Search results for ""Museum of Modern Art""

A grand panorama of race and civil unrest in America’s past and present Carrie Mae Weems has often confronted the uncomfortable truths of racism and race relations over the course of her nearly 40-year career. In The Shape of Things she focuses her unflinching gaze at what she describes as the circuslike quality of contemporary American political life. For this new work, Weems created a seven-part film projected onto a Cyclorama—a panoramic-style cylindrical screen that dates to the 19th century—where she addresses the turmoil of current events in the United States and the “long march forward.” Drawing on news and TV footage from the civil rights era to today, elements of previous films such as The Madding Crowd (2017) and new film projects that bring us into our tumultuous present, the films in The Shape of Things combine documentary directness with poetic rhythm to create an enveloping experience. The films are narrated by Weems, and the layering of her resonant voice with these images articulates the dangerous mounting resistance to the “browning of America.” As Weems shows in these powerful works, America is irreversibly changed and changing. Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Houston; and the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

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Klein’s madcap romp of a photo-novel brilliantly translates his cult ’60s film into book form Based on the original images and dialogue of William Klein’s 1966 film Who Are You, Polly Maggoo?, this fantastic photo-novel tells the adventures of Polly Maggoo, a star model played by Dorothy McGowan (model for Vogue in the 1960s). The plot unfolds across the fashion world of Polly Maggoo; the world of television (based around the character of director Jean Rochefort); and a magical kingdom of operetta whose crown prince (played by Sami Frey) is in love with the young model. Also featuring in this star-studded cast are Alice Sapritch, Delphine Seyrig, Philippe Noiret, Roland Topor and Jacques Seiler. The publication ingeniously translates into book form the zany universe of the film. Klein’s masterful framing gives exquisite rhythm to its page composition and flow as we follow the crazy adventures of the extraordinary heroine in a madcap race through the streets and rooftops of Paris, all the way up to a distant palace lost in the snow. Born in New York, William Klein (1926–2022) was a multidisciplinary artist whose practice revolutionized photography, particularly fashion and street photography. His fashion work was the subject of several iconic photobooks, including Life Is Good and Good for You in New York (1957) and Tokyo (1964). In the 1980s, he turned to film projects. His works are held in the collections of the Museum of Modern Art in New York, the National Gallery of Art in Washington, DC, and the Art Institute of Chicago, among others.

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Shelby Lee Adams first encountered the communities of the Appalachian mountains as a child, while accompanying his doctor uncle on his rounds. In the mid-1970s he started to photograph in the region, using a 4 x 5 camera, gaining and building a special trust among its often impoverished people, who have tended to not always welcome would-be documentarians. Adams not only records their lives and hardships with great empathy, but also depicts the grace and humanity of his subjects, photographing with an ease evident in the results. Salt and Truth is Adams' fourth monograph, and presents 80 new photographs taken mostly over the past eight years. The photographs in this collection are of children and animals, of working people and of a way of life rarely glimpsed by photographers. Shelby Lee Adams (born 1950) is an American photographer renowned for his environmental portraiture, primarily in the Appalachian mountains of eastern Kentucky. Adams' work has been featured in three monographs: Appalachian Portraits (1993), Appalachian Legacy (1998) and Appalachian Lives (2003). In 2010 he was awarded a Guggenheim Fellowship. Adams' work is represented in many major permanent collections, including the Art Institute of Chicago; the International Center of Photography in New York; Musee De L'Elysee Lausanne in Switzerland; The Museum of Modern Art, New York; The National Gallery of Canada, Ottawa; Stedelijk Museum, Amsterdam; Time Life Collection, New York; Victoria and Albert Museum, London; and the Whitney Museum of American Art, New York. Adams was also the subject of a 2002 documentary film by Jennifer Baichwal, The True Meaning of Pictures: Shelby Lee Adams' Appalachia.

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How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal--or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life, Fernando Dominguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art in New York, to explore the day-to-day dilemmas that museums workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Dominguez Rubio provides a rare view of the vast technological apparatus--from climatic infrastructures and storage facilities, to conservation labs and machines rooms--and teams of workers--from conservators and engineers to guards and couriers--who fight to hold artworks still. As the MoMA reopens after massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion.

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In 1996 Jacques Derrida gave a lecture at the Museum of Modern Art in New York on the occasion of Antonin Artaud: Works on Paper, one of the first major international exhibitions to present the avant-garde dramatist and poet's paintings and drawings. Derrida's original title, "Artaud the Moma," is a characteristic play on words. It alludes to Artaud's calling himself Momo, Marseilles slang for "fool," upon his return to Paris in 1946 after nine years in various asylums while playing off of the museum's nickname, MoMA. But the title was not deemed "presentable or decent," in Derrida's words, by the very institution that chose to exhibit Artaud's work. Instead, the lecture was advertised as "Jacques Derrida ...will present a lecture about Artaud's drawings." For Derrida, what was at stake was what it meant for the museum to exhibit Artaud's drawings and for him to lecture on Artaud in that institutional context. Thinking over the performative force of Artaud's work and the relation between writing and drawing, Derrida addresses the multiplicity of Artaud's identities to confront the modernist museum's valorizing of originality. He channels Artaud's specter, speech, and struggle against representation to attempt to hold the museum accountable for trying to confine Artaud within its categories. Artaud the Moma, as lecture and text, reveals the challenge that Artaud posed to Derrida-and to art and its institutional history. A powerful interjection into the museum halls, this work is a crucial moment in Derrida's thought and an insightful, unsparing reading of a challenging writer and artist.

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Midcentury modernism meets Japanese design in three revolutionary American buildings—the products of a unique, sustained, cross-cultural collaboration In 1953, Japanese architect Junzo Yoshimura designed a now-classic Japanese house and garden that he called Shofuso. It was built in Nagoya, Japan, and shipped to New York in 1954, where it was exhibited at the Museum of Modern Art and then relocated to Philadelphia’s Fairmount Park. The curators of MoMA’s House in the Garden exhibition highlighted its synthesis of historic Japanese architecture with modern architecture: the clarity of the house’s post and beam structure, its flexibility of use and the close relationship of indoor and outdoor spaces. This extensively illustrated volume centers on Yoshimura’s design for Shofuso and two allied sites located in New Hope, Bucks County, Pennsylvania: Raymond Farm (1939–41), a live-work residence built by Antonin and Noémi Raymond within the fabric of an existing 18th-century Quaker farmhouse; and Nakashima Studios, a complex of structures designed by George Nakashima over three decades (1947–77) to serve his furniture-making business and as his family’s home. Each site, in its own way, is the embodiment of the personal relationships and cross-cultural collaborations among this group of architects and designers. The Raymonds, along with Yoshimura, Nakashima and others, came to understand Japan’s changing environment through the act of building, through collaboration and travel. Together, they extended these lessons into the furniture and furnishings of modern living in both Japan and the United States. This volume documents an exhibition of objects and ephemera mounted at Shofuso. New York–based architectural photographer Elizabeth Felicella captures each site in a portfolio of newly commissioned images. Essays by Ken Tadashi Oshima and William Whitaker, illustrated with historical photographs, family snapshots and architectural drawings, further elucidate this important chapter in the history of modern architecture and design.

