Individual artists, art monographs Books

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Book SynopsisSome Kind of Duty features all new handmade weavings by Chicago-based artist Karolina Gnatowski, known as kg. In monumental and small-scale tapestries, kg, anAmerican artist who was born in Poland incorporates references ranging from Polish immigration, badminton, Jim Morrison, and feminist fiber artists to addiction, mourning, and their pet. The artist's keen attention to the details of life's coincidences and moments of intersection finds a fitting form in their reverence for the history of tapestry weaving, and the evidence of everyday life incorporated into the artist's work makes their weavings an offering to those both living and dead. This catalog accompanies an exhibition at the DePaul Art Museum, and it features full-color plates of the works on view, an interview between the artist and DPAM Director and Chief Curator Julie Rodrigues Widholm, an essay by K. L. H. Wells, assistant professor in the Department of Art History at the University of WisconsinMilwaukee, and poems

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Book SynopsisThe Stroemple Collection boasts more than five hundred vintage Venetian vessels that illustrate the height of Venetian glassblowing during the eighteenth and nineteenth centuries. In 2012, George Stroemple commissioned James MongrainDale Chihuly's current gaffer and an exceptional glass artistto make a series of ten vessels to replicate major examples of vintage Venetian glass in the Stroemple Collection. The finished pieces exemplify Mongrain's extraordinary ability to re-create traditional Venetian mastery in glass. Since then, the Stroemple Collection has commissioned Mongrain to make more series, all based on the historic works in the Stroemple Collection. For these, Mongrain uses traditional techniques and imagery to reimagine the Venetian style, working on a large scale to create monumental and sculptural pieces that reference tradition but are firmly within contemporary glassmaking. This book documents each of the James Mongrain commissions and will also include various exampl

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Book SynopsisFew artists have ever been so belovedor so controversial among art criticsas Andrew Wyeth.The groundbreaking bookArtists of Wyeth Countrypresents an unauthorized and unbiased biographical portrait of Wyeth, based on interviews with family, friends, neighborseven actress Eva Marie Saint. Journalist W. Barksdale Maynard shines new light on the reclusive artist, emphasizing Wyeth's artistic debt to Howard Pyle as well as his surprising interest in surrealism.The book is filled with brand-new information and fresh interpretations. Artists of Wyeth Countryalsocomprisesthe first-ever guidebook to the artistic world of Chadds Ford, Pennsylvania, center of the Brandywine Tradition begun by Howard Pyle.Six in-depth tours for walking or driving allow the reader to stand exactly where N. C. and Andrew Wyeth stood, as has never been fully possible before. As Maynard explains, Andrew Wyeth's artistic process was influenced by Henry David Thoreau's nature-worship and by his habit of walking d

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Book SynopsisThrough a balanced reading of the historical period and James' artistic production, Ronald W. Hawker argues that James' shift to contemporary art forms allowed the artist to make a critical statement about the vitality of Kwakwaka'wakw cultureTrade Review'Yakuglas' Legacy is unreservedly recommended for community and academic library Canadian Art History collections and supplemental studies reading lists.' -- James A. Cox Mid-West Book review January 2017Table of ContentsIllustrations Preface Introduction Chapter One: James' World Chapter Two: Style Chapter Three: Masks and Ceremonial Objects Chapter Four: Totem Poles Chapter Five: Model Poles and Curio Items Chapter Six: Two Dimensional Art Conclusion: Yakuglas' Legacy Bibliography Endnotes

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Book SynopsisThrough a balanced reading of the historical period and James' artistic production, Ronald W. Hawker argues that James' shift to contemporary art forms allowed the artist to make a critical statement about the vitality of Kwakwaka'wakw cultureTrade Review'Yakuglas' Legacy is unreservedly recommended for community and academic library Canadian Art History collections and supplemental studies reading lists.' -- James A. Cox Mid-West Book review January 2017Table of ContentsIllustrations Preface Introduction Chapter One: James' World Chapter Two: Style Chapter Three: Masks and Ceremonial Objects Chapter Four: Totem Poles Chapter Five: Model Poles and Curio Items Chapter Six: Two Dimensional Art Conclusion: Yakuglas' Legacy Bibliography Endnotes

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Book SynopsisOffering a unique look at the controversies surrounding Diego Rivera's mural Man at the Crossroads, this book examines how Rivera's artwork represented conflicting ideas during the 1930s and how art is leveraged to enact change.Trade Review"Paquette's tight focus constructs a richly archival social history of one of the most famous works of Mexican art executed by one of its most canonical artists." * Latin American Research Review *"A strongly supported, clearly written account that brings together the views of previous authors which [Paquette] uses as a springboard for her own." * Bulletin of Latin American Research *"Paquette's microhistorical approach, attention to detail, and, most importantly, sensitivity to the nuance and instability of discourse in concept, word, and image make At the Crossroads an innovative and very welcome addition to the scholarly literature on Rivera, the Mexican mural movement, art and politics in the 1930s, and US-Mexican relations." * Hispanic American Historical Review *

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Book SynopsisFeaturing more than one hundred-and-fifty color images, this is the first in-depth examination of the work of Michael Ray Charles, whose provocative paintings recast images of racism in consumer culture.Trade Review[The] cogent, expansive essay by art historian Cherise Smith contextualizes Charles's provocative appropriation of stereotypical racial material. * Sightlines Magazine *Michael Ray Charles: A Retrospective was published in 2020. It’s a gorgeous book, with nearly a hundred full color plates of Charles’s work. In it, Smith lays out Charles’s biography, closely tracks the development and evolution of his ongoing exploration of the history of stereotypical representations of Black people in America, and situates him within the larger realm of American and African American art. * Life & Letters *[Michael Ray Charles] documents 30 years of Charles' output and provides both an historical and contemporary context for his development. It further brings us up to the present both in terms of his work and the so-called post-racial America many hoped would truly exist with the election of Barack Obama. * Print Magazine *Both clear-eyed and complex, this retrospective demonstrates the significant role that Michael Ray Charles's work has played in defining what art is today. * Prairie View A&M's "TIPHC Newsletter" *Addressing many facets of Charles’s career, Smith’s monograph is a welcome addition to [the] renewed recognition of Charles’s significant standing in contemporary American art. Her scholarship reveals the complexity of his engagement with images and symbols of antiblack racism and helps readers gain a greater appreciation of his controversial body of work as it relates to a range of art historical, social, and political contexts...We are fortunate to have Smith’s monograph as a guide for thinking through Charles’s incredibly powerful body of work. * caa.reviews *Table of Contents Interview with Michael Ray Charles by Cherise Smith Plates Michael Ray Charles: A History by Cherise Smith Acknowledgments Curriculum Vitae by Kara Carmack Bibliography by Katherine Gregory Field Index

