Individual artists, art monographs Books

Book SynopsisA poster first printed in Germany in 1926 depicts the human body as a factory populated by tiny workers doing industrial tasks. Devised by Fritz Kahn (1888–1968), a German-Jewish physician and popular science writer, “Der Mensch als Industriepalast” (or “Man as Industrial Palace”) achieved international fame and was reprinted, in various languages and versions, all over the world. It was a new kind of image—an illustration that was conceptual and scientific, a visual explanation of how things work—and Kahn built a career of this new genre. In collaboration with a stable of artists (only some of whom were credited), Kahn created thousands of images that were metaphorical, allusive, and self-consciously modern, using an eclectic grab-bag of schools and styles: Dada, Art Deco, photomontage, Art Nouveau, Bauhaus functionalism, and commercial illustration. In Body Modern, Michael Sappol offers the first in-depth critical study of Fritz Kahn and his visual rhetoric. Kahn was an impresario of the modern who catered to readers who were hungry for products and concepts that could help them acquire and perform an overdetermined “modern” identity. He and his artists created playful new visual tropes and genres that used striking metaphors to scientifically explain the “life of Man.” This rich and largely obscure corpus of images was a technology of the self that naturalized the modern and its technologies by situating them inside the human body.The scope of Kahn’s project was vast—entirely new kinds of visual explanation—and so was his influence. Today, his legacy can be seen in textbooks, magazines, posters, public health pamphlets, educational websites, and Hollywood movies. But, Sappol concludes, Kahn’s illustrations also pose profound and unsettling epistemological questions about the construction and performance of the self. Lavishly illustrated with more than 100 images, Body Modern imaginatively explores the relationship between conceptual image, image production, and embodied experience.Trade Review"The chance meeting of Popular Mechanics and Gray’s Anatomy on a dissecting table, Fritz Kahn’s cutaway views of our inner workings expose far more than blood, guts, and bones. Taking Kahn’s delirious illustrations as his jumping-off point, Michael Sappol uses his vast historical erudition, just enough theory, and a prose style that cuts like a knife to lay bare the visual unconscious of the Machine Age. Delving deeper, he discovers the self, a cognitive widget turned out by Modernism’s philosophical assembly line. Witty, incisive, and impeccably researched, Body Modern is an X-ray of our image world in its early years, before the deluge."—Mark Dery, author of I Must Not Think Bad Thoughts: Drive-By Essays on American Dread, American Dreams"The book is nicely illustrated and the history of our relationship between biology and mythology is brilliantly addressed."—The Daily Heller"Densely academic, yet provocative enough for a lay person to extract some meaning."—Santa Fe New Mexican"The merits of Michael Sappol’s study are numerous. Sappol gives a first-rate overview of the key themes and forms of Kahn’s editorial achievements as well as the manifold ways it was appropriated in other countries and cultures."—Leonardo Reviews "The author’s lucid commentaries provide excellent guidance through the forest of Kahn’s topics, ranging from anatomy to architecture, and from physiology to thermodynamics." —Bulletin of the History of Medicine "An intellectually important book that is delightfully well written." —ISISTable of ContentsContentsPrefaceIntroduction: Fritz Kahn, Modernity, and the Invention of Conceptual Scientific Illustration1. Reading Kahn and the Homunculus2. “Much Better than Words”: Pictured Knowledge and the Rhetoric of Visuality3. Ocularcentric! Conceptual Illustration at Work in the “Great Loop”4. Variety Show: The Studio of Kahn and Its Visual Devices5. Kahn’s Way-Out: Conceptual Illustration’s Iconophilic Diaspora6. “To Picture the Body”: Kahn’s Images in the Postmodern AfterlifeEpilogue: Towards a Theory of the HomunculusAcknowledgmentsFritz Kahn: A ChronologyNotesIndex

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Book SynopsisThe first comprehensive study of the artist Robert Heinecken and his critical views on the culture of mass media This is the first book-length study dedicated to the artist Robert Heinecken, whose innovative photographic practices sought to interrogate how mass media imagery facilitated the construction of individual and collective identities. Appropriating, rephotographing, and layering pictures culled from newspapers, advertisements, pornography, and television, Heinecken recombined and transformed the ubiquitous images of mass culture to encourage viewers to critically reflect on their sense of self. From the 1960s through the late 1990s, Heinecken's controversial art continually challenged inherited ideas around consumerism, the facticity of reportage, and visual culture's relationship to gender and identity politics. Embodying the evolution of contemporary art toward increasingly hybrid and conceptual approaches, his oeuvre includes examples of painting, sculpture, photomontage, p

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Book SynopsisThe first comprehensive study of the artist Robert Heinecken and his critical views on the culture of mass media This is the first book-length study dedicated to the artist Robert Heinecken, whose innovative photographic practices sought to interrogate how mass media imagery facilitated the construction of individual and collective identities. Appropriating, rephotographing, and layering pictures culled from newspapers, advertisements, pornography, and television, Heinecken recombined and transformed the ubiquitous images of mass culture to encourage viewers to critically reflect on their sense of self. From the 1960s through the late 1990s, Heinecken’s controversial art continually challenged inherited ideas around consumerism, the facticity of reportage, and visual culture’s relationship to gender and identity politics. Embodying the evolution of contemporary art toward increasingly hybrid and conceptual approaches, his oeuvre includes examples of painting, sculpture, photomontage, performance, installation, time-based media, and artist’s books, all of which collectively exploit photography’s reproducibility to subvert society’s dominant ideologies and stereotypical modes of representation.Author Matthew Biro presents an exhaustive look at Heinecken’s life and art, locating him within a lineage that encompasses the activities of the early twentieth-century avant-gardes and the postmodern strategies of the Pictures Generation artists. Assessing his career within the specific political and historical contexts from which he gleaned his material, and illustrated throughout with vibrant full-color reproductions of his art, this in-depth examination demonstrates Robert Heinecken’s significance as a key figure of twentieth-century art and an incisive commentator on modern life in America. Trade Review"With crystalline prose and impressively illustrated throughout, Robert Heinecken and the Art of Appropriation brings long overdue attention to one of the most innovative photographers of the twentieth century. Matthew Biro’s immaculate research and careful consideration of the different phases of Heinecken’s practice offer a most welcome recalibration of his many achievements and their reverberations throughout American culture at large."—James Nisbet, author of Second Site"Matthew Biro’s book provides a thorough critical analysis of an artist who has been neglected for far too long. The inquiry, however, does far more than achieve this already important work of recuperation. By placing Heinecken within his context with such care, both by way of geography and time, Biro uses the artist to rewrite our understanding of American art from the 1920s through the 1990s."—Andrés Mario Zervigón, author of Photography and GermanyTable of ContentsIntroduction: Art, Photography, and the Consumption of Identity1. Artist and Educator: Criticizing the American Family Ideal through 35mm Photography2. Documents of Manufactured Experience: Appropriation and the Photogram in the 1960s3. The Photographic Object: Heinecken’s Materialism4. Magazine Work: American Disaster and Identity5. Art, Pornography, Painting: Heinecken’s Relationship to Feminism6. The Polaroid Experience: Instantaneous Photography and the Performance of Identity7. Surrealism on TV: Ronald Reagan and the Newscasters8. Appropriation in the 1980s and 1990s: History and the Body at the End of the Analog EraCoda: Heinecken’s SignificanceAcknowledgmentsNotesIndex

