. Quaytman The Opposite of Irony Suzanne Hudson Picture and Sound: Harvey Quaytman’s Titles John Yau Reflections on an “Art Soldier”: A Conversation between Gregory Amenoff and William Corbett Ten Thoughts on Color Harvey Quaytman Dr. Kremer’s Magic Powders: A Color Glossary for Harvey Quaytman Lauren R. O’Connell Selected Exhibition History and Awards Bibliography Works in the Exhibition Index BAMPFA Board of Trustees Contributors Photography Credits

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Book SynopsisWayne Thiebaud: 1958-1968 examines Thiebaud's ongoing impact on contemporary art through in-depth analysis of the paintings and drawings made at the launch of his career, at a seminal moment when the art world was moving beyond Abstract Expressionism and redefining itself. By questioning Thiebaud's relationship to Pop art, his self-imposed distance from the movement, and the popular urge to affiliate him with it, Teagle explores the role of his painting in the traffic of images at the end of the twentieth century. Organized in close cooperation with the artist, this is the first study of the emergence of Thiebaud's mature style and the only museum exhibition to date to delve into a specific period of his production, a time that coincides with the start of his teaching career at University of California at Davis. Thiebaud's art, like that of the celebrated Pop artists with whom he shared early exhibitions, is ripe for critical reappraisal. The soft nature of Thiebaud's famous subjects, his creamy pies and dripping ice creams, positioned his art as fodder for social-political review on occasion, but rarely for serious historical analysis. Since the beginning of his career Thiebaud reminded critics of his formal interests and his deep affiliation with the history of painting. This exhibition takes as its starting point an understanding of Thiebaud's painterly language-its historical sources and contemporary affiliations. Shaped around the seminal exhibitions that marked Thiebaud's entrance onto the stage of contemporary art, it concludes with a close reading of the artists' expanded subject matter presented in a major traveling exhibition in 1968. Portraits and landscapes now joined the food that prevailed in early exhibitions, and all pictured in the artist's now signature style of objects deployed in neutral space, bounded by halated light and casting long shadows of saturated color. With contributions from Alexander Nemerov and Margaretta Lovell. Published in association with the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis. Exhibition dates: Manetti Shrem Museum of Art, University of California, Davis: January 16-May 15, 2018Trade Review“...a strong and cohesive survey that offers a chance to reconsider Thiebaud’s early work and its influence on 20th century American painting.” * Sacramento Bee *"...an extraordinary opportunity to see original works from Thiebaud’s breakout period, together in one place." * San Francisco Chronicle *Table of ContentsForeword Ralph J. Hexter Acknowledgments Rachel Teagle Presence from Absence: Wayne Thiebaud and the Future of Painting Rachel Teagle Wayne Thiebaud’s Early Landscapes: Picturing Gravity Margaretta Lovell Exaggerations of the Real: Wayne Thiebaud and Joseph Heller Alexander Nemerov Plates with entries by Francesca Wilmott Artist’s Statement Wayne Thiebaud Illustrated Chronology Arielle Hardy Selected Bibliography Manetti Shrem Museum Advisory and Honorary Boards Lenders to the Exhibition Index

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Book SynopsisThe first book devoted solely to Bruce Nauman's corridors and other architectural installations, Bruce Nauman: Spatial Encounters deftly explores the significance of these works in the development of his singular art practice, examining them in the context of the period and in relation to other artists like Dan Graham, Robert Morris, Paul Kos, and James Turrell. Designed for viewer participation, Bruce Nauman's architectural installations often confound expectations and induce physical and psychological unease. The essays in this book consider these works, which begin in 1969 and continue into the 1970s and beyond, in terms of the physical, perceptual, and psychological pressures they exert on the participant. Three interlocking perspectives on the topicConstance M. Lewallen's historical overview, Dore Bowen's case study of Nauman's 1970 Corridor Installation with MirrorSan Jose Installation (Double Wedge Corridor with Mirror), and a supplementary essay by Ted Mann on Nauman's drawTrade Review"Remarkable. . . . The three authors provide deeply researched and complimentary paths to thinking about what the different installations mean for the artwork. Thankfully, their thoughtful contributions are accompanied by a great many stunning images, allowing the reader to visually track Nauman’s development over the course of more than five decades." * Brooklyn Rail *Table of ContentsAcknowledgments Introduction PART 1 Full Circle CONSTANCE M. LEWALLEN PART 2 Corridor Reflections: On Bruce Nauman’s San Jose Installation Reinstalled DORE BOWEN CONTRIBUTING ESSAY “Another Kind of Information”: Bruce Nauman’s Drawings for Corridors and Rooms TED MANN Notes Selected Bibliography List of Illustrations Index