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Book SynopsisThe first book on the critic and essayist Dave Hickey, Far from Respectable examines the life and work of this controversial figure, whose writing changed the discourse around art and popular culture.Trade ReviewFar from Respectable is a worthy introduction to the writing of a major American critic and should instill a desire to experience Hickey’s delights firsthand. * Washington Post *[A] slender but finely crafted and brilliantly sensitive book...Far from Respectable is a wonderful book that provides the most eloquent explanation of Hickey you’ll ever have the pleasure to read. * The University Bookman *Penetrating the ruse of his subject’s impish provocations, and fully understanding the power of critical thought, Oppenheimer builds a solid argument for revisiting Hickey’s books—not only because they contain some of the best-ever Anglophone writing on art, but also because we badly need Hickey’s evaluation of the 1990s to help us survive the culture of the 2020s...Far From Respectable makes an excellent case for reading Dave Hickey again. * Athenaeum Review *[Far from Respectable] offers a coherent trajectory of a writer, from the childhood tragedy, to his lost years of drug use among the Nashville’s outlaw singers, to later-life prominence and tenure in Las Vegas (the town that best suited Hickey’s free-spirited nature). Above all, it has the salutary effect of reminding us of Hickey as an artist; instead of a gadfly, Hickey might be seen as a critical object himself, with a body of work worth experiencing. * The Nation *Oppenheimer has written a poetic distillation of Hickey's art in America, the broken cowboy, and the cowering broker...In going back to the author's initial two questions: Is Dave Hickey worth the hype, and should anyone give a hoot? Far From Respectable, like the wandering iconoclast it follows, deserves nothing but respect. * Austin Chronicle *[An] admiring but even-handed critical biography. * ArtReview *[Far from Respectable is] neither a biography, a cultural history, nor a sustained assessment, although it has elements of each. It also features reporting and literary criticism, as well as autobiographical elements. Oppenheimer employs these materials as a dioramist might, reconstructing a few specific periods—Nashville in the 1970s, the culture wars of the 1990s—to illuminate his thesis: that much of Hickey’s writing transcends criticism to approach the status of art. * Alta Journal *[Dave Hickey's] writings are a contentious takedown of the art establishment and they encourage us to rethink out relationship to beauty. [Far from Respectable] traces the history of this unique mind and his impact on art and writing. * Artnet *Far from Respectable is the first book about Hickey,...but it won’t be the last. Any book in which one author writes about another writer can quickly sour into a competition between the subject’s writing and the author’s writing about it. Oppenheimer spares readers—and himself—such indignities, bringing clear-eyed insights and a straightforward voice to his explorations and explanations of Hickey’s life and work...If there will be many more books about Hickey and his philosophy of beauty, then they’ll have to be very good to get over the high bar that Oppenheimer sets. * Burnaway *[Oppenheimer] makes a solid case for why we need to read and reread Hickey now: not only did he produce some of the best English-language essays on art and culture of the last century, but in our times those writings have proved themselves more prescient than ever. * The New Criterion *Oppenheimer...is a skilled biographer. He is unusually sensitive to the winding paths by which our private pleasures shape, resist, mar, and undo our public political and moral commitments...As he recounts his subject’s life and contemporary relevance, Oppenheimer stages his own enjoyment of Hickey with such lucid warmth that he seems to substantiate Hickey’s insistence that our enjoyment of art entangles us in other human loves...Far From Respectable succeeds in proving, through its reader’s own pleasure, the truth of Hickey’s vision of art as an experience that opens the self toward others. * Tablet Magazine *[A] loving biography of the late critic. * Fort Worth Weekly *In Far From Respectable: Dave Hickey and His Art, Daniel Oppenheimer complicates the cartoon version of [Hickey's] life that continues to shadow his reputation as a writer. * New York Review of Books *[An] engaging study of the idiosyncratic critic…[Oppenheimer] combines gumshoe reporting, interviews with figures in Hickey’s life, as well as plenty of fan service nuggets, and the result is a short book that both humanizes Hickey and burnishes the mystique. * Full Stop *Framed as a twilight reappraisal of Hickey’s life and work, [Far from Respectable's] main task is to pull Hickey’s criticism from its pigeonhole in the art world of the 1990s and into wilder, thornier, more human thickets of desire...while he praises Hickey’s writings as art, Oppenheimer also asks the pertinent question: is Hickey’s criticism still relevant? This is where the book gets relevant too...Engaging with beauty makes our lives richer—if it does anything at all—and Oppenheimer finds Hickey beautiful...there are moments when the whole thing sings. * Art in America *Far From Respectable: Dave Hickey and His Art is definitive...The book delivers insightful, detailed overviews of Hickey’s biography—from boyhood in post-war Texas, to NYC gallerist, to premiere art critic and cultural provocateur—and his career highlights: written, lauded, vilified...[Oppenheimer's] work is smart and lovely, and in service to his groundbreaking subject, while keeping readers in mind. The biographer understands art, theory, culture, craft, and Hickey, and, importantly, doesn’t punish us when we don’t. (Which is often.) * Southwest Review *Oppenheimer neatly dissects Hickey’s argument that defending provocative art against censorship by shouting 'free speech' misses the point: It’s the power of the artwork, or its 'beauty,' that should be defended because that’s what got the censors so riled up in the first place...In encouraging us to defend our loves—and by doing it himself—Hickey, along with Oppenheimer, defend our fragile, and increasingly illiberal, democracy. Hickey couldn’t be more relevant than that. * KNPR's "Fifth Street" *Table of Contents Introduction: His Blue Eden Far from Respectable, Even Now The Value of Beauty Remains Unjustified His Simple Heart Acknowledgments Notes

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Book SynopsisThe first comprehensive publication featuring the art and lives of brothers Scott and Stuart Gentling, two visionary Texas artists whose lifelong creative output captured an amazing array of subjects.

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Book SynopsisA fascinating account of the modern reinvention of the image of the Indian in nineteenth-century literature and visual culture, seen through the work of Peruvian painter Francisco Laso.Trade ReviewInventing Indigenism winds through the dense and entangled evolution of nationalist concepts and emblematic racial envisionings of the Peruvian Indian, Indigeneity, and Indigenism...[Majluf's] narratives are compelling...and advance important information and insights through intricate and multifaceted analyses that view the notion of nation as unstable...Inventing Indigenism is a multilayered examination of nation building. At the same time, the book asks all readers to consider how racial stereotypes and perspectives of the past, embedded in complex political and cultural viewpoints, continue as present day unfixed social constructs that still function in assessing the identity of self as well as others. * caa.reviews *[An] engagingly written and meticulously researched book…Among the many high-quality illustrations, the dark symmetry of the 'Inhabitant' amply depicts the dignity of Indian suffering, while a ceramic figurine, cupped reverentially in his hands, references the 'violent stifling' of Inca society and the resultant sense of loss that Laso believed to be imprinted in Indian memory. That is one message of this book. Its other considerable achievement is to have begun the restoration of the nineteenth century to its rightful place in the cultural history of both Peru and Latin America. * Times Literary Supplement *A groundbreaking study...The book, like a fine exhibition, is expertly curated to guide the reader through a fascinating exposition about the nineteenth-century origins of modern pictorial indigenism in Peru as featured in Laso’s work...This compelling and exquisite book is the product of a dedicated and masterful Art Historian. It is a book that should be required reading for every Latin American scholar conducting research on the complexities of colonial and republican legacies of Peruvian indigenism and identity politics. Natalia Majful’s contextual analysis and insightful expertise has rendered a valuable and most welcome scholarly contribution to both academic and nonacademic enthusiasts of Latin American art. * Canadian Journal of Latin American and Caribbean Studies *Majluf’s study is a welcome and much-needed addition...Her use of Francisco Laso’s iconic painting Inhabitant of the Cordilleras of Peru (1855) as a point of departure for the exploration of multiple discourses on Andean indigeneity in nineteenth-century Peru is an inspired strategic move. It reveals an artist who understood his world and the processes at work as Peru struggled to define itself...[Majluf's] study stands as a model for research in nineteenth-century Latin American art history, and her book should be of great interest to a range of audiences, given its nuanced exploration of the intersections between indigeneity, nationalist politics, and visual culture. * The Americas *Inventing Indigenism is proof of the high-quality studies that can be produced through deep levels of understanding of images and visuality across time, space, and disciplines. One painting and its broad signification brings forth current discussions on postcolonial studies and transnationality; it displaces the perpetuation of the colonial as a cultural construct and deeply engages with the possibilities of revisiting and rewriting the past. The book is complex and at the same time simple, as it comes across as an urgent study of not only art and art making but also race and representation in Latin America. It is a strong, challenging, and yet empathic study, necessary for contemporary times as a very smart model of what art history can and must urgently do. * Latin American & Latinx Visual Culture *It is impossible to summarize with any justice the richness and sophistication of the analysis that Majluf carries out in the book.Es imposible de resumir con justicia. A continuación, presentaré solo algunos elementos de sus capítulos centrales y luego estableceré un breve diálogo con el libro. * Revista Hispánica Moderna *Table of Contents A Note on the Text Preface Introduction Francisco Laso: A Republican Biography Indigenism’s National Imaginaries From Society, into Painting, and Back Precedents: A Short History of the Indian—Concept and Image 1. The Indian: Image of the Nation A Local Antiquity Idealization Painting’s Critical Function Gonzalo Pizarro: The Scene of Conquest and the Spanish Legacy The Indian as Cultural Concept Creole Failures The Indian as Allegory and Symbol 2. The Scene of Approximation The Country of Melancholy: The Creole Invention of the Andean World Melancholy’s Modern Transformations An Andean Legend: The Burial of the Priest The Inscrutable Indian The Rhetoric of Approximation: The Pascana Series A Critical Fortune of Racial Readings Reading Race: The Role of the Viewer The Construction of the Indian Image 3. Picturing Race Impossible Images The Elusive Indian Epilogue: Personal Narratives, Public Images Chronology Notes Bibliography Index