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Lovell’s poetical installations invoke the lost voices of African American ancestry Whitfield Lovell is internationally renowned for his installations that incorporate masterful Conté crayon likenesses of African Americans from between the Emancipation Proclamation and the Civil Rights Movement. Using vintage photography as his source, Lovell often pairs his subjects with found objects, evoking personal memories, ancestral connections and the collective American past. Whitfield Lovell: Deep River compiles stunning likenesses of anonymous African American citizens from Lovell’s celebrated Deep River installation, which pays homage to “Camp Contraband”—a Union Army site near Chattanooga, Tennessee, that served as a refuge for runaway slaves escaping the Confederate South during the Civil War. The book includes a preface by Kellie Jones and an accompanying essay by the scholar Julie L. McGee, which provides the historical context for these deeply resonant portraits highlighted in this publication. McGee writes: “Lovell’s artistry is a vessel for those ancestral spirits that remain near and communicate with those who are able to make the past tangible, accessible and acutely meaningful.” The work of New York–based artist Whitfield Lovell has been exhibited and collected worldwide. The current traveling exhibition, Whitfield Lovell: Passages, will open on June 17 at the Virginia Museum of Fine Arts, in Richmond, Virginia, and will travel to four additional venues. Major installations have been featured at the Phillips Collection in Washington, DC; the Bronx Museum of the Arts in New York; University of Wyoming in Laramie; the Columbus Museum in Georgia; and the Contemporary Art Center of Virginia, among others. His work is in museum collections including the Museum of Modern Art; the Brooklyn Museum; Whitney Museum of American Art; the Metropolitan Museum of Art; the Smithsonian American Art Museum; and the Smithsonian National Museum of African American History and Culture.

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Ken Danby (1940-2007) was one of Canada's foremost practitioners of contemporary realism. Rooted in the Canadian psyche, nourished by his Ontario rural roots, Danby's subject matter was broad and expansive, yet it was the images of Canadian landscapes and life that captured the public's attention. At the Crease, a 1972 egg tempera painting depicting a nameless hockey goalie viewed from ice-level, was his best-known work, and for many, it defined him as an artist. An accomplished painter, watercolourist, printmaker, and commercial artist, Danby's career began to unfold with a modernist narrative in the 1960s and 1970s. It intersected with the fervent nationalism expressed in the music of Ian and Sylvia Tyson, Gordon Lightfoot, and Joni Mitchell. According to art historian Patrick Hutchings, Danby's paintings bring us "face to face with a moment of our own time." Ken Danby: Beyond the Crease, the first major book on Ken Danby's creative practise in two decades, examines the depth and breadth of Danby's work. Designed to accompany a major retrospective exhibition organized by the Art Gallery of Hamilton, it features an essay by art historian Ihor Holubizky, a detailed chronology by Christine Braun, more than sixty reproductions of Danbys major paintings, including At the Crease, Lacing Up, Pancho, and Pulling Out, and dozens of archival photographs, as well as Danby's own words about his life and work drawn from an unpublished autobiographical essay that he completed shortly before his death. Danby's work is highly collectable and can be found in numerous private and public collections, including those of the Museum of Modern Art, New York; the National Gallery of Canada; the Musée des beaux arts, Montreal; the Art Gallery of Vancouver; the Art Institute of Chicago; and the Brooklyn Museum. Ken Danby became a member of the Order of Canada in 2001.

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One of the youngest recipients of a MacArthur “genius” grant, Kara Walker, an African American artist, is best known for her iconic, often life-size, black-and-white silhouetted figures, arranged in unsettling scenes on gallery walls. These visually arresting narratives draw viewers into a dialogue about the dynamics of race, sexuality, and violence in both the antebellum South and contemporary culture. Walker’s work has been featured in exhibits around the world and in American museums including the Museum of Modern Art, the Guggenheim, and the Whitney. At the same time, her ideologically provocative images have drawn vociferous criticism from several senior African American artists, and a number of her pieces have been pulled from exhibits amid protests against their disturbing representations. Seeing the Unspeakable provides a sustained consideration of the controversial art of Kara Walker.Examining Walker’s striking silhouettes, evocative gouache drawings, and dynamic prints, Gwendolyn DuBois Shaw analyzes the inspiration for and reception of four of Walker’s pieces: The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven, John Brown, A Means to an End, and Cut. She offers an overview of Walker’s life and career, and contextualizes her art within the history of African American visual culture and in relation to the work of contemporary artists including Faith Ringgold, Carrie Mae Weems, and Michael Ray Charles. Shaw describes how Walker deliberately challenges viewers’ sensibilities with radically de-sentimentalized images of slavery and racial stereotypes. This book reveals a powerful artist who is questioning, rather than accepting, the ideas and strategies of social responsibility that her parents’ generation fought to establish during the civil rights era. By exploiting the racist icons of the past, Walker forces viewers to see the unspeakable aspects of America’s racist past and conflicted present.

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How Meatyard made a stage set of his native Kentucky to portray his circle of friends and compose his eerie tableaux Stages for Being examines the photography that Ralph Eugene Meatyard created in and around Lexington, Kentucky, where he found abandoned houses in the countryside to use as sets, and directed friends and family members in scenes that suggest both ritual and theater. Establishing mood with natural lighting, he used masks, dolls and found objects as unsettling props and mined architectural detail for abstract compositional elements. Meatyard culled inspiration from a wide variety of sources. An autodidact in areas as diverse as jazz, painting, literature, history and Zen Buddhism, his voracious reading sparked endless ideas for his carefully constructed photographs. His process was also informed by consistent dialogue with a robust group of Kentucky peers, including the writer, environmental activist and farmer Wendell Berry; photographers Van Deren Coke and Robert C. May; the Trappist monk Thomas Merton; the painter Frederic Thursz; and the writer, poet and philosopher Guy Davenport, all of whom worked in the region but were engaged with contemporary ideas and practice in their fields. Ralph Eugene Meatyard (1925–72) attended Williams College as part of the Navy's V12 program in World War II. Following the war, he married, became a licensed optician and moved to Lexington, Kentucky. When the first of his three children was born, Meatyard bought a camera to make pictures of the baby. Photography quickly became a consuming interest. He joined the Lexington Camera Club, where he met Van Deren Coke, under whose encouragement he soon developed into a powerfully original photographer. Meatyard's work is housed at the Museum of Modern Art, George Eastman House in Rochester, New York, the Smithsonian Institution and many other important collections.

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Thirty-five years of South African artist William Kentridge’s dynamic, cross-genre art, with essays by Ann McCoy, Zakes Mda, and Ed Schad, a conversation between the artist and Walter Murch, and an unpublished lecture by Kentridge. This far-reaching book presents Kentridge’s dynamic art practice, which originates in charcoal drawing and expands into intersections with film, sculpture, opera and theater performances, printmaking and many other mediums. The volume is organized chronologically and thematically, emphasizing Kentridge’s destabilizing of South African and global narratives through openness to uncertainty, the generative power of the artist’s studio and perpetual change, all as conditions for illuminating repressed and silenced voices in historical records. An essay by curator Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Kentridge’s work, joining essays by globally recognized literary figures and thinkers Zakes Mda and Ann McCoy. Notably, the volume features a conversation between Kentridge and the famous film and sound editor Walter Murch, as well as a never-before-published lecture by the artist. The work of William Kentridge (born 1955) has been seen in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, the Kunstmuseum in Basel and Zeitz MOCAA and the Norval Foundation in Cape Town. Opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose and Alban Berg’s operas Lulu and Wozzeck. In 2016 Kentridge founded the Centre for Less Good Idea in Johannesburg, a space for responsive thinking and making through experimental, collaborative and cross-disciplinary art practices. The center hosts an ongoing program of workshops, public performances and mentorship activities.