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Book SynopsisTrade Review“’Selective Inheritance’ achieves the scholarly goal of unpacking Ray Johnson’s unknown-artist status by peeling away the layers of his complex work with a savvy that combines art-world knowledge and darker, psychological theories." * BLOUIN ARTINFO *Table of ContentsAcknowledgments / ix Introduction: The Heir of Duchamp / 1 1. Johnson’s Background and Relationship to Duchamp / 12 2. A Language Fan Club / 80 3. The Viewer: Looking at Seeing / 128 4. Identity/Performance / 166 Conclusion / 203 Notes / 219 Selected Bibliography / 279 List of Illustrations / 287

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Book SynopsisIn May 1950 Isamu Noguchi (190488) returned to Japan for his first visit in 20 years. He was, Noguchi said, seeking models for evolving the relationship between sculpture and societyhaving emerged from the war years with a profound desire to reorient his work toward some purposeful social end. The artist Saburo Hasegawa (190657) was a key figure for Noguchi during this period, making introductions to Japanese artists, philosophies, and material culture. Hasegawa, who had mingled with the European avant-garde during time spent as a painter in Paris in the 1930s, was, like Noguchi, seeking an artistic hybridity. By the time Hasegawa and Noguchi met, both had been thinking deeply about the balance between tradition and modernity, and indigenous and foreign influences, in the development of traditional cultures for some time. The predicate of their intense friendship was a thorough exploration of traditional Japanese culture within the context of seeking what Noguchi termed an innocent synthesis that must rise from the embers of the past. Changing and Unchanging Things is an account of how their joint exploration of traditional Japanese culture influenced their contemporary and subsequent work. The 40 masterpieces in the exhibitionby turns elegiac, assured, ambivalent, anguished, euphoric, and resignedare organized into the major overlapping subjects of their attention: the landscapes of Japan, the abstracted human figure, the fragmentation of matter in the atomic age, and Japan's traditional art forms. Published in association with The Noguchi Museum. Exhibition dates: Yokohama Museum of Art, Japan: January 12March 21, 2019 The Noguchi Museum, New York: May 1July 14, 2019 Asian Art Museum, San Francisco: September 27December 8, 2019Trade Review"Will undoubtedly be an important reference for future studies on Hasegawa, Noguchi, and postwar art by Japanologists and non-Japanologists alike." * Journal of Japanese Studies *Table of ContentsFOREWORD JENNY DIXON INTRODUCTION Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan DAKIN HART AND MARK DEAN JOHNSON ONE Modernist Passions for “Old Japan:” Saburo Hasegawa and Isamu Noguchi in 1950 BERT WINTHER-TAMAKI TWO “Accumulated Impressions”: A Photographic Travelogue of Noguchi and Hasegawa in Japan MATTHEW KIRSCH THREE Regretting the Future: Noguchi, and Hasegawa Consider the Direction of Postwar Japanese Art KOICHI KAWASAKI FOUR Isamu Noguchi’s Memorial to the Dead of Hiroshima: The Monument that Never Was and an Artistic Vision Shared with Saburo Hasegawa NAOAKI NAKAMURA FIVE Saburo Hasegawa in America: A Wide Open Road MARK DEAN JOHNSON SIX True Development of an Old Tradition: Isamu Noguchi’s Work in the 1950s DAKIN HART SEVEN Toward Abstraction: Saburo Hasegawa’s Exploration of the Photogram YASUFUMI NAKAMORI PLATES Saburo Hasegawa and Isamu Noguchi PRIMARY SOURCES Remembrance of Saburo Hasegawa ISAMU NOGUCHI Noguchi in Japan SABURO HASEGAWA CHRONOLOGY Isamu Noguchi and Saburo Hasegawa: 1904–April 1959 MATTHEW KIRSCH Japanese Translations Contributors Photography credits