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Book SynopsisMary K. Coffey examines José Clemente Orozco's mural cycle Epic of American Civilization, which indicts history as complicit in colonial violence and questions the claims of Manifest Destiny in the United States and the Mexican desire to mend the wounds of conquest in pursuit of a postcolonial national project.Trade Review“Orozco's American Epic is original in its intent, theoretically sophisticated, and clearly elaborated. Mary K. Coffey does not settle for easy interpretations of Orozco's mural but rather dwells purposively on the difficult questions it raises. An outstanding book.” -- Claire F. Fox, author of * Making Art Panamerican: Cultural Policy and the Cold War *“This is a spectacular piece of scholarship. Any study of Mexican mural painting in the context of Mexico is challenging enough, but adding the extra level of context as a work on US soil would defeat a less ambitious and less courageous scholar than Mary K. Coffey. Any scholar who can speak with great authority on the theories of Benjamin, Freud, and Butler on the same page and then apply those insights to the work of a Mexican painter is a scholar of almost shocking sophistication and intellectual conviction. This book needed to be written, and Coffey has delivered in glorious fashion.” -- Leonard Folgarait, coeditor of * Mexican Muralism: A Critical History *"Coffey’s scholarship is singular in its depth of critical analysis of Orozco’s Epic and, for this reason, will likely be considered among the foremost explorations of the work. . . . This book is highly recommended for every academic library collection." -- Colleen Farry * ARLIS/NA *"Critiquing melancholy through the lenses of performance and critical race studies, decoloniality, and transnationalism, Coffey offers a nuanced interpretation of Orozco’s political art. She presents Orozco’s Epic as a compelling counternarrative that reappraises debates about identity, immigration, and nationalism. Highly recommended. Upper-division undergraduates through faculty; professionals." -- L. Estevez * Choice *"An engaging read. . . . Coffey’s discussion of these muralists correctly places the book in conversation with Mexican muralist studies more broadly." -- Gregory R. Mesa * Dartmouth Review *"If [Coffey’s] reflections on the notion of prophecy re-open a closed chapter in Mexican historiography, her analysis of the Orozco mural from the standpoint of mass culture will put art historians on the edge of their seats. Without resorting to analogies of 'high and low' . . . she illuminates a field of exchanges and transformations . . . that partakes of the extraordinary formal freedom the painter was gaining through his work." (translated from Spanish) -- Renato González Mello * Nexos *"Four-and-a-half decades later, Mary K. Coffey is now the favorite Professor at Dartmouth College that I never had. Her richly informed and nuanced Orozco’s American Epic on some of this hemisphere’s greatest murals deepens my understanding and affection for the most memorable body of imagery encountered in four unhappy years of my life. ¡Bravo, Maestra!" -- Mike Mosher * Leonardo Reviews *“A meaningful contribution to a growing body of literature on the theme of Mexican muralism on both sides of the border.... Coffey’s sophisticated analysis and vivid description of Orozco’s mural combine a variety of methodologies that make this book timely, complex, and engaging.” -- Maya Jiménez * Panorama *Table of ContentsList of Illustrations ix Preface xv Acknowledgments xvii Introduction 1 1. Orozco's Melancholy Dialectics 43 2. Colonial Melancholy and the Myth of Quetzalcoatl 79 3. American Modernity and the Play of Mourning 123 4. "Modern Industrial Man" and the Melancholy of Race in America 207 Conclusion 261 Notes 287 Bibliography 325 Index

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Book SynopsisMary K. Coffey examines José Clemente Orozco's mural cycle Epic of American Civilization, which indicts history as complicit in colonial violence and questions the claims of Manifest Destiny in the United States and the Mexican desire to mend the wounds of conquest in pursuit of a postcolonial national project.Trade Review“Orozco's American Epic is original in its intent, theoretically sophisticated, and clearly elaborated. Mary K. Coffey does not settle for easy interpretations of Orozco's mural but rather dwells purposively on the difficult questions it raises. An outstanding book.” -- Claire F. Fox, author of * Making Art Panamerican: Cultural Policy and the Cold War *“This is a spectacular piece of scholarship. Any study of Mexican mural painting in the context of Mexico is challenging enough, but adding the extra level of context as a work on US soil would defeat a less ambitious and less courageous scholar than Mary K. Coffey. Any scholar who can speak with great authority on the theories of Benjamin, Freud, and Butler on the same page and then apply those insights to the work of a Mexican painter is a scholar of almost shocking sophistication and intellectual conviction. This book needed to be written, and Coffey has delivered in glorious fashion.” -- Leonard Folgarait, coeditor of * Mexican Muralism: A Critical History *"Coffey’s scholarship is singular in its depth of critical analysis of Orozco’s Epic and, for this reason, will likely be considered among the foremost explorations of the work. . . . This book is highly recommended for every academic library collection." -- Colleen Farry * ARLIS/NA *"Critiquing melancholy through the lenses of performance and critical race studies, decoloniality, and transnationalism, Coffey offers a nuanced interpretation of Orozco’s political art. She presents Orozco’s Epic as a compelling counternarrative that reappraises debates about identity, immigration, and nationalism. Highly recommended. Upper-division undergraduates through faculty; professionals." -- L. Estevez * Choice *"An engaging read. . . . Coffey’s discussion of these muralists correctly places the book in conversation with Mexican muralist studies more broadly." -- Gregory R. Mesa * Dartmouth Review *"If [Coffey’s] reflections on the notion of prophecy re-open a closed chapter in Mexican historiography, her analysis of the Orozco mural from the standpoint of mass culture will put art historians on the edge of their seats. Without resorting to analogies of 'high and low' . . . she illuminates a field of exchanges and transformations . . . that partakes of the extraordinary formal freedom the painter was gaining through his work." (translated from Spanish) -- Renato González Mello * Nexos *"Four-and-a-half decades later, Mary K. Coffey is now the favorite Professor at Dartmouth College that I never had. Her richly informed and nuanced Orozco’s American Epic on some of this hemisphere’s greatest murals deepens my understanding and affection for the most memorable body of imagery encountered in four unhappy years of my life. ¡Bravo, Maestra!" -- Mike Mosher * Leonardo Reviews *“A meaningful contribution to a growing body of literature on the theme of Mexican muralism on both sides of the border.... Coffey’s sophisticated analysis and vivid description of Orozco’s mural combine a variety of methodologies that make this book timely, complex, and engaging.” -- Maya Jiménez * Panorama *Table of ContentsList of Illustrations ix Preface xv Acknowledgments xvii Introduction 1 1. Orozco's Melancholy Dialectics 43 2. Colonial Melancholy and the Myth of Quetzalcoatl 79 3. American Modernity and the Play of Mourning 123 4. "Modern Industrial Man" and the Melancholy of Race in America 207 Conclusion 261 Notes 287 Bibliography 325 Index