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An overview of John Stezaker’s film still collages, this book showcases the evolution of the artist’s relationship with a specific material. Leading British collage and appropriation artist John Stezaker began his ongoing series of film still collages in 1979 – the result of a period that marked a crucial change in the direction of the artist’s work, which had previously been centered around a text-based ‘conceptualism’. The series moves with Stezaker’s changing interests, using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films. Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume, which brings together Stezaker’s earliest film still collages with his most recent. Full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist. John Stezaker (b.1949, Worcester) is one of the leading artists in contemporary photographic collage and appropriation. Employing vintage photographs, old Hollywood film stills, travel postcards and other printed matter, Stezaker creates small-format collages that bear qualities of Surrealism, Dada and found art. Stezaker studied at the Slade School of Art and has taught at the Royal College of Art and Central Saint Martins School of Art, London. In 2012 he was awarded the Deutsche Börse photography prize following a retrospective at the Whitechapel Gallery, London. His work has been exhibited internationally since the 1990s and is held in collections such as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Arts Council England; and Tate.

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An essential work on teams—now updated with new research and tools and a new preface—X-Teams shows how an externally focused team model is the key to fueling innovation and your organization's success.You build a team around top-notch talent. The team members work well together; they're committed to the mission and are highly motivated to perform. Yet the results are disappointing. You're not seeing creativity and flexibility. You're not getting breakthrough ideas."Good" teams build camaraderie, confidence in their abilities, and a solid process for working together. But these internal dynamics—while positive in themselves—can create a wall between the team and the outside world. And that wall can prevent the team from adapting to change and delivering value to the organization.In this updated, streamlined edition, with a new preface and practical tools, Deborah Ancona and Henrik Bresman describe an externally focused team model—the x-team—that is even more relevant today than when it was first introduced. With their distinctively flexible membership and leadership structure, x-teams continuously reach outward to fuel the innovation process.With new examples and research from organizations such as Microsoft, Takeda, and the Museum of Modern Art, Ancona and Bresman show you how to build x-teams that: Keep pace with shifts in markets, technologies, cultures, and your competition Innovate by moving quickly from generating ideas to executing and diffusing them throughout your organization Employ "distributed leadership" to unlock crucial information, expertise, and new ways of working together—wherever these qualities reside, whether within or outside your company In an increasingly complex and ever-changing world, where adaptability and creativity are paramount to an enterprise's success—and even its survival—X-Teams is your handbook for winning.

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The first book to exclusively present Cleto Munari’s latest creations in the field of the applied arts: a unique collection of art carpets. Cleto Munari was born in Gorizia and he lives and works in Vicenza. After meeting Carlo Scarpa in 1973, who encouraged him in his work, he decided to focus his attention on the area of industrial design, and began to work for some of the most important companies in the world. Constantly in search of original ideas, over the years he has tirelessly been engaged in analyzing and experimenting with both forms and material. In 1985 he opened a laboratory-studio-jeweler’s, where, together with a group of worldclass architects, he designs and produces silver jewelry and other objects for avant-garde collections that truly represent historical revolutions in jewelry both in Italy and abroad, and have also led to the production of watches, pens and furniture. Cleto Munari’s objects have entered the permanent collections of some of the world’s top museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York. This book is the first to exclusively present Cleto Munari’s latest creations in the field of the applied arts. After his jewelery, silverware, watches and furnishings, the great designer has involved ten other designers and artists in the creation of a unique collection of art carpets. Signed by Lawrence Ferlinghetti, Dario Fo, Mario Botta, Alessandro Mendini, Javier Mariscal, Ettore Mochetti, Deisa Centazzo, Sandro Chia, Mimmo Paladino and by Cleto Munari himself, these creations are full-fledged works of art and represent the high point of the skills and expertise of one of the greatest creative designers in the world, who has been designing and producing for over forty years.

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Waiting at the Shore chronicles the extraordinary life of the Spanish artist Luis Quintanilla, championed by Ernest Hemingway, John Dos Passos, Elliot Paul, and many other American and European writers and artists. In 1912, at the age of 18, he ran off to Montmartre where, under the influence of his fellow countryman Juan Gris, he began his artistic career as a Cubist. Returning to Madrid before the war he befriended prominent Spaniards, including Juan Negrin, the Premier during the Spanish Civil War. In April 1931 he and Negrin participated in the peaceful revolution which ousted the monarchy and installed the Second Spanish Republic. When civil war broke out Quintanilla helped lead troops on Madrid's Montana Barracks, which saved the capital for the Republic. "Because great painters," as Hemingway put it, "are scarcer than good soldiers," the Spanish government [Negrin] ordered Quintanilla out of the army after the fascists were stopped outside Madrid. The artist completed 140 drawings of the various fronts of the war which were exhibited at New York's Museum of Modern Art, with a catalogue by Hemingway. After the Republic lost the war Quintanilla was forced into an exile which lasted several decades. Living in New York and in Paris he strove to perfect his art, shunning the modernist vogues of the time. Although a celebrity when he first arrived in the United States he eventually fell into obscurity. This volume, which is heavily illustrated, brings him out of the shadows of neglect, and provides the compelling story of an artist who led not just an extraordinary life but left a legacy of paintings and drawings which, in both their skill and great imaginative variety, should be known to all art lovers.

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Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments.Inventing Film Studies shows how the study of cinema has developed in relation to a constellation of institutions, technologies, practices, individuals, films, books, government agencies, pedagogies, and theories. Contributors illuminate the connections between early cinema and the social sciences, between film programs and nation-building efforts, and between universities and U.S. avant-garde filmmakers. They analyze the evolution of film studies in relation to the Museum of Modern Art, the American Film Council movement of the 1940s and 1950s, the British Film Institute, influential journals, cinephilia, and technological innovations past and present. Taken together, the essays in this collection reveal the rich history and contemporary vitality of film studies. Contributors: Charles R. Acland, Mark Lynn Anderson, Mark Betz, Zoë Druick, Lee Grieveson, Stephen Groening, Haden Guest, Amelie Hastie, Lynne Joyrich, Laura Mulvey, Dana Polan, D. N. Rodowick, Philip Rosen, Alison Trope, Haidee Wasson, Patricia White, Sharon Willis, Peter Wollen, Michael Zryd

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Capturing the world in color was one of photography’s greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Autochrome in 1907, prominent photographers such as Alfred Stieglitz were overjoyed. But they quickly came to reject color photography as too aligned with human sight. It took decades for artists to come to understand the creative potential of color, and only in 1976, when John Szarkowski showed William Eggleston’s photographs at the Museum of Modern Art, did the art world embrace color. By accepting color’s flexibility and emotional transcendence, Szarkowski and Eggleston transformed photography, giving the medium equal artistic stature with painting, but also initiating its demise as an independent art.The catalogue of a major exhibition at the Amon Carter Museum of American Art, which holds one of the premier collections of American photography, Color tells, for the first time, the fascinating story of color’s integration into American fine art photography and how its acceptance revolutionized the practice of art. Tracing the development of color photography from the first color photograph in 1851 to digital photography, John Rohrbach describes photographers’ initial rejection of color, their decades-long debates over what color brings to photography, and how their gradual acceptance of color released photography from its status as a second-tier art form. He shows how this absorption of color instigated wide acceptance of a fundamentally new definition of photography, one that blends photography’s documentary foundations with the creative flexibility of painting. Sylvie Pénichon offers a succinct survey of the technological advances that made color in photography a reality and have since marked its multifaceted development. These texts, illuminated by seventy-five full-page plates and more than eighty illustrations, make this book a groundbreaking contribution to photographic studies.