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Book SynopsisExploring the complex interweaving of race, national identity, and the practice of sculpture, Amy Lyford takes us through a close examination of the early US career of the Japanese American sculptor Isamu Noguchi (1904-1988). The years between 1930 and 1950 were perhaps some of the most fertile of Noguchi's career. Yet the work that he produced during this time has received little sustained attention. Weaving together new archival material, little-known or unrealized works, and those that are familiar, Lyford offers a fresh perspective on the significance of Noguchi's modernist sculpture to twentieth-century culture and art history. Through an examination of his work, this book tells a story about his relation to the most important cultural and political issues of his time. By focusing on Noguchi's reputation, and reception as an artist of Japanese American descent, Lyford analyzes the artist and his work within the context of a burgeoning desire at that time to define what modern AmerTrade Review“Written in animated and lucid prose, this book is that of a seasoned scholar whose intervention in Noguchi criticism performs the tremendous work of critiquing and making socially relevant inroads in the field of art history.” * Society for US Intellectual History *“Written in animated and lucid prose, this book is that of a seasoned scholar whose intervention in Noguchi criticism performs the tremendous work of critiquing and making socially relevant inroads in the field of art history.” * Society for U.S. Intellectual History *Table of ContentsAcknowledgments Introduction Part 1. Labor 1. Earthworks, the Depression Economy, and Monument to the Plow 2. Modernism, Public Art, and Sculpture as Social Practice in the 1930s 3. Reinventing Labor in New York Part 2. Race 4. Negotiating Japanese American Confinement 5. Reimagining Humanity in the 1940s 6. Noguchi, Asian America, and Artistic Identity in Postwar New York Postscript: Beginnings and Ends at the Venice Biennale Appendix A. Noguchi’s “A Plan for Government Sponsored Farm and Craft Settlement for People of Japanese Parentage” Appendix B. Noguchi’s “I Become a Nisei” Notes Selected Bibliography List of Illustrations Index

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Book SynopsisIt has been more than fifty years since John Waters filmed his first short on the roof of his parents' Baltimore home. Over the following decades, Waters has developed a reputation as an uncompromising cultural force not only in cinema, but also in visual art, writing, and performance. This major retrospective examines the artist's influential career through more than 160 photographs, sculptures, soundworks, and videos he has made since the early 1990s. These works deploy Waters's renegade humor to reveal the ways that mass media and celebrity embody cultural attitudes, moral codes, and shared tragedy. Waters has broadened our understanding of American individualism, particularly as it relates to queer identity, racial equality, and freedom of expression. In bringing bad taste to the walls of galleries and museums, he tugs at the curtain of exclusivity that can divide art from human experience. Waters freely manipulates an image bank of less-than-sacred, low-brow referencesElizabeth Taylor's hairstyles, his own self-portraits, and pictures of individuals brought into the limelight through his films, including his counterculture muse Divineto entice viewers to engage with his astute and provocative observations about society. This richly illustrated book explores themes including the artist's childhood and identity; Pop culture and the movie business; Waters's satirical take on the contemporary art world; and the transgressive power of images. The catalogue features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; critic, curator, and artist Robert Storr; as well as an interview with Waters by photographer Wolfgang Tillmans. Published in association with the Baltimore Museum of Art. Exhibition dates: The Baltimore Museum of Art: October 7, 2018January 6, 2019 Wexner Center for the Arts: February 2April 28, 2019Trade Review“Until someone writes the definitive biography, ‘John Waters: Indecent Exposure’, the catalog for the filmmaker’s Baltimore Museum of Art retrospective, is as complete a portrait of an unclassifiable artist as possible. The focus is on gallery work, sculptures of Charles Manson, conceptual pieces (see ‘Hetero Flower Shop’ — please) and much more transgressive works, but mixed with Q&As, essays on Water’s ‘queer ethics’ and the artist’s unassailable cheer, it offers a powerful argument for free expression itself.” * The Chicago Tribune *Table of ContentsForeword Lenders to the Exhibition Acknowledgments INAPPROPRIATION Kristen Hileman PLATES 1–35 JOHN WATERS’S QUEER ETHICS Jonathan D. Katz PLATES 36–68 QUEERING THE PITCH Robert Storr PLATES 69–101 WOLFGANG TILLMANS in Conversation with JOHN WATERS PLATES 102–159 Works in the Exhibition Filmography Selected Bibliography Index Image Credits