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Book SynopsisWriting in Space, 1973-2019 gathers the writings of conceptual artist Lorraine O’Grady, including artist statements, scripts, magazine articles, critical essays on art and culture, and interviews.Trade Review“Lorraine O'Grady's work has always been driven by embodied experiences, questioning the construction of identity and what it means to be human. This extraordinary volume charts O'Grady's fascinating musings on these subjects, tracing and shedding new light on her impressive forty-year career whilst highlighting the urgency and continued relevance of her work in our current moment. O'Grady once told me, ‘Everything I do could be a book’; this publication goes some way toward meeting that possibility.” -- Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries“Lorraine O'Grady is one of the foremost conceptual artists of the last century. Writing in Space, 1973-2019 is an indispensable contribution to our appreciation of the breadth and innovation of her singular practice; it asks us to think beyond rigid boundaries that prevent a nuanced consideration of the mutually transformative power of ‘text’ and ‘image.’ O'Grady's practice creates new worlds, wherein photography, criticism, literature, and history leave the reader with a renewed sense of creative possibility.” -- Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem"This is the first book to offer a comprehensive overview of O’Grady’s writing. Monumental texts, canonical essays, interviews, performance transcripts, and previously unpublished material form the edited volume, affirming both the range and reach of the artist’s significant impact upon an art world that has only belatedly recognized her. . . . The book establishes O’Grady’s literary brilliance that shines through her multifaceted creative practice, as she consistently pushes the art world toward deeper thought and political consciousness." -- Alexandra M. Thomas * Hyperallergic *"Lorraine O’Grady’s importance as a performance artist has tended to overshadow her talent as a writer. Ahead of a Brooklyn Museum retrospective due next year, critic and art historian Aruna D’Souza put together a must-read volume featuring O’Grady’s shrewd musings on her own work, the intersections of Blackness and gender, and notions of visibility." -- Alex Greenberger * ARTnews *"A deeply nourishing account of her life, from the years preceding her full approach to artistry and criticism until recent times. . . . Such a collection, 46 years into O’Grady’s exceptional career, reflects how the art industry has long excluded Black women artists. It is a delicate and difficult read, and a manifestation of the many possibilities embedded in thoughtful collaboration between an artist and editor who have been longtime supporters of each other’s work." -- Tyra A. Seals * Art Papers *"This volume is more than a collection of writing by an important artist whose work and thoughts have very belatedly come to larger attention. It is an extremely eloquent analysis of the New York art world since 1973 by one of the most articulate and profound conceptual artists to address questions of race, class, diasporic identity, non-Western philosophy and aesthetics and female subjectivity." -- Andrea Kirsh * The Art Blog *"For nearly a half century, Lorraine O’Grady has produced a profound body of art and writing that reckons with and contests the logics of anti-Blackness, coloniality, and extraction that underpin cultural institutions. The texts anthologized in her new volume, Writing in Space, 1973–2019, immerse readers in O’Grady’s prescience. . . . The collection spans the four decades of O’Grady’s career with interdisciplinary writings that address questions of formal beauty in concept-driven art, interrogate where and how power operates in every part of the organization of museum space, and highlight Black avant-garde and abstract work." -- Christina Sharpe * Art in America *"An absorbing cover-to-cover read, no surprise considering the artist’s roots in literature." -- Holland Cotter * New York Times *"The book is astonishing for O’Grady’s way with words alone. We see how she refines her own artist biographies and the framing of her process over time. Her performance scripts are so richly detailed that they read like closet dramas." -- Rahel Aima * Bookforum *"[W]onderful and inspiring. . . . The collection of O’Grady’s erudite and charged writings spans 1973 to 2019; each entry contests and reimagines structures of power." -- Lisa Le Feuvre * The Art Newspaper *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction: For Those Who Will Know / Aruna D'Souza xix 1. Statements and Performance Transcripts Two Biographical Statements (2012 and 2019) 1Cutting Out the New York Times (CONYT), 1977 (2006) 6Mlle Bourgeoise Noire 1955 (1981) 8Rivers, First Draft, 1982: Working Script, Cast List, Production Credits (1982) 11 Statement for Moira Roth re: Art Is . . ., 1983 (2007) 23Body Is the Ground of My Experience, 1991: Image Descriptions (2010) 27 Studies for a Sixteen-Diptych Installation to Be Called Flowers of Evil and Good, 1995–Present (1998) 30 2. Writing in Space Performance Statement #1: Thoughts about Myself, When Seen as a Political Performance Artist (181) 37 Performance Statement #2: Why Judson Memorial? or, Thoughts about the Spiritual Attitudes of My Work (1982) 40 Performance Statement #3: Thinking Out Loud: About Performance Art and My Place in It (1983) 43Nefertiti/Devonia Evangeline (1977) 50 Interview with Cecilia Alemani: Living Symbols of New Epochs (2010) 53 Interview with Amanda Hunt on Art Is . . . (2015) 60 On Creating a Counter-confessional Poetry (2018) 64 3. Reclaiming Black Female Subjectivity Black Dreams (1982) 69 Interview with Linda Montano (1986) 77 Dada Meets Mama: Lorraine O'Grady on WAC (1992) 84 The Cave: Lorraine O'Grady on Black Women Film Directors (1992) 88 Olympia's Maid: Reclaiming Black Female Subjectivity (1992/1994) 94Mlle Bourgeoise Noire and Feminism (2007) 110 4. Hybridity, Diaspora, and Thinking Both/And On Being the Presence That Signals an Absence (1993) 115 Some Thoughts on Diaspora and Hybridity: An Unpublished Slide Lecture (1994) 119 Flannery and Other Regions (1999) 126 Responding Politicially to William Kentridge (2002) 131 Sketchy Thoughts on My Attraction to the Surrealists (2013) 136 Two Exhibits: The Diptych vs. the Triptych (1998) and Notes on the Diptych (2018) 139 Introducing: Lorraine O'Grady and Juliana Huxtable (2016) 142 5. Other Art Worlds A Day at the Races: Lorraine O'Grady on Jean-Michel Basquiat and the Black Art World (1993) 169 SWM: On Sean Landers (1994) 176 Poison Ivy (1998) 181The Black and White Show, 1982 (2009) 184 Email Q&A with Artforum Editor (2009) 198 My 1980s (2012) 203Rivers and Just Above Midtown (2013, 2015) 213 6. Retrospectives Interview with Laura Cottingham (1995) 219 Interview with Jarrett Earnest (2016) 239 The Mlle Bourgeoise Noire Project, 1980–1983 (2018) 250 Job History (from a Feminist "Retrospective") (2004) 260 First There Is a Mountain, Then There Is No Mountain, Then . . . ? (1973) 269 The Wailers and Bruce Springsteen at Max's Kansas City, July 18 1973 (1973) 278 Notes 287 Index 311 Credits

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Book SynopsisThe contributors to this volume examine the artistic practice of Consuelo Jimenez Underwood, whose innovative art and urgent engagement with a range of pressing contemporary issues mark her as one of the most vital artists of our time.Trade Review"With the publication of the important book . . . art lovers are treated to a full account of the life, creative processes, vision, and accomplishments of a great Latina artist. . . . The editors . . . have greatly enhanced our knowledge of an important American artist of craft and fine arts." -- Ricardo Romo * Latinos in America *"It is a joy to see Jimenez Underwood’s work as a teacher addressed and to read about her influence on students. Essays are supported by excellent images and a strong introduction. A significant notes section points to additional research. This excellent resource will be good for courses that expand on the understandings of textile art and art history. Recommended. Upper-division undergraduates through faculty; professionals." -- L. L. Kriner * Choice *Table of ContentsList of Illustrations xi Preface. The Art of Necessity / Luis Valdez xv Acknowledgments xvii Introduction / Laura E. Pérez and Ann Marie Leimer 1 I. Spinning—Making Thread 1. The Hands of Consuelo Jimenez Underwood: A Filmmaker's Reflections / Carol Sauvion 25 2. Charged Objects: The Multivalent Fiber Art of Consuelo Jimenez Underwood / Christine Laffer 35 II. Weaving—Hand Work 3. History/Whose-Story? Postcoloniality and Contemporary Chicana Art / Constance Cortez 53 4. A Tear in the Curtain: Hilos y Cultura in the Art of Consuelo Jimenez Underwood / Amalia Mesa-Bains 71 5. Prayers for the Planet: Reweaving the Natural and the Social—Consuelo Jimenez Underwood's Welcome to Flower-Landia / Laura E. Pérez 80 6. Consuelo Jimenez Underwood: Welcome to Flower-Landia / María Ester Fernández 91 7. Between the Lines: Documenting Consuelo Jimenez Underwood's Fiber Pathways / Emily Zaiden 100 8. Flags, the Sacred, and a Different America in Consuelo Jimenez Underwood's Fiber Art / Clara Román-Odio 111 9. Garments for the Goddess of the Américas: The American Dress Triptych / Ann Marie Leimer 123 10. Space, Place, and Belonging in Borderlines: Countermapping in the Art of Consuelo Jimenez Underwood / Karen Mary Davalos 142 11. Decolonizing Aesthetics in Mexican and Xicana Fiber Art: The Art of Consuelo Jimenez Underwood and Georgina Santos / Cristina Serna 161 12. Reading Our Mothers: Decolonization and Cultural Identity in Consuelo Jimenez Underwood's Rebozos for Our Mothers / Carmen Febles 181 13. Weaving Water: Toward an Indigenous Method of Self- and Community Care / Jenell Navarro 198 III. Off the Loom—Into the World 14. Consuelo Jimenez Underwood: Artist, Educator, and Advocate / Robert Milnes 221 15. Being Chicanx Studies: Lessons for Racial Justice from the Work and Life of Consuelo Jimenez Underwood / Marcus Pizarro 239 16. Blue Río Tapestries / Verónica Reyes 244 Notes 261 Bibliography 290 Contributors 304 Index 311

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Book SynopsisGeorge Heriot (1759-1839), a Scot, is best known as a skilled landscape watercolourist and as the contentious deputy   postmaster general of British North America from 1800 to 1816. He was also a travel writer (his Travels through the Canadas was published in 1807) and a poet.In this volume, a combination of biography and art history, Gerald Finley presents, for the first time, a rounded picture of Heriot, revealing his motives and ideals while also illuminating the texture of life in Canada during the early years of settlement. In describing Heriot's several roles as artist, administrator, patriot, spy, Finley presents a portrait of an eighteenth-century gentleman whose superficial desires were for an active public life but whose deeper yearnings were for a life of contemplation.As a member of the gentry it was natural that Heriot found his way into public service, for which he was suited both by education and by upbringing. Nevertheless, his public career d

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Book SynopsisA tour de force of art and cultural history based on the life and work of celebrated Kiowa photographer Horace Poolaw. Trade Review“Smith has crafted a solid social history that helps us think beyond Edward S. Curtis’s nostalgic salvaging process. . . . This book usefully follows [Smith’s] methodology, continually engaging and explaining Poolaw’s doubled life, providing a sense of contemporary social pressure as well as long-standing tribal values.”—Katherine Hauser, Great Plains Quarterly "Horace Poolaw's photography provides an important historical look at Kiowa life in the early twentieth century because he captured daily life as it happened. Horace Poolaw: Photographer of American Indian Modernity benefits from the ample inclusion of Poolaw photographs throughout."—Jared Eberle, Chronicles of Oklahoma“Horace Poolaw was a . . . talented photographer whose work has gone largely unnoticed by mainstream art and photographic historians. Laura Smith does an excellent job of placing Poolaw’s work within a historical and cultural context and makes a convincing argument that these photographs reflect a conscious effort by Poolaw to understand and communicate a shifting Native American identity.”—Todd Stewart, associate professor of art, technology, and culture at the University of Oklahoma “Poolaw’s photographs, and Smith’s narration of where they fit in the Kiowa story, impart a welcome perspective on Kiowa history and culture. Smith powerfully illustrates how, when viewed through the eyes of Poolaw, Kiowa people—like other Americans—are actively negotiating present and future identities in a rapidly globalizing world.”—Luke Eric Lassiter, author of The Power of Kiowa Song "Horace Poolaw: Photographer of American Indian Identity is a fascinating profile of the life and times of a photographer whose work has been largely overlooked by mainstream art and photographic historians."—Marilyn Gates, New York Journal of BooksTable of ContentsList of Illustrations Foreword by Linda Poolaw Acknowledgments Introduction 1. Homeland 2. Family 3. History and Pageantry 4. Warbonnets 5. Postcards 6. Art Epilogue Notes Bibliography Index