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Book SynopsisA deep analysis of an enigmatic artist whose oeuvre opens new spaces for understanding feminism, the body, and identity Popular and pioneering as a conceptual artist, Rosemarie Trockel has never before been examined at length in a dedicated book. This volume fills that gap while articulating a new interpretation of feminist theory and bodily identity based around the idea of schizogenesis central to Trockel’s work.Schizogenesis is a fission-like form of asexual reproduction in which new organisms are created but no original is left behind. Author Katherine Guinness applies it in surprising and insightful ways to the career of an artist who has continually reimagined herself and her artistic vision. Drawing on the philosophies of feminists such as Simone de Beauvoir, Shulamith Firestone, and Monique Wittig, Guinness argues that Trockel’s varied output of painting, fabric, sculpture, film, and performance is best seen as opening a space that is peculiarly feminist yet not contained by dominant articulations of feminism. Utilizing a wide range of historical and popular knowledge—from Baader Meinhof to Pinocchio, poodles, NASA, and Brecht—Katherine Guinness gives us the associative and ever-branching readings that Trockel’s art requires. With a spirit for pursuing the surprising and the obscure, Guinness delves deep into a creator who is largely seen as an enigma, revealing Trockel as a thinker who challenges and transforms the possibilities of bodily representation and identity.Trade Review"Rather than merely offering a dry recounting of Rosemarie Trockel's career, sprinkled occasionally with analyses of key artworks, Schizogenesis uses the occasion of scholars' and critics' perplexity as an invitation to perform—imaginatively and enthrallingly—the associative and ever-branching readings which Trockel's art beckons."—Jane Blocker, author of Becoming Past: History in Contemporary Art"Katherine Guinness’s guiding concept of schizogenesis ingeniously frames Rosemarie Trockel’s multilayered practice in terms of split production and rapid regeneration, metaphors of procreation that simultaneously evoke destruction and violence. Written in lively, witty prose, this book does justice to Trockel’s complex works by thinking of them as ‘theoretical objects’ that demand Guinness’s extended, probing analyses."—Gregory H. Williams, author of Permission to Laugh: Humor and Politics in Contemporary German Art

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Book SynopsisThe first comprehensive study of this innovative and interactive multimedia artist The artistic practice of Piotr Szyhalski encompasses an impressive array of media and genres: from poster design to experimental music, from interactive web-based art to large-scale conceptual installations, from public performance to innovative pedagogy. His commitment to viewer engagement with art and meaning making characterizes all of his work, which constantly strives to advance the multiplicities and complexities of our understandings. “We Are Working All the Time!” he proclaims, both in his graphic design and in his thematic approach to interactive art.Born and trained in Poland, Szyhalski is a vital presence in the Twin Cities. A professor of design and new media art at the Minneapolis College of Art and Design and a codirector of Art(ists) On the Verge, his art and performance push boundaries, embrace contradictions, and welcome participation. This midcareer survey of the work of this iconoclastic visual artist accompanies an exhibition of his art at the Weisman Art Museum in 2020.Contributors: Karine Léonard Brouillet, Montreal Museum of Fine Art; Emily Ruth Capper, U of Minnesota; Steve Dietz, Northern Lights.mn; Theresa Downing, U of Minnesota; Michael Gallope, U of Minnesota.

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Book SynopsisThis “painter’s painter” constantly explored the variety of American modernist art, inspired by many locations and artistic styles B. J. O. Nordfeldt was described by a Minneapolis art critic in 1935 as a “painter’s painter,” and his prolific career evinced constant experimentation with subjects, genres, and media of modernist art. The Swedish emigrant lived throughout the world—from his early training and teaching in Chicago to the dynamic art scenes of Paris and New York to popular American art colonies in Provincetown, Santa Fe, and Lambertville, New Jersey. These various locales encouraged him to engage with new styles and techniques in oil paintings, watercolors, prints, woodcuts, and etchings. His landscapes, portraits, and still lifes showed similarities with the work of Matisse and Cézanne, as well as elements of cubism, and his wood carvings and prints revealed influences from Paul Gauguin and Japanese traditions.In the 1930s Nordfeldt taught at the Minneapolis School of Art (now the Minneapolis College of Art and Design). In 2021 the Weisman Art Museum at the University of Minnesota will host a major exhibition of Nordfeldt’s diverse art. A comprehensive review of this “independent regionalist” and intensely innovative artist, B. J. O. Nordfeldt: American Internationalist also presents the impressive breadth and creative exploration of twentieth-century American modernist art.Contributors: Annika Johnson, Paul Kruty, and Janet Whitmore.Trade Review"Let the seascapes, portraits, and still lifes of B. J. O. Nordfeldt decorate your walls and your coffee table. This 160-page catalogue explores the Swedish-born American printmaker and painter’s modernist works—from oil paintings and watercolors to woodcuts, etchings, and more."—Midwest Home Table of ContentsContentsForewordLyndel KingAcknowledgmentsGabriel P. Weisberg, PhD B. J. O. Nordfeldt: American InternationalistGabriel P. Weisberg, PhDBror Julius Olsson Nordfelt and Modernist ChicagoJanet WhitmoreNordfeldt as PrintmakerAnnika JohnsonEmily and Nord: An Enduring PartnershipPaul KrutyCatalogue of WorksContributors to the CatalogueIndex

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Book SynopsisThe definitive study of this powerful series of drawings by the influential artist Internationally renowned as a printmaker, Mauricio Lasansky (1914–2012) unleashed his brilliant draftsmanship in his self-titled series The Nazi Drawings. The Argentina-born artist created the body of work largely in the 1960s, as the televised trial of Nazi war criminal Adolf Eichmann awakened the world to the depths of Nazi atrocities. Lasansky’s haunting interpretations reflect his response to the unfolding details. “I was full of hate, poison, and I wanted to spit it out,” he said. The thirty-three monumental drawings, made from charcoal, wash, and collage, examine the horrors of the Holocaust, especially the suffering of women and children. The series became Lasansky’s most famous and notable work and was included among the opening exhibitions at the Whitney Museum of American Art in 1967.Envisioning Evil accompanies the exhibition of The Nazi Drawings at the Minneapolis Institute of Art in 2021. Curator Rachel McGarry provides comprehensive biographical, cultural, and historical context for the artist and the creation of this series in three essays and an illustrated timeline. McGarry also traces Holocaust awareness before and after the 1961 Eichmann trial and examines the role of art, literature, and popular media in bringing the genocide into public discourse. Rabbi Barry D. Cytron, former chaplain and professor of religious studies at Macalester College, contributes an essay on the international religious response to revelations about Nazi crimes and their relation to Lasansky’s art.Created as a reaction to the crimes committed against the Jews during the Holocaust, The Nazi Drawings endure as a condemnation against all persecution and extermination of humanity.Table of ContentsTable of ContentsDirector’s Foreword --Katie Crawford LuberPreface and AcknowledgmentsIntroduction to the Nazi Drawings --Rachel McGarryArtist StatementNote to ReaderThe Holocaust in Press, Culture, and Art: Before and After Eichmann --Rachel McGarryMauricio Lasansky: A Life and Art of Compassion --Rachel McGarryArt and Faith: Crafting a Renewed RelationshipAfter Auschwitz --Rabbi Barry D. CytronEnvisioning Evil: “The Nazi Drawings” by Mauricio Lasansky --Rachel McGarryPlates: “The Nazi Drawings”Illustrated TimelineIndexReproduction Credits

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Book SynopsisHow the queer correspondence art of Ray Johnson disrupted art world conventions and anticipated today’s highly networked culture Once regarded as “New York’s most famous unknown artist,” Ray Johnson was a highly visible outlier in the art world, his mail art practice reflecting the changing social relations and politics of queer communities in the 1960s. A vital contribution to the growing scholarship on this enigmatic artist, Queer Networks analyzes how Johnson’s practice sought to undermine the dominant mechanisms of the art market and gallery system in favor of unconventional social connections. Utilizing the postal service as his primary means of producing and circulating art, Johnson cultivated an international community of friends and collaborators through which he advanced his idiosyncratic body of work. Applying both queer theory and network studies, Miriam Kienle explores how Johnson’s radical correspondence art established new modes of connectivity that fostered queer sensibilities and ran counter to the conventional methods by which artists were expected to develop their reputation. While Johnson was significantly involved with the Pop, conceptual, and neo-Dada art movements, Queer Networks crucially underscores his resistance to traditional art historical systems of categorization and their emphasis on individual mastery. Highlighting his alternative modes of community building and playful antagonism toward art world protocols, Kienle demonstrates how Ray Johnson’s correspondence art offers new ways of envisioning togetherness in today’s highly commodified and deeply networked world. Trade Review "In this brilliant and revelatory book, Miriam Kienle provides a sophisticated reevaluation of one of the twentieth century’s most prescient artists, Ray Johnson. She conclusively demonstrates that Johnson’s work existed in, and interacted with, an intricate web of theoretical, sexual, political, and aesthetic concerns, most of which have never been broached in previous work on the artist. The result is a crucial contribution to thinking about Johnson, postwar culture, and queer politics and aesthetics."—Anthony Grudin, author of Warhol's Working Class: Pop Art and Egalitarianism and Like a Little Dog: Andy Warhol's Queer Ecologies "Miriam Kienle’s detailed study of Ray Johnson’s correspondence art is intimate and focused yet expansive—much like Johnson’s work itself. Finally, we have a book-length, deeply researched account of Johnson’s queer ways of making and communicating. Queer Networks establishes Johnson as an inescapably centrifugal figure for the history of queer art in the 1960s and 1970s, and it argues for the wider potential of Johnson’s practice of rampant recontextualization as a cipher for the social and information networks at play in postwar American culture."—David J. Getsy, author of Queer Behavior: Scott Burton and Performance Art "Kienle analyzes in diligent detail the intriguing and sometimes bizarre ways in which Johnson used his marginal status to ‘prank the art world from its periphery.’ This opens a revealing new lens on an enigmatic art world figure."—Publishers Weekly Table of Contents Contents Introduction: Please Send To 1. Singular and Plural: Postal Network as Heterotopia 2. Unsettling Networks: The Queer Connectivity of the New York Correspondence School 3. Counterpublicity: The “Exploits and Escapades” of the Robin Gallery 4. Facing Others: Portrait of a Curator as a Network Conclusion: Ray Johnson’s Dead Letter Acknowledgments Notes Index