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“Hyman is awesomely consistent, brilliant, ascetic—more and more people say he is the best painter in America, and so he is.” –Robert Lowell This important publication, the first of its kind, presents the paintings and drawings of an aesthetic and mystical searcher in the tradition of William Blake, Albert Pinkham Ryder and Odilon Redon, who strove for the moment when, in his own words, “the mood is as intense as it can be made.” Hyman Bloom’s work, influenced by his Jewish heritage (whose impression on his painting he described as a “weeping of the heart”) and Eastern religions, touches on many of the themes of 20th-century culture and art: the body, its immanence and transience, abstraction and spiritual mysticism. Bloom was admired by leading figures in the art world of his time, including Alfred H. Barr Jr. and Dorothy Miller; Jackson Pollock and Willem de Kooning hailed him as “the first Abstract Expressionist.” The poet Robert Lowell praised Bloom, writing in a letter to Elizabeth Bishop, “Hyman is awesomely consistent, brilliant, ascetic—more and more people say he is the best painter in America, and so he is.” The book’s illustrations include ten previously unpublished masterworks, plus images of the figure as powerful and provocative as the paintings by Francis Bacon that were once exhibited alongside them. Hyman Bloom (1913–2009) was born in Lithuania, now Latvia. He and his family immigrated to the United States in 1920, escaping anti-Semitic persecution. He lived and worked in the Boston area until his death. His work is held in many public collections, including the Museum of Modern Art, the Museum of Fine Arts, Boston, the Whitney Museum of American Art and others.

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The artist as collector and champion of the American vernacular Allen Ruppersberg: Intellectual Property 1968–2018 accompanies a major retrospective exhibition on one of conceptual art’s most inventive and acclaimed practitioners. Emerging in late-1960s Los Angeles, Ruppersberg was among that city’s first generation of conceptual artists to espouse a working method that privileges ideas and process over conventional aesthetic objects. Deploying posters, books, postcards and even a café and hotel, his projects have consistently had at their center a focus on the American vernacular—its music, popular imagery and ephemera—mining the nuances of culture through its unsung conventions. From his earliest works, the artist has also welcomed the involvement of the viewer as participant, inviting an immersive experience of his work through language, visual density, accumulated elements and ideas. This fully illustrated catalog is the most comprehensive publication to date on Ruppersberg’s work, featuring a wealth of scholarly content and critical writing connecting Ruppersberg’s work to the larger contemporary art field. Produced by the Walker’s award-winning design studio and in close collaboration with the artist, the book presents a holistic view of Ruppersberg’s wide-ranging, 50-year practice. Born in Cleveland, Ohio in 1944, Allen Ruppersberg has been the subject of more than 60 solo shows. His only other US retrospective, The Secret of Life and Death, was presented by the Museum of Contemporary Art, Los Angeles, in 1985. His work is in the collection of public institutions such as the Los Angeles County Museum of Art; the Hammer Museum, Los Angeles; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; and Le Fonds Ronal d’Art, among many others. Ruppersberg lives and works in Los Angeles, Cleveland and New York.

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"Rethinking Malevich" is an English-language collection of sixteen innovative essays by leading international scholars that document new and intriguing aspects of Kazimir Malevich's art and biography. This latest research on the Russian modern artist appears after more than seventy years of political and cultural difficulties - including the East-West bifurcation of his artistic and written legacy - that impeded the study and understanding of his work. For the first time, the greater portion of Malevich's work and writings was available for the scholarly research and study undertaken here. The result is a wealth of new details about this pioneer of abstraction, including: explorations of his early art education; the differences in the reception of his abstract art by Western and Russian audiences; the appearance of his work in 1936 at the Museum of Modern Art; the artist's special relationship with Ukraine. The development of his art is considered alongside that of Vasily Kandinsky and Giorgio De Chirico, and his philosophy is examined in comparison with the ideas of Nikolai Fedorov and Ortega-y-Gasset. The history of Russian and Soviet art in the 1920s and 1930s is intricately interwoven with the revolutionary social changes taking place throughout the country. Here are details of the political maneuverings Malevich went through in Russia to protect his art and his friends, and his reaction to Lenin's death in 1924 and the subsequent growth of the "Lenin myth." Rethinking Malevich reveals the complex early interweaving of Suprematism and Constructivism, considers little-researched aspects of the artist's Post-Suprematist period, and the history of Malevich's literary legacy. Not least, it demonstrates the various ways in which Malevich's art continues to stimulate the highly unusual work of contemporary Russian artists.

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Ringgold's most formative and influential political works are gathered in this beautifully designed clothbound volume Alongside reproductions of key works made between 1967 and 1981, Faith Ringgold: Politics / Power provides an overview of Ringgold's seminal artistic and activist work, and its historical context during these years, including accounts by the artist herself. During the 1960s and 1970s, Ringgold, a dedicated and impassioned civil rights advocate, established her voice as a feminist and within the Black Arts Movement. Her influential work expressed her in-depth knowledge of art history and contemporary art, as well as her activism. Spanning mediums such as painting, cut paper works, posters, collage and textile art, the works presented in this publication foreground the artist’s explicitly political pieces, for which she deployed new material and formal processes, and developed a radical aesthetics and vocabulary. Organized chronologically, the book allows readers to retrace the artist’s foundational creative approaches to contemporaneous social, political and artistic questions. It includes illustrations of individual artworks together with previously unpublished work and archival materials. Faith Ringgold (born 1930) is a painter, mixed-media sculptor, performance artist, teacher and writer best known for her narrative quilts. In 2020, the New York Times described her as an artist “who has confronted race relations in this country from every angle, led protests to diversify museums decades ago, and even went to jail for an exhibition she organized.” Her work is in the collections of the Museum of Modern Art, New York, the Brooklyn Museum and the Baltimore Museum of Art, among others. Ringgold lives and works in Englewood, New Jersey.

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Anton van Dalen: Community of Many chronicles the historic artist Anton van Dalen’s lifelong visual investigation informed by the influences of war, religion and migration, his devotion to nature, and his dedication to documenting the technological and cultural evolutions within our society across a variety of mediums, from drawing and sculpture to collage and painting. Born in the Netherlands in 1938 to a conservative Calvinist family, Anton witnessed first-hand the terrors of both technological and human destruction during the Second World War. Since he immigrated to New York in 1966 and settled in the East Village, Anton has served as witness, storyteller and documentarian of the dramatic cultural shifts in the neighbourhood through his masterfully honed and singular iconography. Featuring critical essays by John Yau and Tiernan Morgan, this heavily illustrated publication is the first comprehensive monograph on Anton van Dalen’s work that provides a language by which to discuss the consequences of human brutality towards nature and our entanglement with technology. Anton has been included in group exhibitions at notable institutions including the Whitney Museum of American Art, New York; New Museum, New York; Contemporary Art Center, Cincinnati; and the New-York Historical Society. He has also been the subject of solo exhibitions at Temple Contemporary, Tyler School of Art and Architecture, Temple University, Philadelphia; University Museum of Contemporary Art, University of Massachusetts, Amherst; and Exit Art, New York. His  Avenue A Cut-Out Theatre  has toured since 1995 both nationally and internationally and has been shown at numerous institutions including The Drawing Center, the Museum of Modern Art, and The New-York Historical Society.

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The first comprehensive survey of the photographs, films, and videos of Ori Gersht, this richly illustrated book presents the best of Gersht's achingly beautiful work and explores how he intertwines spectacles of painterly and narrative imagery with personal and collective memory, metaphysical journeys, contextualized spaces, and the history of art and photography. Pushing the camera to the limits of what it can record, Gersht engages an aesthetic that reflects both a highly researched and instinctive approach to his chosen media. Be it the scars left on the sunlit yet war-torn interiors of buildings in Sarajevo, the white noise of a modern-day train journey to Auschwitz, or the clearing of trees in a forest that once stood witness to mass murder in the Ukraine, Gersht's vision bridges a history that is full of violent horror and a world of emergent, transcendent beauty. Ori Gersht was born in Israel in 1967 and is currently based in London. A conduit between the past and present, his large-scale photographs and videos wed old masters to new technologies, quoting from such sources as Spanish and Dutch still- life painting and the Hudson River Valley School. Gersht's interest in history also goes beyond the visual arts, encompassing the political history that has shaped his personal identity and that of all of us scarred by violence in our contemporary world. His work has been acquired and commissioned by major art institutions such as the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, the Tate, London, the Tel Aviv Museum of Art, and the Victoria and Albert Museum.