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Book SynopsisRebecca Valette’s Clitso Dedman, Navajo Carver is the first biography of artist Clitso Dedman (1876–1953), one of the most important but overlooked Diné (Navajo) artists of his generation. Dedman was born to a traditional Navajo family in Chinle, Arizona, and herded sheep as a child. He was educated in the late 1880s and early 1890s at the Fort Defiance Indian School, then at the Teller Institute in Grand Junction, Colorado. After graduation Dedman moved to Gallup, New Mexico, where he worked in the machine shop of the Atchison, Topeka, and Santa Fe Railway before opening his first of three Navajo trading posts in Rough Rock, Arizona. After tragedy struck his life in 1915, he moved back to Chinle and abruptly changed careers to become a blacksmith and builder. At age sixty, suffering from arthritis, Dedman turned his creative talent to wood carving, thus initiating a new Navajo art form. Although the neighboring Hopis had been carving Kachina dollsTrade Review“Rebecca Valette’s history of the life of the early to mid-twentieth-century Diné trader, architect, and master wood carver Clitso Dedman is a fascinating work—well written and beautifully illustrated. Empathetically written in consultation with descendants, it also uses an amazing array of print and archival sources, which would-be writers of poorly documented Indigenous life histories will appreciate. The book’s thorough inventory of Dedman’s carvings and their dispositions will interest students of Indigenous art marketing and collecting as well.”—Klara Kelley, coauthor of Navajoland Trading Post Encyclopedia“Although Clitso Dedman’s artistic career spanned only about thirteen years, his carved figures are instantly recognizable and highly prized by collectors and dealers alike. As the first detailed account of Dedman’s life, this book is an important contribution to the literature and allows a deeper appreciation for his work. Weaving together a wealth of obscure facts about the artist’s life, Rebecca Valette gives a wonderful account of how one man bridged two cultures, a problem that continues to challenge nearly every Native American today. Equally important, Valette establishes a guide to dating Dedman’s work, the majority of which still remains in private collections.”—Russell Hartman, former anthropology collections manager at the California Academy of Sciences and former director-curator of the Navajo Nation Museum“Rebecca Valette has uncovered long-hidden information about one of the most important artists of the Navajo Nation. This book reveals for the first time the early life of Clitso Dedman and his relationship with Indian traders on the Navajo Nation, which encouraged his wood carvings of participants in ceremonial life of the Diné people, particularly the Nightway ceremony. Additionally, Valette reveals the known locations of Dedman’s carvings—single carvings, sets of four carvings, and his magnificent and rare complete sets containing sixteen carvings. Because of Valette’s diligent work, the works of this Diné artist are documented and available for the first time ever.”—Alexander E. Anthony Jr., owner and director of Adobe Gallery, Santa Fe, New MexicoTable of ContentsList of IllustrationsMap: Navajo Reservation, 1934PrefaceAcknowledgments Chapter 1. Early Years in Chinle Chapter 2. Boarding School Chapter 3. Railroad Apprentice Chapter 4. Trading Post Years Chapter 5. From Wagon to Automobile Chapter 6. An Unanticipated Career Shift Chapter 7. Back to Chinle Chapter 8. Woodcarver Chapter 9. A Forgotten Artist Epilogue. A New Navajo ArtAppendix. Inventory of Clitso Dedman CarvingsBibliographyEndnotesIndex

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Book SynopsisThe first book-length study of the acclaimed artist who brought journalistic reportage to comicsContributors: Georgiana Banita, Lan Dong, Ann D''Orazio, Kevin C. Dunn, Alexander Dunst, Jared Gardner, Edward C. Holland, Isabel Macdonald, Brigid Maher, Ben Owen, Rebecca Scherr, Maureen Shay, Marc Singer, Richard Todd Stafford, and Øyvind VågnesThe Comics of Joe Sacco addresses the range of his award-winning work, from his early comics stories as well as his ground-breaking journalism Palestine (1993) and Safe Area to Gorade (2000), to Footnotes in Gaza (2009) and his most recent book The Great War (2013), a graphic history of World War I.First in the new series Critical Approaches to Comics Artists, this edited volume explores Sacco''s comics journalism, and features established and emerging scholars from comics studies, cultural studies, geography, literary studies, political science, and communication studies. Sacco''s work has already found a place in some of the foundational scholars

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Book SynopsisThe early 1980s saw a revolution in mainstream comics as new methods of publishing and distribution broadened the possibilities. Among those artists utilizing these new methods, Chester Brown quickly developed a cult following. This volume collects interviews covering all facets of the cartoonist's long career and includes several pieces from now-defunct periodicals and fanzines.

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Book SynopsisEd Brubaker has emerged as one of the most popular, significant figures in art comics since the 1990s. Brubaker layers his stories with a keen self-awareness, applying his expansive knowledge of American comic book history to invigorate his work. This collection of interviews explores the sophisticated artist's work, drawing upon the entire length of the award-winning Brubaker's career.

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Book SynopsisAs the creator of Tintin, Hergé (1907-1983) remains one of the most important and influential figures in the history of comics. While his style popularized what became known as the ""clear line"" in cartooning, this edited volume shows how his life and art turned out much more complicated than his method.Trade ReviewAfter five decades of critical discussions on Hergé and Tintin, is there anything left to say on the most famous French-language comics creator and his acclaimed body of work? The Comics of Hergé answers the challenge of venturing new interpretations of a classic yet endlessly inspiring corpus. Drawing from multiple fields of enquiry--philosophy, aesthetics, psychology, narratology, history, poetics, musicology, sociology, film studies, art history, myth analysis, politics, and comics theory--the contributions included in Sanders's collection re-examine the visual, ideological, and storytelling devices at play in one of the most 'iconic' creations in comics history and their influence on post-Hergéan ligne claire experimentations. The chapters with a thematic approach (appraising the recurrence of motifs ranging from the nothingness prevalent in Tintin in Tibet to the mechanical modernity and narrative acceleration of Hergé's airplanes) complement those that offer new considerations on Hergé's aesthetics (his stylistic evolution, his narrative patterns, his representation of violence, his late predilection for simulacra and reflexivity), as well as those that explore the posterity of Hergéan tropes and iconography. As a whole, this collection sheds new light on an author whose work emerges here once again not as a critical terminus, but as a source of enduring fascination.""- Fabrice Leroy, professor of French and Francophone studies at the University of Louisiana at Lafayette, comics scholar, and author of Sfar So Far: Identity, History, Fantasy, and Mimesis in Joann Sfar's Graphic Novels

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Book SynopsisAt once familiar and hard to place, the work of acclaimed Canadian cartoonist Seth evokes a world that no longer exists - and perhaps never existed, except in the panels of long-forgotten comics. Forging the Past offers a comprehensive account of this work and the complex interventions it makes into the past.

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Book Synopsis

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Book SynopsisJimmy Corrigan: The Smartest Kid on Earth was the first major UK literary prize awarded for a graphic novel. In 2002 Ware was the first cartoonist included in the Whitney Biennial.Like Art Spiegelman or Alison Bechdel, Ware thus stands out as an important crossover artist who has made the wider public aware of comics as literature. His regular New Yorker covers give him a central place in our national cultural conversation. Since the earliest issues of ACME Novelty Library in the 1990s, cartoonist peers have acclaimed Ware’s distinctive, meticulous visual style and technical innovations to the medium. Ware also remains a literary author of the highest caliber, spending many years to create thematically complex graphic masterworks such as Building Stories and the ongoing Rusty Brown.