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Book SynopsisHow the queer correspondence art of Ray Johnson disrupted art world conventions and anticipated today’s highly networked culture Once regarded as “New York’s most famous unknown artist,” Ray Johnson was a highly visible outlier in the art world, his mail art practice reflecting the changing social relations and politics of queer communities in the 1960s. A vital contribution to the growing scholarship on this enigmatic artist, Queer Networks analyzes how Johnson’s practice sought to undermine the dominant mechanisms of the art market and gallery system in favor of unconventional social connections. Utilizing the postal service as his primary means of producing and circulating art, Johnson cultivated an international community of friends and collaborators through which he advanced his idiosyncratic body of work. Applying both queer theory and network studies, Miriam Kienle explores how Johnson’s radical correspondence art established new modes of connectivity that fostered queer sensibilities and ran counter to the conventional methods by which artists were expected to develop their reputation. While Johnson was significantly involved with the Pop, conceptual, and neo-Dada art movements, Queer Networks crucially underscores his resistance to traditional art historical systems of categorization and their emphasis on individual mastery. Highlighting his alternative modes of community building and playful antagonism toward art world protocols, Kienle demonstrates how Ray Johnson’s correspondence art offers new ways of envisioning togetherness in today’s highly commodified and deeply networked world. Trade Review "In this brilliant and revelatory book, Miriam Kienle provides a sophisticated reevaluation of one of the twentieth century’s most prescient artists, Ray Johnson. She conclusively demonstrates that Johnson’s work existed in, and interacted with, an intricate web of theoretical, sexual, political, and aesthetic concerns, most of which have never been broached in previous work on the artist. The result is a crucial contribution to thinking about Johnson, postwar culture, and queer politics and aesthetics."—Anthony Grudin, author of Warhol's Working Class: Pop Art and Egalitarianism and Like a Little Dog: Andy Warhol's Queer Ecologies "Miriam Kienle’s detailed study of Ray Johnson’s correspondence art is intimate and focused yet expansive—much like Johnson’s work itself. Finally, we have a book-length, deeply researched account of Johnson’s queer ways of making and communicating. Queer Networks establishes Johnson as an inescapably centrifugal figure for the history of queer art in the 1960s and 1970s, and it argues for the wider potential of Johnson’s practice of rampant recontextualization as a cipher for the social and information networks at play in postwar American culture."—David J. Getsy, author of Queer Behavior: Scott Burton and Performance Art "Kienle analyzes in diligent detail the intriguing and sometimes bizarre ways in which Johnson used his marginal status to ‘prank the art world from its periphery.’ This opens a revealing new lens on an enigmatic art world figure."—Publishers Weekly Table of Contents Contents Introduction: Please Send To 1. Singular and Plural: Postal Network as Heterotopia 2. Unsettling Networks: The Queer Connectivity of the New York Correspondence School 3. Counterpublicity: The “Exploits and Escapades” of the Robin Gallery 4. Facing Others: Portrait of a Curator as a Network Conclusion: Ray Johnson’s Dead Letter Acknowledgments Notes Index

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Book SynopsisA beautifully illustrated review of the deeply connected lives and careers of this prominent Minneapolis African American artist-couple Clarence Morgan and Arlene Burke-Morgan are the epitome of an artist-couple: in love with each other and their family, in love with their art, and devoted to faith, values, and culture that encouraged their artistic development, leading to national and international acclaim and recognition. Originally from Philadelphia, the couple lived and worked side by side throughout their long careers, contributing significantly to each other and to the art communities of the Twin Cities, the University of Minnesota, and beyond.For thirty years, Clarence Morgan was a member of the art department at the university; his art, directed toward abstraction, focused on painting, drawing, and printmaking. Arlene Burke-Morgan also taught at the university, and, after early work with textiles, eventually evolved to an approach of abstraction, especially working with clay, drawing, and installations.The catalog for an exhibition at the Katherine E. Nash Gallery at the University of Minnesota in 2023, A Tender Spirit, A Vital Form is prolifically illustrated with reproductions of works by the artists and features essays on their personal histories and artistic practices.Contributors: Robert Cozzolino, Minneapolis Institute of Art; Tia-Simone Gardner, Macalester College; Bill Gaskins, Maryland Institute College of Art; Nyeema Morgan, interdisciplinary artist.

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Book SynopsisReveals new and previously unknown biographical material about an important figure in nineteenth-century American architecture and music. Jacob Wrey Mould is not a name that readily comes to mind when we think of New York City architecture. Yet he was one-third of the party responsible for the early development of the city’s Central Park. To this day, his sculptural reliefs, tile work, and structures in the Park enthrall visitors. Mould introduced High Victorian architecture to NYC, his fingerprint most pronounced in his striking and colorful ornamental designs and beautiful embellishments found in the carved decorations and mosaics at the Bethesda Terrace. Resurfacing the forgotten contributions of Mould, Hell on Color, Sweet on Song presents a study of this nineteenth-century American architect and musical genius. Jacob Wrey Mould, whose personal history included a tie to Africa, was born in London in 1825 and trained there as an architect before moving to New York in 1852. The following year, he received the commission to design All Souls Unitarian Church. Nicknamed “the Church of the Holy Zebra,” it was the first building in America to display the mix of colorful materials and medieval Italian inspiration that was characteristic of High Victorian Gothic architecture. In addition to being an architect and designer, Mould was an accomplished musician and prolific translator of opera librettos. Yet anxiety over money and resentment over lack of appreciation of his talents soured Mould’s spirit. Unsystematic, impractical, and immune from maturity, he displayed a singular indifference to the realities of architecture as a commercial enterprise. Despite his personal shortcomings, he influenced the design of some of NYC’s revered landmarks, including Sheepfold, the Metropolitan Museum of Art, the American Museum of Natural History, the City Hall Park fountain, and the Morningside Park promenade. From 1875 to 1879, he worked for Henry Meiggs, the “Yankee Pizarro,” in Lima, Peru. Resting on the foundation of Central Park docent Lucille Gordon’s heroic efforts to raise from obscurity one of the geniuses of American architecture and a significant contributor to the world of music in his time, Hell on Color, Sweet on Song sheds new light on a forgotten genius of American architecture and music. Funding for this book was provided by: Furthermore: a program of the J. M. Kaplan FundTable of ContentsPreface: Discovering Jacob Wrey Mould | ix Introduction | 1 1. Family Territory: England, Africa, Ireland, America | 17 2. Youthful Years in London: Architecture and Music | 27 3. Fresh Prospects in New York | 54 4. Embellishing Central Park | 96 5. Building a Career | 149 6. Greater Expectations | 195 Acknowledgments | 241 Notes | 243 Illustration Credits | 259 Index | 263 Color images follow page 130