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A dazzling dual portrait of Frank Lloyd Wright and early twentieth-century New York, revealing the city’s role in establishing the career of America’s most famous architect“Traces the transitive relationship of the architect and the city, as well as the genesis of the bohemian culture of the East Village."—Patti Smith, New York Times Frank Lloyd Wright (1867–1959) took his first major trip to New York in 1909, fleeing a failed marriage and artistic stagnation. He returned a decade later, his personal life and architectural career again in crisis. Booming 1920s New York served as a refuge, but it also challenged him and resurrected his career. The city connected Wright with important clients and commissions that would harness his creative energy and define his role in modern architecture, even as the stock market crash took its toll on his benefactors. Wright denounced New York as an “unlivable prison” even as he reveled in its culture. The city became an urban foil for Wright’s work in the desert and in the “organic architecture” he promoted as an alternative to American Art Deco and the International Style. New York became a major protagonist at the end of Wright’s life, as he spent his final years at the Plaza Hotel working on the Guggenheim Museum, the building that would cement his legacy. Anthony Alofsin has broken new ground by mining the recently opened Wright archives held by Columbia University and the Museum of Modern Art. His foundational research provides a crucial and innovative understanding of Wright’s life, his career, and the conditions that enabled his success. The result is at once a stunning biography and a glittering portrait of early twentieth-century Manhattan.

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Soft Power: A Conversation for the Future accompanies an exhibition of recent work and new commissions by twenty artists from around the world organized by the San Francisco Museum of Modern Art. These artists understand themselves as social actors, question their responsibility as citizens, and are active in their role as public intellectuals and provocateurs. Artists featured include Nairy Baghramian, LaToya Ruby Frazier, Carlos Motta, and Xaviera Simmons, among many others. The artists bring a broad range of approaches to the work featured in the volume. For example, Frazier's work is known for its searing photographic depictions of African American family and communal history, as well as addressing the effects of gentrification and urban displacement. Xaviera Simmons' photos and video work address memory -- especially notions of landscape-- from the perspective of a Black woman who descended from slaves and European colonizers. This expansive catalogue includes six long-form essays by curators, artists, and other writers, as well as brief texts and interviews introducing the exhibition artists, and features a wide range of work, including video, photography, painting, sculpture, architectural interventions, and performance. Each work of art in its own way considers the collectivehistories and construction of ideologies and other underlying power structures that influence our world. THE BOOK ACCOMPANIES A MAJOR EXHIBITION, THE LARGEST EVER MOUNTED AT SFMOMA: This major exhibition will be staged on every floor of the museum, the first time a group exhibition has ever commanded that amount of space in the museum's history. NEWLY COMMISSIONED WORK: SFMOMA is commissioning new work for the exhibition from several artists, which will be prominently featured in the book INTERNATIONAL FOCUS: Probably one of the most truly international large-scale exhibitions to be mounted of late, this catalogue will feature approximately twenty artists, from cities ranging from Cairo to Goa, India, to Bangkok, Thailand. Soft Power: A Conversation for the Future accompanies an exhibition of recent work and new commissions by twenty artists from around the world organized by the San Francisco Museum of Modern Art. These artists understand themselves as social actors, question their responsibility as citizens, and are active in their role as public intellectuals and provocateurs. Artists featured include Nairy Baghramian, LaToya Ruby Frazier, Carlos Motta, and Xaviera Simmons, among many others. The artists bring a broad range of approaches to the work featured in the volume. For example, Frazier's work is known for its searing photographic depictions of African American family and communal history, as well as addressing the effects of gentrification and urban displacement. Xaviera Simmons' photos and video work address memory -- especially notions of landscape-- from the perspective of a Black woman who descended from slaves and European colonizers. This expansive catalogue includes six long-form essays by curators, artists, and other writers, as well as brief texts and interviews introducing the exhibition artists, and features a wide range of work, including video, photography, painting, sculpture, architectural interventions, and performance. Each work of art in its own way considers the collectivehistories and construction of ideologies and other underlying power structures that influence our world. THE BOOK ACCOMPANIES A MAJOR EXHIBITION, THE LARGEST EVER MOUNTED AT SFMOMA: This major exhibition will be staged on every floor of the museum, the first time a group exhibition has ever commanded that amount of space in the museum's history. NEWLY COMMISSIONED WORK: SFMOMA is commissioning new work for the exhibition from several artists, which will be prominently featured in the book INTERNATIONAL FOCUS: Probably one of the most truly international large-scale exhibitions to be mounted of late, this catalogue will feature approximately twenty artists, from cities ranging from Cairo to Goa, India, to Bangkok, Thailand.

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Since Tate Modern opened in 2000, the Turbine Hall has hosted some of the world's most memorable and acclaimed works of contemporary art, reaching an audience of millions. The way artists have interpreted this vast industrial space has revolutionised public perceptions of contemporary art in the twenty-first century. The annual Hyundai Commission, now in its third year, gives artists an opportunity to create new work for this unique context. In 2017 the Hyundai Commission will be undertaken by the Danish collective SUPERFLEX, known for their interests in unifying urban spaces and commenting on society with authenticity through art. Migration, alternative energy and the power of global capital are just some of the motives behind their highly engaging, visual and often humorous work. They are best known for their playfully subversive installations and films. Referring to their works as tools, the collective engage alternative models for the creation of social and economic organisation. SUPERFLEX was founded in 1993 by Danish artists Bjornstjerne Christiansen, Jakob Fenger and Rasmus Nielsen. Based in Copenhagen, they have gained international recognition for their projects and solo exhibitions around the world and are represented in several public art institutions, such as MoMA, New York; Queensland Art Gallery, Brisbane; Louisiana Museum of Modern Art, Denmark; FRAC Nord-Pas de Calais; and Coleccion Jumex, Mexico City. Created in close collaboration with SUPERFLEX, the book will feature a fully illustrated survey of their work and an in-depth conversation between the artists and curator Donald Hyslop. Exploring in fascinating detail the artistic processes involved in creating this exciting new work, it will include stunning photographs of the dramatic new installation to be revealed in the Turbine Hall in October 2017.

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Truman and Picasso were contemporaries and were both shaped by and shapers of the great events of the twentieth century - the man who painted Guernica and the man who authorised the use of atomic bombs against civilians.But in most ways, they couldn’t have been more different. Picasso was a communist, and probably the only thing Harry Truman hated more than communists was modern art. Picasso was an indifferent father, a womaniser, and a millionaire. Truman was utterly devoted to his family and, despite his fame, far from a rich man. How did they come to be shaking hands in front of Picasso’s studio in the South of France? Truman’s meeting with Picasso was quietly arranged by Alfred H. Barr Jr, the founding director of New York’s Museum of Modern Art and an early champion of Picasso. Barr knew that if he could convince these two ideological antipodes, the straight-talking politician from Missouri and the Cubist painter from Malaga, to simply shake hands, it would send a powerful message, not just to reactionary Republicans pushing McCarthyism at home, but to the whole world: modern art was not evil. Truman author Matthew Algeo retraced the Trumans’ Mediterranean vacation and visited the places they went with Picasso, including Picasso’s villa, Picasso’s ceramics studio in Vallauris, and Chateau Grimaldi, a museum in Antibes. A rigorous history with a heartwarming centre, When Harry Met Pablo intertwines the biographies of Truman and Picasso, the history of modern art, and twentieth century American politics, but at its core it is the touching story of two old men who meet for the first time and realise they have more in common - and are more alike - than they ever imagined.