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Book SynopsisBased on new archival research and original interviews with Charles M. Schulz's family, friends, and colleagues, author Stephen J. Lind offers a new spiritual biography of the life and work of the great comic strip artist. Previously unpublished writings from Schulz will move fans as they begin to see the nuances of the humourist's own complex, intense journey toward understanding God and faith.Trade ReviewIt’s been a big year for Charlie Brown and the rest of the cast of the beloved cartoon strip Peanuts.This year marks the 65th anniversary of the comic strip with a new Peanuts movie coming out Nov. 6. That very same week, a book called A Charlie Brown Religion: Exploring the Spiritual Life and Work of Charles M. Schulz is also set to release. Author Stephen J. Lind focuses on one of the most intriguing topics Charles Schulz approached in his work: religion.‘The book is an opportunity to explore just what was Charles Schulz’s faith like and just how often did he put it in Peanuts, and how did he get away with it?’ Lind said.Schulz has been labeled as both an atheist and a fundamentalist, but Lind said Schulz really was neither.‘He had a really deep personal faith, but one of the things that I’ve really enjoyed doing in the book is working through what are the complexities of this very personal studied believer?’ Lind said."" - CBNNews.com""Throughout my entire life, I have seen my dad’s faith in action. I love that the world will now have a book testifying of Dad’s interest in the life of Jesus Christ. Stephen Lind’s book, A Charlie Brown Religion, will lead you through Dad’s life of faith and love for the Scriptures. Who is Jesus to Charles M. Schulz? After reading this book, you will know."" - Amy Schulz Johnson, daughter of Charles M. Schulz""I don’t think anyone has written about my dad and truly captured the essence of his character as completely and thoroughly as Stephen Lind has in this book. His research is commendable and his ability to stay away from ‘judgment’ and just present the facts in an engaging and sensitive way allowed who my dad was to shine through with brilliance."" - Meredith Schulz Hodges, daughter of Charles M. Schulz""Schulz’s views on religion, the manner in which religion functions within the strip itself, and Schulz’s widely publicized crisis of faith are important and widely discussed topics that deserve exactly the sort of serious and well-informed treatment found in this book. Schulz is one of the most important American comics creators, but surprisingly little has been written on him. This is an impressive and welcome contribution to comics studies and in particular to the study of Charles M. Schulz and his beloved Peanuts. The book is very well researched, and it clears up numerous confusions with respect to Schulz’s religious views and how they interacted with his important artistic work."" - Roy T. Cook, professor of philosophy at University of Minnesota

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Book SynopsisAddresses the range of Joe Sacco’s award-winning work, from his early comics stories as well as his groundbreaking journalism. This edited volume explores Sacco's comics journalism, and features established and emerging scholars from comics studies, cultural studies, geography, literary studies, political science, and communication studies.

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Book SynopsisAuthor Michael Chabon described Ben Katchor (b. 1951) as ""the creator of the last great American comic strip."" Katchor's work is often described as zany or bizarre, and author Douglas Wolk has characterized his work as ""one or two notches too far"" beyond an absurdist reality. And yet the work resonates with its audience because absurdity was the reality.

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Book SynopsisCham, real name Count Amédée de Noé, may have been the epitome of a célèbre inconnu, a famous unknown. He is one much deserving, at last, of this first account of his huge oeuvre as a caricaturist. This book concentrates on his mastery of the important newcomer to the field of caricature, which we call comic strip, picture story, and graphic novel.

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Book SynopsisTrade ReviewAfter five decades of critical discussions on Hergé and Tintin, is there anything left to say on the most famous French-language comics creator and his acclaimed body of work? The Comics of Hergé answers the challenge of venturing new interpretations of a classic yet endlessly inspiring corpus. Drawing from multiple fields of enquiry--philosophy, aesthetics, psychology, narratology, history, poetics, musicology, sociology, film studies, art history, myth analysis, politics, and comics theory--the contributions included in Sanders's collection re-examine the visual, ideological, and storytelling devices at play in one of the most 'iconic' creations in comics history and their influence on post-Hergéan ligne claire experimentations. The chapters with a thematic approach (appraising the recurrence of motifs ranging from the nothingness prevalent in Tintin in Tibet to the mechanical modernity and narrative acceleration of Hergé's airplanes) complement those that offer new considerations on Hergé's aesthetics (his stylistic evolution, his narrative patterns, his representation of violence, his late predilection for simulacra and reflexivity), as well as those that explore the posterity of Hergéan tropes and iconography. As a whole, this collection sheds new light on an author whose work emerges here once again not as a critical terminus, but as a source of enduring fascination.""- Fabrice Leroy, professor of French and Francophone studies at the University of Louisiana at Lafayette, comics scholar, and author of Sfar So Far: Identity, History, Fantasy, and Mimesis in Joann Sfar's Graphic Novels

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Book SynopsisIn this engaging, cradle-to-grave biography, Todd James Pierce explores the life of Ward Kimball, a lead Disney animator who worked on characters such as Mickey Mouse, Donald Duck, Jiminy Cricket, the Cheshire Cat, and the Mad Hatter. Pierce defines the life of perhaps the most influential animator of the twentieth century.

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Book SynopsisLarry Hama (b. 1949) is the writer and cartoonist who helped develop the 1980s G.I. Joe toyline and created a new generation of comic book fans from the tie-in comic book. Through many interviews with Hama, this volume reveals that G.I. Joe is far from his greatest feat as an artist.

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Book SynopsisSteve Gerber (1947–2008) is among the most significant comics writers of the modern era. This volume follows Gerber's career through a range of interviews, beginning with his height during the 1970s and ending with an interview with Michael Eury just before Gerber's death in 2008.

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Book SynopsisSteve Gerber (1947–2008) is among the most significant comics writers of the modern era. This volume follows Gerber's career through a range of interviews, beginning with his height during the 1970s and ending with an interview with Michael Eury just before Gerber's death in 2008.

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Book SynopsisJeff Smith (b. 1960) has made an indelible mark on the comics industry. This career-spanning collection of interviews, ranging from 1999 to 2017, enables readers to follow along with Smith's development as an independent creator, writer, and illustrator.

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Book SynopsisEdward Gorey was a fascinating and prolific author and artist. Of the delightful and fascinating books that Gorey wrote and illustrated, he rarely revealed their specific inspirations. Where did his intriguing ideas come from? In this book, Malcolm Whyte utilizes years of thorough research to tell an engrossing, revealing story about Gorey's works.

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Book SynopsisThe first biography to tell the life story of one of the most important figures in LGBTQ+ comics. A preacher’s kid from Alabama who became ‘the godfather of queer comics’, Cruse (1944-2019) was a groundbreaking underground cartoonist, a wicked satirist, an LGBTQ+ activist, and a mentor to a vast network of queer comics artists.

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Book SynopsisThe first biography to tell the life story of one of the most important figures in LGBTQ+ comics. A preacher’s kid from Alabama who became ‘the godfather of queer comics’, Cruse (1944-2019) was a groundbreaking underground cartoonist, a wicked satirist, an LGBTQ+ activist, and a mentor to a vast network of queer comics artists.

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Book SynopsisRooted in close analyses of the artist's numerous series and collections, each chapter in Ben Katchor is dedicated to a distinct aspect of the urban experience. Individual pages from Katchor's work depict not only the visual, but also the auditory, tactile, and olfactory dimensions of life in the city.Trade ReviewThrough astute close readings and by framing Ben Katchor’s work along a multisensory spectrum, urban studies scholar Benjamin Fraser presents a stunning and original perspective on Katchor’s graphic narratives." - Jan Baetens, professor emeritus of cultural studies and comics at the University of Leuven"As well as being a substantial engagement with a diverse set of works from an important, understudied comics artist, Ben Katchor presents a compelling approach to the analysis of those works. By combining a focus on Katchor’s use of the senses with analysis of the representation of the senses in his comics, Fraser has not only found a way of eliciting specific insights from Katchor’s strips, he has also sketched out an expanded approach to the sensory analysis of comics that can be applied to a wide range of works." - Ian Hague, founder and director of Comics Forum and Reader in Graphic Narrative at the University of the Arts London"Ben Katchor’s comics are filled with the same sensuousness, tactility, and humor of the urban worlds they depict. In this enthusiastic author study, Ben Fraser proves an expert guide through Katchor’s cityscapes, offering a vital introduction for readers new to the artist and a valuable reappraisal for those already familiar with his work. Organizing the book's discussion around the senses of sight, hearing, touch, smell, and taste, Fraser affirms Katchor's importance for so many vital themes in and beyond comics studies today: urban culture, multisensory reading, art and its commodification, and the centrality of community in the making of place."- Dominic Davies, author of Urban Comics: Infrastructure and the Global City in Contemporary Graphic Narratives