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Book SynopsisMore than any other book that I can think of, Bronze Inside and Out puts a human face on Western art - indeed, all art. It invites us to ponder the very nature of the creative process. From the foreword by Brian W. Dippie, University of VictoriaBronze Inside and Out is a literary biography of sculptor Bob Scriver, written by his wife, Mary Strachan Scriver. Bob Scriver is best known for his work in bronze and for his pivotal role in the rise of ""cowboy art"". Living and working on the Montana Blackfeet Reservation, Scriver created a bronze foundry, a museum, and a studio - an atelier based on classical methods, but with local Blackfeet artisans.His importance in the still-developing genre of ""western art"" cannot be overstated. Mary Strachan Scriver lived and worked with Boba Scriver for over a decade and was instrumental in his rise to international acclaim. Working alongside her husband, she became intimately familiar with the man, his work, and his process.Her frank, uncensored, and highly entertaining biography reveals details that give the reader a unique picture of Scriver both as man and as artist. Bronze Inside and Out also provides a fascinating look into the practice of bronze casting, cleverly structuring the story of Bob Scriver's life according to the steps in this complicated and temperamental process.Table of Contents Foreward Acknowledgements Part One: Prelude GENRE: AMERICAN BRONZES Why we learned to cast bronze and what it is like Browning, Montana, early Sixties How I got to the Blackfeet Reservation and what it was like Browning, Montana, 1961 History of the Blackfeet and how artists joined them High northern prairie, 1600s forward "Indian Days" Browning, Montana, in the Sixties The roots of American equestrian Bronzes Washington, D.C., 1780s to the 1800s PROVENANCE: FAMILY HISTORY The importance of story: the quick-draw guy Browning, 1968 Bob's genealogical roots and how his parents got to Browning The Palatine to England to Quebec to Montana, 1600s to 1900s Bob's Childhood Browning, World War I and after The white community and how Bob acquired an Indian "Mother" Milk River Ridge, the Twenties Artists on the Scene Glacier Park, the Twenties Earl Heikka, "crazy artist feller" Great Falls, Twenties and Thirties INSPIRATION: FROM MUSIC TO SCULPTURE First career: leading prize-winning high school bands 1934-1950 Second career: successful taxidermist Browning, 1950-1964 The Scriver Museum of Montana Wildlife Browning, the Fifties The earliest sculptures and the C.M. Russell Contest Browning, the Fifties Beginning to sell Browning, late Fifties PLASTILENE: THE EARLY YEARS About the material and what it demands Greenwich Village, the Forties Malvina Hoffman's plastilene Greenwich Village, the Forties Platilene sculptures shelved Browning, 1962 The miniature wildlife dioramas: a team effort Browning, Spring 1962 Bob nearly goes blind Browning, Summer 1962 Evelyn Cole Chinook, Montana, 1967 My first hunting trips The Rocky Mountain Front, Fall 1962 ARMATURE: FORMING STRUCTURE About armatures The armature of Bob's inner world Browning, the sixties The Buffalo Roundup: We both ride Moiese, 1963 Organic armatures: skeletons Bynum, Sun River, Moiese, Starr School, mix-Sixties Broken ribcage Browning, 1965 WASTE MOULD: SHARDS ON THE TABLE Waste molds, made for destruction Dick Flood The northern prairie, Fifties and Sixties Ace Powell Hungry Horse, and Browning, 1928-1976 John Clarke East Glacier, 1881-1970 The last full-mount: a moose Browning, 1968 Eegie Browning, 1968 Electric cowboys Cut Bank Creek, 1965 Life in Browning The Sixties Drifters Browning, mid-Sixties Downhill Hudson's Bay Divide, Late Sixties PLASTER ORIGINAL: FIRST SUCCESS About plaster originals: the key George Grey Browning, 1968 American Artist and Paul Juley Browning 1964 True Magazine Browning, 1965 New York Shows Manhattan, 1963 Glenbow Foundation Calgary, 1967 Christmas Browning, 1964 Hunting in the Snow East front of the Rockies, 1965 BLACK TUFFY: TROUBLES BEGIN About flexible moulds Browning, Fifties and foreward The Big Flood Blackfeet Reservation, 1964 Animals drive a wedge Bob the conservative, Mary the activist Browning, 1969 Keith Seele, James Willard Schultz, Lone Wolf and Paul Dyck The Reservation 1966 Overwork and blow-ups Browning 1969 Into the Wild, Bucky, and breaking points The reservation, late Sixties Hunting again, Sweetgrass Hills MOTHER MOLD: WIVES AND OTHERSAbout mother molds Ellison Westgarth Macfie Scriver Alice the high school kid Browning and Malta, 1937-1943 Jeanette the firebrand Edmonton and Browning, 1946-1959 Arlene the ideal Browning, 1959-1962 Mary the English teacher Browning, 1966-1970 Lorraine the widow Browning and Vancouver Island, 1972-2002 LOST WAX: CRUCIFIX, PIETA, AND MARGARETMaxing of a wax duplicate Portrait of a polo player Santa Rosa, Anacortes, 1967 Bob's daughter dies Anacortes, 1967 and 1968 Maurice poses for Jesus Browning, 1967 and 1968 Lost in grizzly country St. Mary's, 1969 Part Two: Crescendo INVESTMENT: NEW YORK CITY Old-fashioned plaster investment To Tell the Truth and Malvina Hoffman New York City, 1965 A Moose hunt Swan Hills, Alberta 1969 CASTING BRONZE: THE BUFFALO BILL HISTORICAL CENTER Casting bronze: a review Browning, Montana, 1932-1999 One hundred bronzes Browning and Cody, 1969 Harry Jackson Cody and Browning, 1969 A jubilant hunting trip East Front of the Rockies, 1969 MOLTEN BRONZE: COWBOY HALL OF FAME Moment of truth The Western art boom C.M. Russell Museum Benefit Auction Great Falls, Montana, 1970 to the present Dean Krakel, cowboys and Indians Oklahoma City, 1965 to the end Bill Lindermana Denver and Browning, 1967-1970 The National Rodeo Finals Oklahoma City, 1970 Asger Mikkelson Browning, 1970-1975 Meltdown of a marriage Part Three: Diminuendo CHASING: THE THUNDER PIPE BUNDLE How to "chase"a bronze Blackfeet religious ceremonies Browning, 1963 to 1999 Blackfeet ceremonial objects Bob cuts the rawhide Browning, 1963 Cree hauling ceremony, Blackfeet bundle opening Browning, 1967 to 1999 The Thunder Pipe Bundle transfer Browning, 1969 Countin Coup Browning and Edmotnon, 1976-1990 The million-dollar artifact collection Browning and Edmonton, 1990 to present he Badger Lodge Browning and Two Medicine, 1971 TORCH: THE PRINCE OF PEACE Welding bronze Browning, 1963 foreward Losing family members 1976 forward The Prince of Peace 1982 forward Trying to rekindle the flameBrowning, 1985 forward COOLING: LEWIS AND CLARK The journey slows Fort Benton and Great Falls, 1974 foreward Lewis and Clark begin Fort Benton, 1974 forward Distinguished Achievements Great Falls 1990 Long quiet days in the shop Browning, 1988 forward Facing Death Browning, late Ninties Death on Bob's terms Browning, 1999 "The Man in Buckskin" Valier, 2002 PATINA: OVERVIEW How patinas are formed What is a "great artist" The artist as customer The Flatiron Ranch Browning, 1980 The last visit and goodbye Browning, 1998 Four Sculptors, four destinies Browning, 1929 Notes Bob Scriver Timeline Biblography