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In this, the third volume of an interdisciplinary history of the United States since the Civil War, Sean Dennis Cashman provides a comprehensive review of politics and economics from the tawdry affluence of the 1920s throught the searing tragedy of the Great Depression to the achievements of the New Deal in providing millions with relief, job opportunities, and hope before America was poised for its ascent to globalism on the eve of World War II. The book concludes with an account of the sliding path to war as Europe and Asia became prey to the ambitions of Hitler and military opportunists in Japan. The book also surveys the creative achievements of America's lost generation of artists, writers, and intellectuals; continuing innovations in transportation and communications wrought by automobiles and airplanes, radio and motion pictures; the experiences of black Americans, labor, and America's different classes and ethnic groups; and the tragicomedy of national prohibition. The cast of characters includes FDR, the New Dealers, Eleanor Roosevelt, George W. Norris, William E. Borah, Huey Long, Henry Ford, Clarence Darrow, Ernest Hemingway, Scott Fitzgerald, W.E.B. DuBois, A. Philip Randolph, Orson Welles, Wendell Willkie, and the stars of radio and the silver screen. The first book in this series, America in the Gilded Age, is now accounted a classic for historiographical synthesis and stylisic polish. America in the Age of the Titans, covering the Progressive Era and World War I, and America in the Twenties and Thirties reveal the author's unerring grasp of various primary and secondary sources and his emphasis upon structures, individuals, and anecdotes about them. The book is lavishly illustrated with various prints, photographs, and reproductions from the Library of Congress, the Museum of Modern Art, and the Whitney Museum of American Art.

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Surveying the films, installations and performances of the superstar Icelandic artist Widely recognized as one of the most exciting and significant voices of contemporary art, Icelandic performance and multimedia artist Ragnar Kjartansson takes a loving yet critical look at Western culture. His longform video installations explore the dynamics of repetition, often through music, and develop into feats of endurance, both physical and emotional. The Guardian deemed his 2012 work The Visitors “the best artwork of the 21st century.” Combining quintessential videos such as Me and My Mother and Bliss with lesser-known paintings and sculptures, the retrospective at the Louisiana Museum of Modern Art presents three new pieces made for the exhibition (including the title work with the plywood flames burning on the catalog cover) and captures the litany of senses Kjartansson has embraced without hesitation in his 20-year career. New work created for the anthology includes a painted plywood monument to “an epic waste of love and understanding” and a new performance piece titled Scaredman. The richly illustrated catalog includes personal contributions and dialogues in response to each of the artist's works on display by leading contemporary artists and scholars. Curator Tine Colstrup discusses A Lot of Sorrow with Marina Abramović, and reflects on Terrible, Terrible with Pussy Riot activist Maria Alyokhina. The book proves itself an invaluable guide to Kjartansson’s examination of love, identity, melancholy, masculinity and power. Ragnar Kjartansson (born 1976), a native of Reykjavik, Iceland, studied at the Iceland Academy of the Arts and the Royal Academy of Arts, Stockholm. He represented Iceland at the 53rd Biennale di Venezia in 2009 and participated in the 2013 Encyclopedic Palace of the World at the 55th Biennale di Venezia in 2013.

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Minter’s art skews glamour with consumerist critique Marilyn Minter is famed for her glossy, hyper-realistic paintings, photographs and video works—seductive images that borrow the language of fashion and advertising photography, exploring the boundaries of desire, sensuality and body anxiety in the age of consumption. Close-up imagery of mouths, feet, splashes and puddles, rendered in high-gloss enamel on sheets of metal, subversively questions the pathology of glamour. Produced in conjunction with the first major museum retrospective on her work, Pretty/Dirty examines every period of the artist's 40-year career, from her beginnings with the controversial porn paintings, initially rejected by the critical establishment, to her later large-scale photorealistic works. Essays from the exhibition's curators examine the trajectory of Minter's development and her engagement with debates over the representation of the female body. Texts from musicians, artists, writers and curators speak to Minter's wide-ranging influence: reflections from the likes of artist K8 Hardy, musician and author Richard Hell, and poet Eileen Myles, as well as an artist interview with writer Linda Yablonsky. Illustrated with hundreds of full-color reproductions, and with a complete biography and bibliography, Pretty/Dirty charts a new perspective on the career of this exciting and continually evolving artist. Marilyn Minter (born 1948) has been the subject of numerous solo exhibitions, at venues including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, in 2009 and the Museum of Contemporary Art, Cleveland, in 2010. Her video "Green Pink Caviar" was exhibited in the lobby of MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.

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A revelatory trove of innovative photo collages, photograms, photographs and photocopies—many never before published—most reproduced at the size DeFeo printed them This monograph on the legendary and influential artist Jay DeFeo features over 150 photographic works—many never before published—most reproduced at the size the artist printed them. After the completion of her monumental masterpiece The Rose in 1966, DeFeo moved from the heart of artistic activity in San Francisco to a small house in Marin County, California. There she embarked on a focused and rigorous exploration with the camera. For much of the 1970s, she used the camera as a tool to look and think with, creating a wide range of black-and-white photographs she processed in her darkroom. The artist used experimental photographic techniques to produce extraordinary artworks, alongside documentary images of her studio and paintings in process. Her contact sheets, some of which are reproduced here, are often filled with multiple views of one object, revealing the way DeFeo looked and sketched with the lens. In 1972 she wrote: "My interest in photography has always paralleled my expression as a painter." Essays by Hilton Als, Judith Delfiner, Corey Keller, Justine Kurland, Dana Miller and Catherine Wagner survey the rich materiality, sculptural layering and illusionistic devices of DeFeo’s playful and enigmatic photographic works, illuminating her astonishing range and daring experimentation with the medium. Jay DeFeo (1929–89) was a Bay Area artist who created an original and provocative body of work, including the iconic painting The Rose (1958–66). In the 1970s and 1980s, DeFeo continued her visionary work in a range of mediums, including works on paper, photography, collage and photocopies. Among many other exhibitions, a retrospective of her work was organized by the Whitney Museum of American Art, New York, and traveled to the San Francisco Museum of Modern Art in 2012.

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Today’s most sought-after “customer service sleuth” and turnaround expert unlocks the secrets to transforming customer service and building unshakeable customer engagement and loyaltyCustomer service done right is one of today’s most powerful competitive advantages. In Can Your Customer Service Do This? Micah Solomon—who has worked with brands from Auberge Resorts to Audi of America, from Cleveland Clinic to the NFL Players Association—shares everything he knows about creating a world-class customer experience and building sustainable bottom-line success. With wit and clarity, Micah shares real-life customer service detective examples and the customer service transformation that follows.• Micah Solomon is one of the top customer service trainers, training designers, keynote speakers, and authors on the subjects of customer service, customer experience, and hospitality. • This comprehensive guide and toolkit builds on Solomon's 3 decades’ experience of building and rebuilding customer service at some of the great companies and brands of our time.• The author's clients include Microsoft, Audi of America, Merck Pharmaceuticals, Cleveland Clinic, The Museum of Modern Art (MoMA), and some of the leading Five-Star (Forbes-rated) hotels and resorts in America and around the world. Solomon helps readers to learn the art of anticipatory customer service—getting inside the heads of the customer, empathizing with their dissatisfaction, examining processes and procedures that are antiquated or not competitive enough, and learning to be innovative about modifying or optimizing various different modes of customer service and the methods available today, and he also shares the customer service training he uses to transform customer service performance across multiple industries, including his well-known “MAMA Method” of working successfully with upset customers. Whether your business is an established brand or just starting out, Micah Solomon offers step-by-step secrets that will one-up the competition and build sustainable bottom line success through lasting customer engagement and loyalty.

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"What is abstract art good for? What's the use--for us as individuals, or for any society--of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the last five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death. With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour through a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works.