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Book SynopsisRooted in close analyses of the artist's numerous series and collections, each chapter in Ben Katchor is dedicated to a distinct aspect of the urban experience. Individual pages from Katchor's work depict not only the visual, but also the auditory, tactile, and olfactory dimensions of life in the city.Trade ReviewThrough astute close readings and by framing Ben Katchor’s work along a multisensory spectrum, urban studies scholar Benjamin Fraser presents a stunning and original perspective on Katchor’s graphic narratives." - Jan Baetens, professor emeritus of cultural studies and comics at the University of Leuven"As well as being a substantial engagement with a diverse set of works from an important, understudied comics artist, Ben Katchor presents a compelling approach to the analysis of those works. By combining a focus on Katchor’s use of the senses with analysis of the representation of the senses in his comics, Fraser has not only found a way of eliciting specific insights from Katchor’s strips, he has also sketched out an expanded approach to the sensory analysis of comics that can be applied to a wide range of works." - Ian Hague, founder and director of Comics Forum and Reader in Graphic Narrative at the University of the Arts London"Ben Katchor’s comics are filled with the same sensuousness, tactility, and humor of the urban worlds they depict. In this enthusiastic author study, Ben Fraser proves an expert guide through Katchor’s cityscapes, offering a vital introduction for readers new to the artist and a valuable reappraisal for those already familiar with his work. Organizing the book's discussion around the senses of sight, hearing, touch, smell, and taste, Fraser affirms Katchor's importance for so many vital themes in and beyond comics studies today: urban culture, multisensory reading, art and its commodification, and the centrality of community in the making of place."- Dominic Davies, author of Urban Comics: Infrastructure and the Global City in Contemporary Graphic Narratives

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Book SynopsisThe compelling life story of Armenian ceramicist David Ohannessian, whose work changed the face of Jerusalem—and a granddaughter's search for his legacy. Along the cobbled streets and golden walls of Jerusalem, brilliantly glazed tiles catch the light and beckon the eye. These colorful wares—known as Armenian ceramics—are iconic features of the Holy City. Silently, these works of ceramic art—art that also graces homes and museums around the world—represent a riveting story of resilience and survival: In the final years of the Ottoman Empire, as hundreds of thousands of Armenians were forcibly marched to their deaths, one man carried the secrets of this age-old art with him into exile toward the Syrian desert. Feast of Ashes tells the story of David Ohannessian, the renowned ceramicist who in 1919 founded the art of Armenian pottery in Jerusalem, where his work and that of his followers is now celebrated as a local treasure. Ohannessian's life encompassed some of the most tumultuous upheavals of the modern Middle East. Born in an isolated Anatolian mountain village, he witnessed the rise of violent nationalism in the waning years of the Ottoman Empire, endured arrest and deportation in the Armenian Genocide, founded a new ceramics tradition in Jerusalem under the British Mandate, and spent his final years, uprooted, in Cairo and Beirut. Ohannessian's life story is revealed by his granddaughter Sato Moughalian, weaving together family narratives with newly unearthed archival findings. Witnessing her personal quest for the man she never met, we come to understand a universal story of migration, survival, and hope.Trade Review"Feast of Ashes is a passionate journey of discovery, an exemplary work of craft and design history, and a powerful narrative of the meaning of family identity. An extraordinary book—I loved it." -- Edmund de Waal * author of The Hare with Amber Eyes and The White Road *"Feast of Ashes is a lovingly crafted account of family, loss, and home. Chronicling the last century's unresolved tragedies and injustices on a most personal level, Sato Moughalian forces us to acknowledge what these events have truly cost us all—a necessary insistence, if we ever hope to be free of the grievous mistakes we too oft repeat." -- Alia Malek * author of The Home That Was Our Country: A Memoir of Syria *"Feast of Ashes is an exceptional story of Armenian artisanship and one of its luminaries, David Ohannessian. As told by his granddaughter, Sato Moughalian, the tumultuous events at the end of the Ottoman Empire and the lasting legacy of Armenian ceramics unfold through her family history." -- Dickran Kouymjian * author of The Arts of Armenia *"A hundred years after David Ohannessian brought the art of Armenian ceramics to Jerusalem, his creations still glint from the walls of buildings and in cabinets there—and still testify to his singular talents, his mastery of a time-honored tradition, and his admirably stubborn belief in the possibility that beauty might emerge even out of terrible suffering. With love, care, and an attention to detail as exacting as his own, Sato Moughalian offers a moving tribute to her grandfather and his radiant handiwork." -- Adina Hoffman * author of Till We Have Built Jerusalem: Architects of a New City *"Sato Moughalian embarks on a sweeping journey from the Armenian Genocide to the present day to tell the story of how her grandfather became a master ceramist. Feast of Ashes is a compelling, brilliant work, revealing how one survivor of that infamous crime honored Armenian culture and created glorious art." -- David Scheffer * former U.S. Ambassador at Large for War Crimes Issues, author of All the Missing Souls: A Personal History of the War Crimes Tribunals *"Sato Moughalian is a born storyteller. Her account of the remarkable life of her grandfather, the Armenian ceramicist and tile-maker David Ohannessian, should be read by artists, by historians of the Middle East and, above all, by anyone sensitive to the power of the human spirit to make great art in the face of persecution, migration, and exile." -- Tanya Harrod * coeditor of The Journal of Modern Craft *"More than merely a tribute to the talents of her grandfather, Moughalian's book is a work of alchemy—combining the personal, tragic history writ large, and the somehow uplifting power of enduring art." -- Elizabeth Taylor * National Book Review *"Feast of Ashes bridges the fields of Ottoman history and Armenian art to recount the many stories that objects, alone, cannot." -- Norah Lessersohn * and Erin Piñon, Journal for the Society of Armenian Studies *"Moughalian has crafted a narrative that is as lyrical as it is compelling. She relates the tragedy and triumph of Ohannessian's personal adventures with a compassion and intimacy matched by impressive research into the broader historical context." -- Matthew Kalman * The Times of Israel *Table of ContentsContents and AbstractsPrelude: The Search chapter abstractPrelude: The author, an immigrant growing up in the United States, discovers a passion to discover more about the life and art of her grandfather, David Ohannessian, who founded the art of Armenian ceramics in Jerusalem in 1919. To learn about her heritage, she must confront her family's traumatic experience during the Armenian Genocide and search for the art and other traces her grandfather left behind. 1Mouradchai: The Armenian Village chapter abstractThis chapter explores the ethnically Armenian mountain village in western Anatolia in which David Ohannessian was born in 1884 and where his ancestors lived for four centuries. The narrative describes daily life, wedding customs, the agriculture, and commerce of the village, and the encroachment of economic and social factors from the larger world on the inhabitants of this isolated hamlet at the end of the nineteenth century. 2Eskishehir: The Engagement chapter abstractThe Ohannessian family resettles in Eskishehir, where David Ohannessian attends a French Catholic school, and discovers a variety of possible professions in a larger and more European-influenced city. The chapter briefly reviews the presence and distribution of Armenians in the Ottoman Empire and the challenges faced by this minority. David Ohannessian falls in love with Victoria Shahbazian and asks for her hand in marriage. 3Constantinople and the Art of Kutahya chapter abstractIn 1902, David Ohannessian spends several months in Constantinople and discovers his vocation: ceramic-making. He moves to Kutahya to apprentice in the craft and learns that the region is rich in the clays and other minerals that gave rise to the art of glazed painted ceramics around the fifteenth century. The chapter follows the tradition of ceramic making in Kutahya in the ensuing eras. By 1907, Ohannessian masters the art and following year, he married and deepened his connection to the city's longstanding Armenian community. 4Kutahya: Princes, Sheikhs, and a Baronet chapter abstractOhannessian establishes an independent ceramics studio in Kütahya, the Société Ottomane de Faïence, and enters partnerships with Mehmet Emin and Garabed and Harutyun Minassian to tile the growing number of buildings in the new Ottoman revivalist style and to produce glazed pottery for domestic sales and export. The 1908 Revolution brought a surge of interest in nationalist architecture along with many orders for new works as well as tiles to restore important mosques through Ottoman and Arab territories—Bursa, Konya, Mecca, Damascus, and Cairo. Ohannessian meets Mark Sykes, who commissions several substantial orders for his baronial estate in Yorkshire, Sledmere House. As Ohannessian and his partners work with architect Ahmet Kemalettin on new buildings and restorations, they become intimately acquainted with ceramic traditions from the thirteenth through the eighteenth centuries and amass a technical knowledge and a wide-ranging decorative repertoire. The Great War begins. 5Exile chapter abstractHuge numbers of Balkan Muslim refugees enter western Anatolia, posing new threats to Greek and Armenian communities. As the Ottoman Empire embarks on battles along its borders, the government places blame for early defeats on Armenians, painting them as traitorous and disarming Ottoman Armenian soldiers. On April 24, in the capital, Ottoman police and irregular forces round up more than two hundred of the most influential Armenian intellectuals, merchants, priests, and artists, and deport them into the interior, where many of them are murdered. The entire village of Mouradchai is deported on twenty-four hours' notice. In Kutahya, Ohannessian is arrested and then deported with his family. 6In the Mountains, Aleppo, and Meskene chapter abstractThe Ohannessian family follows the path of deportation taken by Armenians living in the western provinces of Anatolia—traveling by train to Bozanti, and traversing the Taurus Mountains, the province of Adana, and the Amanus Mountains. The family enters the community of Armenian refugees in Aleppo, but is deported again, this time to Meskene, the site of a desert death camp near the Euphrates. The Ohannessians return to Aleppo. After the British take the city, Mark Sykes finds Ohannessian subsisting as a refugee and recommends him to Ronald Storrs, the new Military Governor of Jerusalem, to produce new tiles for the planned British restoration of the Dome of the Rock. 7Jerusalem I: The Haven chapter abstractThe Ohannessians arrive in Jerusalem and join other Armenian survivors in the Convent of St. James. Ohannessian meets with Ernest T. Richmond, the consulting architect brought by the British to evaluate the Dome of the Rock. Ohannessian experiments with tile making using the unsatisfactory local materials. He returns to Kütahya to recruit workers and obtain clays and other minerals. Ohannessian trains Armenian orphans in the art of ceramic making. Outbreaks of violence between Jerusalem's Arab and Jewish communities in 1920 and 1921 lead to the establishment of the Supreme Muslim Council as a vehicle for greater Arab self-governance. The SMC appoints Ahmet Kemalettin to oversee the restoration of the Dome of the Rock and Al Aqsa Mosque. Ohannessian and his artisans are dismissed from the project, but continue to produce ceramics, perfect their technique given the lack of materials in Palestine's parched environment, and forge relations with distributors. 8Jerusalem II: The Feast chapter abstractOhannessian's studio adds workers, begins to exhibit at international expositions, and receives many commissions for tiled works in Jerusalem, transferring the Ottoman tradition of glazed, painted tile ornaments for domestic architecture to Jerusalem and creating elaborate tiled installations in new government and private structures. He establishes distribution outlets in Europe, the United States, Africa and through the Middle East. Arab-Jewish tensions lessen with the outbreak of World War II, but intensify upon its conclusion. 9The Scattering chapter abstractOne by one, members of the Ohannessian family leave Jerusalem, terrified by the intensifying violence. Thousands of Palestinian Armenians flock to St. James Armenian Convent seeking refuge. The Ohannessians leave for Damascus and then Egypt. Fimi Ohannessian finds a job in the British Council Library in Cairo and survives Black Saturday, the arson and violent destruction of 400 British and European-related businesses in the downtown district. The family flees Cairo's violence for Beirut and scatter after Ohannessian's death in 1953. Postlude: The Return chapter abstractThe author decides to write a biography of her grandfather and travels to the places in Turkey where he lived and worked. She locates the remnants of Ohannessian's birth village and travels there. She searches for his surviving works in the world today.