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Book Synopsis A master draughtsman, artist Evan Macdonald had extraordinary facility as a painter, printmaker, and book illustrator. Born in Guelph, Ontario, in 1905, to one of the city's founding Scottish families, Macdonald was a young contemporary of the Group of Seven and pursued his practice in Canada during the Great Depression. He joined the Second World War as an artist-soldier. After the war, Macdonald became a professional portraitist, fulfilling commissions from heads of government, industry, and academia. His paintings chronicling the destruction of Guelph's historical buildings in the 1950s and 60s both celebrate industrial progress and lament the loss of nineteenth-century craftsmanship. Evan Macdonald: A Painter's Life is a richly illustrated chronicle of Macdonald's life and work from the perspective of the artist's daughter, Flora Macdonald Spencer, whose insightful essay creates a lasting image of a great Canadian artist. The book offers a unique perspective on the history of Guelph as well as commentary on one of the city's founding families, their Scottish ancestry, and the establishment and evolution of twentieth-century social and cultural ideals. Co-published with the Macdonald Stewart Art Centre Trade Review``A Painter's Life is a shot in the arm for any creative soul who feels blocked or uninspired. It's for those of us who, when staring at a blank screen or pristine canvas, point to our family or job as an excuse for our poor productivity. It's easy to relate to Evan Macdonald in this book. He too railed against the limitations of business and domestic life. The difference is that, instead of holding out for the perfect time and place to create, he took every opportunity to develop his craft. He also opened his mind to depicting the people and places that surrounded him. The result is a range of unpretentious works that reveal the artist's skilled hand and fresh vision. The story of Evan Macdonald reminds us to enjoy making art. And what's possible if just open your eyes, focus on what interests you, and get to work.'' -- Deb Davis, painter and writer (Guelph, Ontario) -- 200809``The study reflects the commitment of both the art gallery and the university press to significant regional achievement in the arts.... Intimate, personal and affectionate.'' -- Robert Reid -- Guelph Mercury, September 22, 2008, 200809``There is an intimacy, a quiet fierceness in a daughter's watching of her father. A looking upto that escapes language, a stirring in and out of light and dark that gathers among silver mines, walks the edges of Hope Bay, and traces architectural ruins of memory and return. With narratives sketches, Flora Macdonald Spencer revisits and awakens the temporal spaces of Evan Macdonald, to tell what has not been told of her father's lie, a painter's life.'' -- Sorouja Moll, writer, playwright and MA candidate, School of English & TheatreStudies, University of Guelph, Ontario -- 200809Table of Contents Evan Macdonald: A Painter's Life by Flora Macdonald Spencer Remembering Evan Macdonald Judith Nasby Evan Macdonald in Grey and Bruce Counties Stuart Reid Drawn from Life Flora Macdonald Spencer Acknowledgements Appendix 1: Plates Appendix 2: Chronology Appendix 3: Exhibitions Appendix 4: Convocation citation and address Bibliography Index

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Book SynopsisJohn Thomas Biggers (1924—2001) was one of the most significant African American artists of the twentieth century. He was known for his murals, but also for his drawings, paintings, and lithographs, and was honored by a major traveling retrospective exhibition from 1995 to 1997. He created archetypal imagery that spoke positively to the rich and varied ethnic heritage of African Americans, long before the Civil Rights era drew attention to their African cultural roots. His influence upon other artists was profound, both for the power of his art and as professor and elder statesman to younger generations. Olive Jensen Theisen’s long-time commitment to the art of John Biggers resulted from the serendipitous discovery of an early Biggers mural in a school storeroom in the mid-1980s. Theisen immediately recognized the artist, the work, and its significance. She then set about returning The History of Negro Education in Morris County, Texas to a place of honor and found herself becoming a friend and recorder of John Biggers’s stories and experiences relating to the creation of his other murals too, including Family Unity at Texas Southern University. Containing more than eighty color and black-and-white illustrations, Walls That Speak is a richly illustrated update of an earlier edition published in 1996. The artist completed new murals between its publication and his death in 2001. In addition to the inclusion of the new murals, Theisen has added a chapter on Biggers’s African art collection. The only work exclusively dedicated to his murals, this book will appeal to all those interested in murals or African American art. “As a result of her friendship with Dr. Biggers, Dr. Theisen clearly has unique access to the works that are now held by the Biggers estate. Her interviews provide a deeply personal insight into the mind of this remarkable man and the symbols he employed in his art.”–R. William McCarter, Regents Professor of Art, University of North Texas

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Book SynopsisBorn in Ponca City, Oklahoma, Bob Camblin (1928-2010) was an artist, first and foremost. He earned his BFA and MFA degrees from the Kansas City Art Institute. His studies were followed by a Fulbright Fellowship that allowed him a year's stay in Italy. Returning to the USA, he held teaching positions at the Ringling Museum, the University of Illinois, Detroit Mercy, and the University of Utah before moving to Houston in 1967 to teach at Rice's new art department. He was active in Houston during the late 1960s through the 1980s, collaborating with Earl Staley and Joe Tate on many projects, including 'happenings' on the beach in Galveston. His career led him to creative undertakings all over the world. Throughout his lifetime he constantly experimented with various art media. He remained open to new ideas and new techniques until his death in Louisiana in 2010.Camblin was a central figure in the period of artistic fermentation in Houston that is now beginning to receive increasing critical attention. He chose Rowland to be his historian while still at Rice, and her insights into him are based on many personal letters and conversations. In addition, she is a trained art historian and brings to bear professional expertise about his place in regional and American art. Her work includes a useful timeline of Camblin's exhibitions and major artworks.Trade ReviewCamblin is certainly one of the most compelling, original, and charismatic artists ever to emerge in Houston, and now almost a decade after his death, he's ripe for rediscovery." - Pete Gershon, author of Collision: The Contemporary Art Scene in Houston, 1972-1985

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Book SynopsisDisney artist Carl Barks (1901-2000) created one of Walt Disney's most famous characters, Scrooge McDuck. Barks also produced more than 500 comic book stories. His work is ranked among the most widely circulated, best-loved, and most influential of all comic book art.Although the images he created are known virtually everywhere, Barks was an isolated storyteller, living in the desert of California and preferring to labor without public fanfare during most of his career.He created work of such exceptional quality that he was accorded the greatest autonomy of any Disney artist. He is the only comic book artist ever to receive a Disney Legends award.The influence of Barks's work on such filmmakers as George Lucas and Steven Spielberg and on such artists as Gottfried Helnwein has extended Barks's significance far beyond the boundaries of comics. After Barks's death at the age of ninety-nine, Roy Disney praised him for his ""brilliant artistic vision."" Carl Barks: Conversations is the only comprehensive collection of Barks's interviews. It ranges chronologically from the very first one (with Malcolm Willits, the fan who uncovered Barks's identity) to the artist's final conversations with Donald Ault in the summer of 2000. In between are interviews conducted by J. Michael Barrier, Edward Summer, Bruce Hamilton, and others. Several of these interviews are published here for the first time. Ault's friendship with Barks, ranging over a period of thirty years, provides an unusually intimate resource not only for standard q&a interviews but also for casual conversations in informal settings. Carl Barks: Conversations reveals previously unknown information about the life, times, and opinions of one of the master storytellers of the twentieth century.

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Book SynopsisAn exploration of the life and career of Charles Guernsey Tuthill, who was born in 1871 and produced some of America's finest cut glass art. It discusses the business Tuthill founded, the patterns he created, the techniques he used, and the other artisans and consumers he knew.

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Book SynopsisAn exquisitely illustrated volume that emphasizes the importance of drawing in Fragonard's creative process One of the most forward-looking artists in 18th-century France, Jean-Honoré Fragonard (1732–1806) is considered the preeminent draftsman of his time. This fresh assessment of the artist focuses on the role of drawing in his creative process and showcases Fragonard’s mastery and experimentation with drawing in a range of media, from vivid red chalk to luminous brown wash, as well as etching, watercolor, and gouache. Unlike many old master painters, Fragonard explored the potential of drawings as works of art in their own right, ones that permitted him to work with great freedom and allowed his genius to shine. The drawings featured here come from public and private collections in New York, balancing a mix of well-loved masterpieces, new discoveries, and works that have long been out of the public eye.Published by The Metropolitan Museum of Art / Distributed by Yale University PressExhibition Schedule:The Metropolitan Museum of Art (10/06/16–01/08/17)

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Book SynopsisJean-Leon Gerome (1824-1904) was an undisputed success during his life. Crowds flocked to see his vibrant compositions and thanks to mass marketing of his work through mechanical reproduction, he reached audiences on an unprecedented scale. Despite Gerome's undisputed accomplishments, his success met with critical hostility. Emile Zola, champion of Edouard Manet, dismissed Gerome as a cynical manufacturer of anecdotal images for popular consumption - a critique repeatedly levelled at artists in the years since. In light of revisionist and postmodern trends over the past four decades, however, Gerome's work is now being approached with unprecedented seriousness and refreshing candour. The ten essays in this volume go far in challenging critical biases against the artist and indeed suggest that we are just beginning to learn how to 'read' Gerome's paintings in their full complexity.