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On the Mines is a re-designed and expanded version of David Goldblatt’s influential book of 1973. Goldblatt grew up in the South African town of Randfontein, which was shaped by the social culture and financial success of the gold mines surrounding it. When these mines started to fail in the mid-sixties Goldblatt began taking photos of them, which form the basis of On the Mines. The book features an essay on the human and political dimensions of mining in South Africa by Nobel laureate Nadine Gordimer, whose writing has long influenced Goldblatt. The new version of the book maintains the original three chapters “The Witwatersrand: a Time and Tailings”, “Shaftsinking” and “Mining Men”, but is otherwise completely updated, in Goldblatt’s words, “to expand the view but not to alter the sense of things”. There are thirty-one new mostly unpublished photos including colour images, eleven deleted images, a postscript by Gordimer to her essay, as well as a text by Goldblatt reflecting on his childhood and the 1973 book. On the Mines is the first of many titles in an ambitious collaboration between the photographer and Steidl that will publish Goldblatt’s life work in a series of re-prints and new books. David Goldblatt is a definitive photographer of his generation, esteemed for his dispassionate depiction of life in South Africa over a period of more than fifty years. Born in Randfontein in 1930, Goldblatt worked in his father’s menswear business until 1963 when he took up photography full time. Goldblatt’s work concerns above all human values and is a unique document of life during and after apartheid. His photographs are held in major international collections, and his solo exhibitions include those at the Museum of Modern Art in New York in 1998, and the Fondation Henri Cartier- Bresson in Paris in 2011. In 1989 Goldblatt founded the Market Photo Workshop in Johannesburg to teach visual literacy and photography especially to those disadvantaged by apartheid.

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The former director of the Museum of Modern Art in Stockholm makes his literary debut with this dramatic and riveting novel of book publishing, émigrés, spies, and diplomats in World War II Sweden, based on his grandfather’s life In 1933, after Hitler and the Nazi Party consolidated power in Germany, Immanuel Birnbaum, a German-Jewish journalist based in Warsaw, is forbidden from writing for newspapers in his homeland. Six years later, just months before the German invasion of Poland that ignites World War II, Immanuel escapes to Sweden with his wife and two young sons. Living as a refugee in Stockholm, Immanuel continues to write, contributing articles to a liberal Swiss newspaper under the name Dr. B. He becomes increasingly entangled with British intelligence agents who plan several acts of sabotage on the orders of Winston Churchill. But when the Swedish postal service picks up a letter written in invisible ink, clearly by Dr. B. himself, the Allied plotters are exposed. But could a Jew living in exile and targeted for death by the Nazis have wanted to tip them off? Illuminated by the wartime experiences of the author’s grandfather, Dr. B. is a riveting story of émigrés, spies and diplomats that shines a light on a forgotten corner of World War II history. ‘A superb thriller, a cross between Tom Stoppard’s Travesties and The Thirty-Nine Steps … You can’t put it down. This is an astonishing debut and Daniel Birnbaum is clearly a talent to look out for’ The Jewish Chronicle ‘If you’re looking for a ridiculously brilliant story, you can stop looking … He’s got the world’s best story – he’s got Dr B’ Svenska Dagbladet ‘An astonishing thriller-novel … reminiscent of both Hjalmar Söderberg’s Doctor Glass as well as the dreamy melancholy in The Rings of Saturn by W.G Sebald’ Aftonbladet ‘A moving evocation of a life beset by conflicts in a troubled time’ Kirkus Reviews

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The former director of the Museum of Modern Art in Stockholm makes his literary debut with this dramatic and riveting novel of book publishing, émigrés, spies, and diplomats in World War II Sweden based on his grandfather’s life In 1933, after Hitler and the Nazi Party consolidated power in Germany, Immanuel Birnbaum, a German-Jewish journalist based in Warsaw, is forbidden from writing for newspapers in his homeland. Six years later, just months before the German invasion of Poland that ignites World War II, Immanuel escapes to Sweden with his wife and two young sons. Living as a refugee in Stockholm, Immanuel continues to write, contributing articles to a liberal Swiss newspaper under the name Dr. B. He becomes increasingly entangled with British intelligence agents who plan several acts of sabotage on the orders of Winston Churchill. But when the Swedish postal service picks up a letter written in invisible ink, clearly by Dr. B. himself, the Allied plotters are exposed. But could a Jew living in exile and targeted for death by the Nazis have wanted to tip them off? Illuminated by the wartime experiences of the author’s grandfather, Dr. B. is a riveting story of émigrés, spies and diplomats that shines a light on a forgotten corner of World War II history. ‘A superb thriller, a cross between Tom Stoppard’s Travesties and The Thirty-Nine Steps … You can’t put it down. This is an astonishing debut and Daniel Birnbaum is clearly a talent to look out for’ The Jewish Chronicle ‘If you’re looking for a ridiculously brilliant story, you can stop looking … He’s got the world’s best story – he’s got Dr B’ Svenska Dagbladet ‘An astonishing thriller-novel … reminiscent of both Hjalmar Söderberg’s Doctor Glass as well as the dreamy melancholy in The Rings of Saturn by W.G Sebald’ Aftonbladet ‘A moving evocation of a life beset by conflicts in a troubled time’ Kirkus Reviews

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This compact, pocket-sized Copenhagen travel guidebook is ideal for travellers on shorter trips and those trying to make the most of Copenhagen. It's light, easily portable and comes equipped with a pull-out map. This Copenhagen guidebook covers: Tivoli and Rådhuspladsen, Strøget and the Inner City, Slotsholmen, Nyhavn and Frederiksstaden, Rosenborg and around, Christianshavn and Holmen, Vesterbro and Frederiksberg, Nørrebro and Østerbro, Malmö.Inside this Copenhagen travel book you will find: - Curated recommendations of places - main attractions, off-the-beaten-track adventures, child-friendly family activities, chilled-out breaks in popular tourist areas - Things not to miss in Copenhagen - Den Blå Planet, Nationalmuseet, Nyhavn, Torvehallerne, Tivoli, Designmuseum Danmark, Zoologisk Have, Rundetårn, Nørrebro, Statens Museum for Kunst, Den Sorte Diamant (The Black Diamond), Guards at Amalienborg, Frederiksborg Slot, Louisiana Museum of Modern Art, Kødbyen - Ready-made itineraries samples - created for different time frames or types of trip- Copenhagen at a glance - an overview map of Copenhagen with key areas and short descriptions of what you'll find there- Day trips - extra information for those on longer breaks or wanting to venture further afield- Practical travel tips - information on how to get there and around, health guidance, tourist information, festivals and events, plus an A-Z directory- Handy language section - themed basic vocabulary for greetings, numbers and food and drink- Independent reviews - honest descriptions of places to eat, drink or stay, written by our expert authors- Accommodation - handy reference guide to a range of hotels for different budgets - Pull-out map - easy to extract folded map with places to see marked- What's new - a short overview of the changes in Copenhagen in recent years for repeat travellers- Free download of the eBook - available after purchase of the printed Copenhagen guidebook - Fully updated post-COVID-19The guide is a perfect companion both ahead of your trip and on the ground. It gives you a distinct taste of Copenhagen with a concise edit of all the information you'll need.