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Book SynopsisA visionary scientist, a supreme painter, a man of eccentricity and ambition: Leonardo da Vinci had many lives. Born from a fleeting affair between a country girl and a young notary, Leonardo was never legitimized by his father and received no formal education. While this freedom from the routine of rigid and codified learning may have served to stimulate his natural creativity, it also caused many years of suffering and an insatiable need to prove his own worth. It was a striving for glory and an obsessive thirst for knowledge that prompted Leonardo to seek the protection and favour of the most powerful figures of his day, from Lorenzo de’ Medici to Ludovico Sforza, from the French governors of Milan to the pope in Rome, where he could vie for renown with Michelangelo and Raphael. In this revelatory account, Antonio Forcellino draws on his expertise – both as historian and as restorer of some of the world’s greatest works of art – to give us a more detailed view of Leonardo than ever before. Through careful analyses of his paintings and compositional technique, down to the very materials used, Forcellino offers fresh insights into Leonardo’s artistic and intellectual development. He spans the great breadth of Leonardo’s genius, discussing his contributions to mechanics, optics, anatomy, geology and metallurgy, as well as providing acute psychological observations about the political dynamics and social contexts in which Leonardo worked. Forcellino sheds new light on a life all too often overshadowed and obscured by myth, providing us with a fresh perspective on the personality and motivations of one of the greatest geniuses of Western culture.Trade Review‘A captivating account of one of the most enigmatic figures in history. This beautifully written and well-documented biography is creative non-fiction at its very best. Based on the facts as we know them, it reads like an enthralling novel.’Patricia Fortini Brown, Professor Emerita of Art and Archaeology, Princeton University‘As one might expect from Forcellino, this book is written with verve, it brings major and minor individuals back to life, and it presents an original perspective on Leonardo’s art and on his relationships to other artists. While Forcellino's greatest strength is his close analysis of particular paintings, he deals with the whole range of Leonardo's work, from his mechanics, optics and anatomy to his most famous paintings and frescoes. This concise but comprehensive book on a many-sided man deserves to be widely read.’ Peter Burke, Professor Emeritus of Cultural History, University of Cambridge"Forcellino’s book is outstanding not merely because of the extent to which he incorporates a wealth of new insights on and research pertaining to Leonardo’s life at all stages, and to the constantly roiling social and political climate in which lived and worked, but also because of the profundity of detail he so ably provides to lure readers deep beneath the surfaces of Leonardo’s works — paintings, unfinished paintings, and drawings alike. Where he does so thematically or allegorically as an art historian might not always shed novel light on matters of interpretation, but his prose and pacing are by and large so casually gripping that those details are no less irresistible than the true gifts he provides his readers — punctilious, scrutinizing descriptions of process and materials. This is where Forcellino’s book truly shines, and where his work as a restorer of artworks informs his analysis in penetrating ways, allowing readers to feel that they’re learning key aspects of the secrets of the trade."Paul D'Agostino, HyperallergicTable of Contents Prologue Part One. ILLEGITIMATE SON 1. The Summer Child 2. In Florence 3. Verrocchio’s Workshop 4. Drawing 5. Early Experiments in the Workshop 6. Epiphany 7. Rebel Without a Cause 8. The Accusation 9. The Kite and the Vulture 10. Other Distractions 11. The New Humanity 12. Leonardo’s Technique Part Two. IN MILAN 1. Virgins and Lovers 2. At Ludovico’s Court 3. The Virgin of the Rocks 4. Portrait of a Legend 5. Anonymous Portraits 6. Theatre and Science 7. The New Science 8. Salai 9. The Phantom Horse 10. The Last Supper 11. Addio Milan Part Three. BACK TO FLORENCE 1. A Fatherless Family 2. The Madonnas of the Yarnwinder 3. The Human Beast 4. Real Wars and Mock Battles 5. Waiting for Glory 6. Body and Soul Part Four. IN EXILE 1. Rome. The Great Illusion 2. A Modest Apartment 3. Leonardo and Rome 4. The Three Paintings shown to Cardinal Luigi d’Aragona 5. A World of Women 6. The Mysterious Woman 7. The End 8. Inheritance Notes Plate Credits Index

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Book SynopsisThis is the first full-length biography of Horatio Greenough. Aside from a short fifty page account published in 1853, no one up to now has attempted to write the complete story of his life. Greenough, who lived from 1805 to 1852, was the first American to devote himself from the outset of his career to the profession of sculpture and the first to set forth at any length the concept of functionalism in architecture. He was generally forgotten after his death, chiefly because the heroic, classical tradition in sculpture to which he was committed gave place to the realistic depiction of subjects in the dress of their times. On the other hand, his architectural theory, for which he was far in advance of his time, made little impression on his contemporaries. In recent years he has been hailed as a forerunner of the architectural functionalists while his sculpture has been disparaged. Actually, his achievement in both these areas is considerable and highly significant in the history of American culture. In this book Greenough's life is examined with a broad, historical, American-culture point of view rather than the specialized view of the art critic. Especially interesting and informative are the discussions of his virtual founding of the American colony in Florence; his association with such notable contemporaries as James Fenimore Cooper, Samuel F. B. Morse and Ralph Waldo Emerson; and his dealings with the United States government in the execution of two major works. One was the controversial "Washington," intended for the rotund. of the Capitol but, widely objected to because the figure was half-nude, now in the Smithsonian Institution; the other was "The Rescue," consisting of a pioneer restraining an Indian from killing a pioneer woman and child, a group which stood on the east front of the Capitol until its recent remodeling. This book contains liberal quotations from previously unpublished letters of Greenough and accounts of nineteenth-century American travelers in Italy. In addition, there is a catalogue of the artist's sculpture and fifty plates (with seventy-eight individual illustrations), including photographs or drawings of most of his sculptures and photographs of representative specimens of his drawings, the majority of which are being published for the first time.Table of ContentsAcknowledgments List of Illustrations PART I 1. Boston Boy: 1805-1825 2. Student Abroad and Critic at Home: 1825-1828 3. Art Colonist: 1828-1836 PART II 4. Spokesman for the Nation PART III 5. Florentine American: 1837-1851 6. Yankee Philosopher: 1851-1852 Notes Index (Including a catalogue of sculpture)

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