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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 SynopsisTrade Review“Based on exhaustive research and interviews, this thoughtful and comprehensive biography makes a good case for recognizing Jacob Lawrence as among the finest American artists of the 20th century. . . . [Hills’] empathetic analyses will make this the definitive biography of Lawrence for a very long time.” * Artnews *“The book is the most thorough analysis available of Lawrence’s work and a valuable contribution to American art history as well as African-American studies.” * The Artblog *“Hills knows a great deal about her subjects - Lawrence and the Harlem in which he lived and worked for much of his life - and this will be an essential book for those who study these subjects.” * Art New England *“Hills offers a beautifully illustrated, critical assessment . . . By paying close attention to Lawrence’s sophisticated imagery and situating his work within its rich cultural and political contexts, Hills provides a much-needed analytical discussion of his oeuvre and a thoughtful account of race in 20th-century American art and life. . . . Highly recommended.” * Choice *Table of ContentsPreface Introduction PART ONE The Artist’s Place in Harlem 1 Harlem’s Artistic Community in the 1930s 2 Patrons and the Making of a Professional Artist PART TWO Themes and Issues 3 African American Storytelling: Toussaint L’Ouverture and Harriet Tubman 4 The Great Migration in Memory, Pictures, and Text 5 Confrontations with the Jim Crow South in the 1940s 6 Home in Harlem: Tenements and Streets 7 The Double Consciousness of Masks and Masking 8 The Paintings of the Protest Years, 1955–70 Epilogue Acknowledgments Appendix: Jacob Armstead Lawrence and His Family Notes Selected Bibliography 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 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 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 SynopsisIn Consuming Stories, Rebecca Peabody uses the work of contemporary American artist Kara Walker to investigate a range of popular storytelling traditions with roots in the nineteenth century and ramifications in the present. Focusing on a few key pieces that range from a wall-size installation to a reworked photocopy in an artist's book and from a theater curtain to a monumental sculpture, Peabody explores a significant yet neglected aspect of Walker's production: her commitment to examining narrative depictions of race, gender, power, and desire. Consuming Stories considers Walker's sustained visual engagement with literary genres such as the romance novel, the neo-slave narrative, and the fairy tale and with internationally known stories including Roots, Beloved, and Uncle Tom's Cabin. Walker's interruption of these familiar works , along with her generative use of the familiar in unexpected and destabilizing ways, reveals the extent to which genre-based narrative conventions depend Trade Review“Peabody asserts that narrative is a necessary interpretative scheme with which to approach Walker’s art, and the author gives deep histories to some of the most interesting moments in Walker’s narrative engagement. . . . [A] remarkable book which spans Walker’s nearly twenty-year long career to date…” * Oxford Art Journal *"This excellent book contributes greatly to the plethora of existing scholarship on Kara Walker." * Panorama *“Rebecca Peabody’s lyrically written, provocative, and smart new take on Kara Walker suggests that there is, in fact, much more to say about this artist. . . . Peabody has set the bar high. Not only does she rigorously review the copious literature on Walker, but she has taken considerable trouble to familiarize herself with Walker’s own words and ideas in order to present as thorough a critique of this enigmatic artist. Brava.” * Woman’s Art Journal *Table of ContentsAcknowledgments Introduction: Kara Walker, Storyteller 1. The End of Uncle Tom 2. The Pop of Racial Violence 3. American Romance in Black and White 4. The International Appeal of Race 5. Storytelling in Film and Video Conclusion Notes Selected Bibliography Illustration Credits 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 SynopsisTrade Review“Recommended.” * CHOICE *“Remaking Race and History is an important sourcebook on this otherwise under-recognized artist. . . . Provides an indication of the insights that such future investigations can yield.” * caa.reviews *“Impressive and important. . . . The socio-historical details and contexts of Fuller’s life and art given throughout the book are well-researched and coherently presented. . . . Ater makes a noteworthy contribution to African American art history.” * Association of Historians of American Art *"An exemplar of a more integrated art history. [Ater] is especially gifted with comparative stylistic and iconographic analysis of period sculpture." * Art Bulletin *“Remaking Race and History: The Sculpture of Meta Warrick Fuller goes a long way in correcting the glaring omission of one of the key African American woman artists of the twentieth century.” * Tikkun *Table of ContentsIntroduction 1. “Foremost Sculptor of the Negro Race” 2. Segregation and Inclusion 3. Memory and Commemoration 4. Race and Americanization Epilogue Acknowledgments 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 Synopsis

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Book Synopsis

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Book Synopsis

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