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Book SynopsisThis title takes an illuminating look at the unique work and artistic vision of Gerhard Richter. Born in Dresden in 1932, Gerhard Richter was first educated under the prevailing doctrine of Socialist Realism, but retrained after emigrating to West Germany, thus uniquely embodying the division of Germany during the Cold War. This volume brings together new studies of his early career by an international group of scholars. The authors approach the context from a variety of angles including the social and political histories of a divided Germany, the conflicted development of Soviet Socialist Realism in East Germany, a Cold War visuality integrating pre- and post- resettlement works, the archival dimension of the artist's output in relation to "Richter's Atlas", and the artist's involvement in the representation of his work in archives, exhibitions, and catalogues.

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Book SynopsisThis is the first full-length English language study of one of the most important Canadian artists of the 20th century. Jean Paul Riopelle (1923-2002) was one of the most important Canadian artists of the 20th century. He began his career in Montreal in the 1940s, where he played a role in the influential Automatist movement, and then established his reputation in the burgeoning art scene of postwar Paris, where his circle included Andre Breton, Samuel Beckett, and Sam Francis. During his career, Riopelle produced over six thousand works, including more than two thousand paintings. This volume, the second in the "Artist's Materials" series, grew out of a research project of the Canadian Conservation Institute. Initial chapters present an overview of Riopelle's life and situate his work within the context of 20th century art. Subsequent chapters address Riopelle's materials and techniques, focusing on his oil paintings, mixed media works, and conservation issues.

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Book SynopsisPrecisely rendered to dazzle the eye with their botanical accuracy, the sumptuous arrays of fruit and flowers by Dutch painter Jan van Huysum (1682-1749) were among the most avidly collected paintings of the 18th century. The arrangements were painstakingly executed over many months and commanded exceptionally high prices from collectors throughout Europe. This delightful little book explores two of Van Huysum's most important still-life paintings, "Vase of Flowers" and "Fruit Piece", showing how his inimitable technique resulted in an illusion that continues to captivate us today. The book's sumptuous plates reveal the artist's highly nuanced palette, and his exuberant, asymmetrical arrangements reflect emerging rococo rhythms.

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Book SynopsisThis is a fascinating exploration of the mystery that surrounds of Ruben's most well-known and intriguing drawings. Peter Paul Rubens was one of the most talented and successful artists working in 17th-century Europe. During his illustrious career as a court painter and diplomat, Rubens expressed a fascination with exotic costumes and headdresses. With his masterful handling of black chalk and touches of red, Rubens executed a compelling drawing that features a figure wearing Asian costume - a depiction that has recently been identified as Man in Korean Costume. Despite the drawings renown - both during Ruben's own lifetime and in contemporary art scholarship - the reasons why it was made and whether it actually depicts a specific Asian person remain a mystery. The intriguing story that develops involves a shipwreck, an unusual hat, the earliest trade between Europe and Asia, the trafficking of Asian slave, and Jesuit missionaries.

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Book SynopsisThis is a rich exploration of the role the Baroque master played in the Counter-Reformation. The art of Rubens is rooted in an era darkened by the long shadow of devastating wars between Protestants and Catholics. In the wake of this profound schism, the Catholic Church decided to cease using force to propagate the faith. Like Gian Lorenzo Bernini, Peter Paul Rubens (1577-1640) sought to persuade his spectators to return to the true faith through the beauty of his art. While Rubens is praised for the "baroque passion" in his depictions of cruelty and sensuous abandon, nowhere did he kindle such emotional fire as in his religious subjects. Their colour, warmth, and majesty - but also their turmoil and lamentation - were calculated to arouse devout and ethical emotions. This fresh consideration of the images of saints and martyrs Rubens created for the churches of Flanders and the Holy Roman Empire offers a masterly demonstration of Rubens' achievements, liberating their message from the secular misunderstandings of the post-religious age and showing them in their intended light.

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Book SynopsisThis is a fascinating behind-the-scenes look at the making of a post-war masterpiece and its restoration. In many ways, Mural, Jackson Pollock's (1912-1956) first large-scale painting represents the birth of his legend. The controversial artist's creation of this painting has been recounted in dozens of books and dramatized in the Oscar-winning Pollock. Rumours about its creation abound - such as it being painted in one alcohol-fuelled night and at first didn't fit the intended space. But never in doubt was that it was pivotal, not only for Pollock but for the Abstract Expressionists who would follow his radical conception of art - "no limits, just edges." Mural, painted in 1943, was Pollock's first major commission. It was made for the entrance hall of the Manhattan duplex of Peggy Guggenheim who donated it to the University of Iowa in the 1950s where it stayed until its 2012 arrival for conservation and study at the Getty Center. This book unveils the findings of that examination providing a more complete picture of Pollock's process than ever before and includes an essay by eminent Pollock scholar Ellen Landau and an introduction by comedian Steve Martin.

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Book SynopsisThis is a fascinating look at one of the defining images of the Impressionist movement. Manet Paints Monet focuses on an auspicious moment in the history of art. In the summer of 1874, Edouard Manet (1832-1883) and Claude Monet (1840-1926), two outstanding painters of the nascent Impressionist movement, spent their holidays together in Argenteuil on the Seine River. Their growing friendship is expressed in their artwork, culminating in Manet's marvelous portrait of Monet painting on a boat. The boat was the ideal site for Monet to execute his new plein-air paintings, enabling him to depict nature, water, and the play of light. Similarly, Argenteuil was the perfect place for Manet, the great painter of contemporary life, to observe Parisian society at leisure. His portrait brings all the elements together - Manet's own eye for the effect of social conventions and boredom on vacationers, and Monet's eye for nature - but these qualities remain markedly distinct. With this book, esteemed art historian Willibald Sauerlander describes how Manet, in one instant, created a defining image of an entire epoch, capturing the artistic tendencies of the time in a masterpiece that is both graceful and profound.

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Book SynopsisThe odore Rousseau (1812-1867), arguably the most important French landscape artist of the mid-nineteenth century and a leader of the so-called Barbizon School, occupies a crucial moment of transition from the idealizing effects of academic painting to the radically modern vision of the Impressionists. He was an experimental artist who rejected the traditional historical, biblical, or literary subject matter in favor of "unruly nature," a Romantic naturalism that confounded his contemporaries with its "bizarre" compositional and coloristic innovations. Lavishly illustrated and thoroughly documented, this volume includes five essays by experts in the field. Scott Allan and Edouard Kopp alternately examine Rousseau's diverse techniques and working procedures as a painter and as a draftsman, as well as his art's mixed economic and critical fortunes on the art market and at the Salon. Line Clausen Pedersen's essay focuses on Mont Blanc Seen from La Faucille, Storm Effect, an early touchstone for the artist and a spectacular example of the Romantic sublime in the Ny Carlsberg Glyptotek's collection. This catalogue accompanies an eponymous exhibition on view at the J. Paul Getty Museum from June 21 to September 11, 2016, and at the Ny Carlsberg Glyptotek from October 13, 2016, to January 8, 2017.Trade Review"Lavishly illustrated... highly recommended."--Choice "[This] excellent catalogue ... guide[s] us a considerable way down the path to enlightenment."--Burlington Magazine

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Book SynopsisThis gorgeously illustrated book examines the practice and materials of a prominent Abstract Expressionist The career of the German-American painter and educator Hans Hofmann (1880-1966) describes the arc of artistic modernism from pre-World War I Munich and Paris to mid-twentieth-century Greenwich Village. His career also traces the transatlantic engagement of modern painting with the materials of its own making, a relationship that is perhaps still not completely understood. In these interrelated narratives, Hofmann is a central protagonist, providing a vital link between nineteenth- and twentieth-century art practice and between European and American modernism. The remarkable vitality of his later work affords insight not only into the style but also the literal substance of this formative period of artistic and material innovation. This richly illustrated book, the fourth in the Getty Conservation Institute's Artist's Materials series, presents a thorough examination of Hofmann's late-career materials. Initial chapters present an informative overview of Hofmann's life and work in Europe and America and discuss his crucial role in the development of Abstract Expressionism.Subsequent chapters present a detailed analysis of Hofmann's materials and techniques and explore the relationship of the artist's mature palette to shifts in the style and aging characteristics of his paintings. The book concludes with lessons for the conservation of modernist paintings generally, and particularly those that incorporate both traditional and modern paint media. This book will be of value to conservators, art historians, conservation scientists, and general readers with an interest in modern art.

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Book SynopsisOne of the most imaginative and fascinating artists of eighteenth-century France,Edme Bouchardon (1698-1762) was instrumental in the transition from Rococo to Neoclassicism and in the artistic rediscovery of classical antiquity. Much celebrated in his time, Bouchardon created some of the most iconic images of the age of Louis XV. His oeuvre demonstrates a remarkable variety of themes (from copies after the antique to subjects of history and mythology, portraiture, anatomical studies, ornament, fountains and tombs), media (drawings, sculptures, medals, prints), and techniques (chalk, plaster, wax, terracotta, marble, bronze).With five essays by experts on Bouchardon's sculpture and graphic arts, more than 140 catalogue entries, and a detailed chronology, this book aims to demonstrate the originality of Bouchardon's art within the cultural and social context of the period, while suggesting the subtle relationship between, as well as the relative autonomy of, the artist's two careers as a sculptor and a draftsman.This lavishly illustrated publication represents anunprecedented and thorough survey on this major andunique artist from the Age of Enlightenment, offering in-depth scholarship based on unpublished material detailingthe subtle relationship between, as well as the relative autonomy of, the artist's two careers as a sculptor and a draftsman.Trade Review"Excellent."--Art Newspaper

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Book SynopsisOne of the most imaginative and fascinating artists of eighteenth-century France, Edme Bouchardon (1698-1762) was instrumental in the transition from Rococo to Neoclassicism and in the artistic rediscovery of classical antiquity. Much celebrated in his time, Bouchardon created some of the most iconic images of the age of Louis XV. His oeuvre demonstrates a remarkable variety of themes (from copies after the antique to subjects of history and mythology, portraiture, anatomical studies, ornament, fountains and tombs), media (drawings, sculptures, medals, prints), and techniques (chalk, plaster, wax, terracotta, marble, bronze). This lavishly illustrated publication represents an unprecedented and thorough survey on this major and unique artist from the Age of Enlightenment, offering in-depth scholarship based on unpublished material detailing the subtle relationship between, as well as the relative autonomy of, the artist's two careers as a sculptor and a draftsman.Trade Review"With illustrations of excel-lent quality. Bouchardon is well served by this fine catalogue which, with its comprehensive survey of the life and work, should win new admirers for this innovative and most interesting artist."--Art Newspaper

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Book SynopsisPraised by Albrecht Du rer as being "the best in painting," Giovanni Bellini (ca. 1430-1516) is unquestionably the supreme Venetian painter of the quattrocento and one of the greatest Italian artists of all time. His landscapes assume a prominence unseen in Western art since classical antiquity. Drawing from a selection of masterpieces that span Bellini's long and successful career, this exhibition catalogue focuses on the main function of landscape in his oeuvre: to enhance the meditational nature of paintings intended for the private devotion of intellectually sophisticated, elite patrons. The subtle doctrinal content of Bellini's work-the isolated crucifix in a landscape, the "sacred conversation," the image of Saint Jerome in the wilderness-is always infused with his instinct for natural representation, resulting in extremely personal interpretations of religious subjects immersed in landscapes where the real and the symbolic are inextricably intertwined.This volume includes a biography of the artist,essays by leading authorities in the field explicating thethemes of the J. Paul Getty Museum's exhibition, anddetailed discussions and glorious reproductions of the twelve works in the exhibition, including their history and provenance, function, iconography, chronology, and style.Trade Review"One of the year's best museum shows." --Los Angeles Times

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Book SynopsisSidney Nolan (1917-1992) is renowned for an oeuvre ranging from views of Melbourne's seaside suburb St. Kilda to an iconic series on outlaw hero Ned Kelly. Working in factories from age fourteen, Nolan began his training spray painting signs on glass, which was followed by a job cutting and painting displays for Fayrefield Hats. Such employment offered him firsthand experience with commercial synthetic paints developed during the 1920s and 1930s. In 1939, having given up his job at Fayrefield in pursuit of an artistic career, Nolan became obsessed with European abstract paintings he saw reproduced in books and magazines. With little regard for the longevity of his work, he began to exploit materials such as boot polish, dyes, secondhand canvas, tissue paper, and old photographs, in addition to commercial and household paints. He continued to embrace new materials after moving to London in 1953. Oil-based Ripolin enamel is known to have been Nolan's preferred paint, but this fascinating study-certain to appeal to conservators, conservation scientists, art historians, and general readers with an interest in modern art-reveals his equally innovative use of nitrocellulose, alkyds, and other diverse materials.Trade Review"Paula Dredge's exhaustive technical analysis of the work of one of Australia's greatest and most complex painters, Sidney Nolan, . . . is essential reading to anyone curious to see how a particular alchemy works to make an artist's imagery unforgettable. Staring into her microscope with huge respect and admirable clarity of writing, the author never abandons the implication of Nolan's mystery beyond mere methodology. Better than that, she enhances it." --Barry Pearce, Emeritus Curator of Australian Art at the Art Gallery of New South Wales "This extensively researched and amply illustrated book reveals important findings about Sidney Nolan's materials and methods, and makes a significant contribution to the understanding of his work. Its rich blend of scientific information, biographical narrative and relevant images makes it accessible to the interested reader as well as conservators and art historians. Much more than a technical guide, it is a key resource for any serious Nolan scholar." --Kendrah Morgan, Senior Curator, Heide Museum of Modern Art

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Book SynopsisAs the discipline of art history has moved away from connoisseurship, the notion of beauty has become increasingly problematic. Both culturally and personally subjective, the term is difficult to define and nearly universally avoided. In this insightful book, Richard R. Brettell, one of the leading authorities on Impressionism and French art of the nineteenth and early twentieth centuries, dares to confront the concept of modern beauty head-on. This is not a study of aesthetic philosophy, but rather a richly contextualised look at the ambitions of specific artists and artworks at a particular time and place. Brettell shapes his manifesto around three masterworks from the collection of the J. Paul Getty Museum: Edouard Manet's 'Jeanne' (Spring), Paul Gauguin's 'Arii Matamoe' (The Royal End) and Paul Cezanne's 'Young Italian Woman at a Table'. The provocative and wide-ranging discussion reveals how each of these exceptional paintings, though depicting very different subjects-a fashionable actress, a severed head and a weary working woman-enacts a revolutionary, yet enduring, icon of beauty.Trade Review"Brettell's skill at leading the viewer through formal as well as art historical details of certain paintings can be eye-opening to both novice students of art appreciation as well as art historians and curators, leading them to a lifetime of aesthetic pleasure." -- Caroline Boyle-Turner "H-France"; "An extraordinarily ambitious . . . commentary, one of those rare revelatory art history books that opens your eyes, and, it can be said, a real page-turner, a cliched phrase that only applies very rarely, in my experience, to art history writing." -- "Hyperallergic"; "On Modern Beauty is a well-illustrated and thought-provoking book about different aspects of beauty in French painting of the period." -- "Alexander Adams Art"

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Book SynopsisAmong the most beloved sites at the Getty Center, the Central Garden has aroused intense interest from the moment artist Robert Irwin was awarded the commission. First published in 2002, 'Robert Irwin Getty Garden' is comprised of a series of discussions between noted author Lawrence Weschler and Irwin, providing a lively account of what Irwin has playfully termed "a sculpture in the form of a garden aspiring to be art." The text revolves around four garden walks: extended conversations in which the artist explains the critical choices he made - from plant materials to steel - in the creation of a living work of art that has helped to redefine what a modern garden can and should be. This updated edition features new photography of the Central Garden in a smaller, more accessible format.

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Book SynopsisAn exploration of the radical artists who transformed the ways art is conceived, exhibited, and collected, through the Dada, Surrealist, and Fluxus collections of Jean and Leonard Brown. Throughout the 1960s, Jean and Leonard Brown used their radical tastes, prescient instincts, and friendships with artists to assemble an extensive archive of Dada and Surrealist publications and prints--including works by Marcel Duchamp, Man Ray, and Tristan Tzara. After Leonard's death in 1970, Jean's attention turned to Fluxus and other contemporary genres. Jean also established a site of alternative art production at her Shaker Seed House in Tyringham, Massachusetts, where she invited artists to engage with her collections. Fluxus works embraced the social and political critiques of earlier avant-garde artists and questioned the authority of the increasingly powerful contemporary art world of critics, collectors, curators, and gallerists. This examination of artists and their antiestablishment demands for change shows how their art was created, performed, exhibited, and collected in new ways that intentionally challenged traditional modes. By providing an expanded understanding of avant-garde and Fluxus artists through the lens of the Jean Brown Archive at the Getty Research Institute, this volume demonstrates the profound influence these artists had on contemporary art. This volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center November 17, 2020, to April 4, 2021.

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Book SynopsisThe painting La Surprise by Jean Antoine Watteau (1684-1721) belongs to a new genre of painting invented by the artist himself-the fete galante. These works, which show graceful open-air gatherings filled with scenes of courtship, music and dance, strolling lovers, and actors, do not so much tell a story as set a mood: one of playful, wistful, nostalgic reverie. Esteemed by collectors in Watteau's day as a work that showed the artist at the height of his skill and success, La Surprise vanished from public view in 1848, not to reemerge for more than a century and a half. Acquired by the Getty Museum in 2017, it has never before been the subject of a dedicated publication. Marking the three hundredth anniversary of Watteau's death, this book considers La Surprise within the context of the artist's oeuvre, and discusses the surprising history of collecting Watteau in Los Angeles.

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Book SynopsisIn 1799, when the French artist Jacques-Louis David (1748–1825) exhibited his Intervention of the Sabines, a history painting featuring the ancient heroine Hersilia, he added portraits of two contemporary women on either side of her—Henriette de Verninac, daughter of Charles-François Delacroix, minister of foreign affairs, and Juliette Récamier, a well-known and admired socialite. Drawing on many disciplines, Norman Bryson explains how such a combination of paintings could reveal the underlying nature of the Directoire, the period between the vicious and near-dictatorial Reign of Terror (1793–94) and the coup in 1799 that brought Napoleon to power. Hersilia’s Sisters illuminates ways that cultural life and civil society were rebuilt during these years through an extraordinary efflorescence of women pioneers in every cultural domain—literature, the stage, opera, moral philosophy, political theory, painting, popular journalism, and fashion. Through a close examination of David’s work between The Intervention of the Sabines (begun in 1796) and Bonaparte Crossing the Alps (begun in 1800), Bryson explores how the flowering of women’s culture under the Directoire became a decisive influence on David’s art. With more than 150 illustrations, this book provides new and brilliant insight into this period that will captivate readers.

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Book SynopsisThe northern Italian artist Giacomo Ceruti (1698–1767) was born in Milan and active in Brescia and Bergamo. For his distinctive, large-scale paintings of low income tradespeople and individuals experiencing homelessness, whom he portrayed with dignity and sympathy, Ceruti came to be known as Il Pitocchetto (the little beggar). Accompanying the first US exhibition to focus solely on Ceruti, this publication explores relationships between art, patronage, and economic inequality in early modern Europe, considering why these paintings were commissioned and by whom, where such works were exhibited, and what they signified to contemporary audiences. Essays and a generous plate section contextualize and closely examine Ceruti’s pictures of laborers and the unhoused, whom he presented as protagonists with distinct stories rather than as generic types. Topics include depictions of marginalized subjects in the history of early modern European art, the career of the artist and his significance in the history of European painting, and the period discourses around poverty and social support. A detailed exhibition checklist, complete with provenance, exhibition history, and bibliography, provides information critical for the further understanding of Ceruti’s oeuvre.

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Book SynopsisMaria Magdalena Campos-Pons (b. 1959) makes powerful work that holds and beholds the stories of historically silenced peoples and urges societal change. Her journey as an artist, teacher, and activist has taken her from Cuba through the United States, and her autobiographical compositions honor her Nigerian and Chinese ancestors while also facing the future. With an artistic practice that crosses boundaries, intertwines media-from photography to sculpture, film to performance-and references traditions and beliefs ranging from feminism to Santeria Campos-Pons's work is deeply layered and complex. This volume, the first critical look at the artist's oeuvre in nearly two decades, surveys the concerns, materials, and places invoked throughout her forty-year career. Thoughtful essays explore her vibrant, arresting artwork, which confronts issues of agency and the construction of race and belonging and challenges us to reckon with these issues in our own lives.Table of ContentsForeword - Timothy Potts and Anne Pasternak Acknowledgments - Carmen Hermo Preface: The Calling - Carmen Hermo, Mazie M. Harris, and Jenee-Daria Strand Introduction: La Unica - Amalia Mesa-Bains Maria Magdalena Campos-Pons: Behold - Carmen Hermo Rooted in Cuba and Connected to the World - Selene Wendt "This, this, this, this, this": Photography in Pieces - Mazie M. Harris Marking and Mapping: The Video Art Practice of Maria Magdalena Campos-Pons - Phillip A. Townsend Follow FeFa - Jenee-Daria Strand Plates Plate List Further Reading Index

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Book SynopsisThe Collaborative Artist’s Book offers a rare glimpse into collaborations between poets and painters from 1945 to the present, and highlights how the artist’s book became a critical form for experimental American artists in the twentieth and twenty-first centuries. Alexandra Gold provides a broad overview of the artist’s book form and the many ongoing debates and challenges, from the disciplinary to the institutional, that these forms continue to pose. Gold presents five case studies and details not only how each individual collaboration came to be but how all five together engage and challenge conventional ideals about art, subjectivity, poetry, and interpersonal relations, as well as complex social questions related to gender and race. Taking several of these books out of special collections libraries and museum archives and making them available to a broad readership, Gold brings to light a whole genre that has been largely forgotten or neglected.Trade ReviewTroubling the boundaries of their own artforms, the poets and artists who created the artists’ books brought to life in this study used the form of the book itself to create new modes of relationality and expression. Written with intelligence and an artistry of its own, The Collaborative Artist’s Book tells an exciting story about collaboration and experiment across media, and is sure to be of interest to students of experimental poetry and the avant-garde." —Brian Glavey, author, The Wallflower Avant-Garde: Modernism, Sexuality, and Queer Ekphrasis"The Collaborative Artist’s Book reveals the ways in which collaborative artists’ books—peripheral but enduringly engaging experimental forms—shape late twentieth and early twenty-first century American lyric subjectivities. This is a book about friendship, collaboration, multidimensionality, and creative unruliness, as delightful in style as it is in subject matter." —Rona Cran, author, Collage in Twentieth-Century Art, Literature, and Culture: Joseph Cornell, William Burroughs, Frank O’Hara, and Bob Dylan"Gold demonstrates the relevance of artists’ books in the present time, as complement, substitute, or remedy for virtual realities. Scrupulous in her scholarship and careful in her arguments, Gold advocates boldly for the pleasure of artists’ books, especially those containing poetry." —Stephen Fredman, author, American Poetry as Transactional Art

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Book Synopsis

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Book Synopsis

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Book SynopsisAn illustrated biography celebrating the life and legacy of a renowned Italian artistIn this illustrated biography of the late Italian artist, Livio Orazio Valentini, Robert E. Alexander and John A. Elliott celebrate the life and legacy of the renowned painter and sculptor while acknowledging his special relationship with the people of Aiken, South Carolina.Born to a poor family in 1920, Valentini lived most of his life in Orvieto, Italy. With no money for a formal education, he became a self-taught artist. At the age of twenty, Valentini was called into military service during World War II. After being captured by the Germans, he was confined in Buchenwald and other concentration camps, where he endured two years of physical labor. For Valentini the confinement was life-changing; he experienced a spiritual awakening that became a lifelong odyssey reflected in his art and teaching.Valentini’s art and even his existence centered on his efforts to find freedom. His paintings, charcoal sketches, and sculptures formed from terracotta, forged iron, tile, or stone are often a statement on the human condition, germination and rebirth, and the negativity and violence of humanity. Valentini often spoke about injustice and oppression through the metaphor of a caged bird, explaining how compassion could overcome cruelty and art could bring healing and hope to conquer fear.While Valentini’s art was well known in Italy and other European countries, it was relatively unknown in the United States until the 1990s, when Aiken, South Carolina, and Orvieto, Italy, became linked after a chance meeting between Valentini and a fellow Rotary Club member from Aiken vacationing in Orvieto. The connection blossomed into a multifaceted exchange program for students and citizens that has celebrated culture and art, including Valentini’s.

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