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The most comprehensive survey of Weems’ genre-defying oeuvre yet published One of the most influential American artists working today, Carrie Mae Weems has investigated narratives around family, race, gender, sexism, class and the consequences of power for more than 40 years. Her complex oeuvre—always ahead of its time, and profoundly formative for younger generations of artists—has employed photography (for which she is best known), fabric, text, audio, digital images, installation and video. Writing in the New York Times, Holland Cotter succinctly described Weems as “a superb image maker and a moral force, focused and irrepressible.” This volume, spanning four decades of work, is the most thorough survey yet published. It includes Weems’ earliest series, such as Family Pictures and Stories, for which she photographed her relatives and close friends; the legendary Kitchen Table Series, in which she posed in a domestic setting; and other critically acclaimed works and series such as Ain’t Jokin’, Colored People, From Here I Saw What Happened and I Cried, Not Manet’s Type, The Jefferson Suite, Monuments, Roaming, Museums, Constructing History (A Class Ponders the Future), Slow Fade to Black and the Obama Project, among many others. Contextualizing these pieces are essays by LaCharles Ward and Fred Moten and a chronology by Raul Muñoz. The book also includes a visual essay by Weems that presents a personal selection of her own works from the artist's perspective. The accompanying exhibition is organized by Fundación MAPFRE in collaboration with Fundación Foto Colectania, Barcelona and Württembergischer Kunstverein, Stuttgart, where the exhibition Carrie Mae Weems. The Evidence Of Things Not Seen took place from April 2 through July 10, 2022. Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

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A forensic conceptualist's inventory of the ordinary and extraordinary lives in a Venetian hotel In 1981 Sophie Calle took a job as a chambermaid for the Hotel C in Venice, Italy. Stashing her camera and tape recorder in her mop bucket, she not only cleans and tidies, but sorts through the evidence of the hotel guests' lives. Assigned 12 rooms on the fourth floor, she surveys the state of the guests' bedding, their books, newspapers and postcards, perfumes and cologne, traveling clothes and costumes for Carnival. She methodically photographs the contents of closets and suitcases, examining the detritus in the rubbish bin and the toiletries arranged on the washbasin. She discovers their birth dates and blood types, diary entries, letters from and photographs of lovers and family. She eavesdrops on arguments and love-making. She retrieves a pair of shoes from the wastebasket and takes two chocolates from a neglected box of sweets, while leaving behind stashes of money, pills and jewelry. Her thievery is the eye of the camera, observing the details that were not meant for her, or us, to see. The Hotel now manifests as a book for the first time in English (it was previously included in the book Double Game). Collaborating with the artist on a new design that features enhanced and larger photographs, and pays specific attention to the beauty of the book as an object, Siglio is releasing its third book authored by Calle, after The Address Book (2012) and Suite Vénitienne (2015). Sophie Calle (born 1953) is an internationally renowned artist whose controversial works often fuse conceptual art and Oulipo-like constraints, investigatory methods and the plundering of autobiography. The Whitechapel Gallery in London organized a retrospective in 2009, and her work has been shown at the Museum of Modern Art and the Whitney Museum of American Art, New York; the Carnegie Museum of Art, Pittsburgh; the Museum of Fine Arts, Boston; the Hayward Gallery and Serpentine, London; and the Museum of Contemporary Art, Chicago, among others. She lives and works in Paris.

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'"As Paul Moorhouse shows in this thorough and sensitive first biography, which concentrates on [Riley's] early years up to the age of thirty-four, it was only after many false starts, bracing shocks and firm decisions that Riley found her way as an abstract painter in the early 1960s with her eye-dazzling lines, squares, curves ... in ultra-hard-edged black-and-white". –Times Literary Supplement "In “Bridget Riley: A Very Very Person – The Early Years,” Paul Moorhouse ... homes in on the period between the artist’s childhood and her earliest success, and makes a surprising but compelling case for the influence of landscape on Ms Riley’s distinctive style." –Wall Street Journal "An entertaining and informative text that adds greatly to our understanding of a very prominent and still highly intriguing British artist." –Hyperallergic In January 1965 the international art world converged on New York to pay homage to a brilliant new star. The glittering opening of The Responsive Eye, a major exhibition of abstract painting at the Museum of Modern Art, signalled the latest phenomenon, op art – and its centre of attention was a young painter named Bridget Riley, whose dazzling painting Current appeared on the cover of the catalogue. Riley’s first solo show in New York sold out, and, following a feature in Vogue magazine, the Riley 'look' became a fashion craze. Overnight, she had become a sensation, yet only three years earlier, she was a virtual unknown. How did success arrive so suddenly? Authored by the acclaimed curator and writer Paul Moorhouse, A Very Very Person is the first biography of Bridget Riley and addresses that tantalising question. Focusing on her early years, it tells the story of a remarkable woman whose art and life were entwined in surprising ways. This intimate narrative explores Riley’s wartime childhood spent in the idyllic Cornish countryside, her subsequent struggles to find her way as an artist, and the personal challenges she faced before finally arriving as one of the world’s most celebrated artists in Swinging Sixties London.

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In this beautifully executed, concertina-fold book, Allen Jones RA explores the human form and how painting on a figure is a vastly different process, and has vastly different results, to painting from a figure. The first half of the book features detail photography of the artist’s sculpture series Waiting on Table. The second half concertinas out to reveal the front and back of one of Jones’s most prominent sculptures, A Muse, which can also be displayed as a wall hanging. For many years as a student, Jones had to draw from casts of Greek and Roman sculptures. Over time he developed a reverence for their idealised bodies, heightened by the tactile purity of the white marble. It seemed sacrilegious to him, therefore, to discover later that the marble was often painted over with colour. For many years as a student, Jones had to draw from casts of Greek and Roman sculptures. Over time he developed a reverence for their idealised bodies, heightened by the tactile purity of the white marble. It seemed sacrilegious to him, therefore, to discover later that the marble was often painted over with colour. “Painting on a figure is quite different from painting the figure” is an observation that Jones has grown to embrace, and one that has greatly informed his practice. Like the Romans, Jones has discovered that colour matters. Jones was elected a Royal Academician in 1986. He is one of Britain’s most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam.Colour Matters is one of a collection of four artist’s books by Allen Jones that Black Dog Press is releasing in September 2022.

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150 works – mostly unpublished before – signed by the Moroccan contemporary artist Fouad Bellamine in a rich, complete monograph. Moroccan contemporary artist, Fouad Bellamine, was born in Fez in 1950 and was raised amidst varied artistic and creative influences in the Medina of his home town. Bellamine came from a family of skilled craftsmen, and he learned many of his painting techniques from his father who was a talented artist. Pursuing his passion for art, from 1967 Fouad Bellamine studied at the School of Applied Arts in Casablanca, going on to the University of Paris where he completed a masters degree in the history and theory of art. He later became a professor of history and art at the University of Rabat. His first exhibition in 1972 in Rabat featured a selection of his abstract landscapes, which were well received by critics. Throughout the 1970s Bellamine explored the use of different materials in art and it is during this experimental period that he developed his unique style of minimalism with bold single-colour brush strokes which is still evident in his current work. He has been exhibiting extensively throughout Morocco, France, Belgium and the U.K. as well as worldwide such as in Spain, Portugal, Finland, the Middle East and Egypt, Senegal, California, Tunis. In 1987, he participated to the Biennale of São Paulo in Brazil. Since he had returned to Morocco in 1989, Bellamine contributed actively to the promotion of contemporary art in his country. In 1997, he initiated the creation of a permanent collection of contemporary art in the Children’s Hospital of Rabat, first experience of its kind in Morocco. His works have been acquired by several public and corporate collections such as Moroccan institutions as well as the Museum of the Arab World Institution (IMA), the National Fund for Contemporary Art (FNAC), the Museum of Modern Art, the Museum of Africa and Oceania all of them in Paris, the Kinda Foundation. He lives and works in Rabat.

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Take an expansive and provocative tour of architectural theory and practice, exploring everything from basic concepts to speculative design and subversive interventions.Universal Principles of Architecture illustrates in 100 concepts the importance, possibilities, challenges, and roles that architecture plays in shaping the world. This radical and perhaps surprising survey is divided into five sections:Archetypes, Methods, Conditions, Relationships, and Imaginaries. And, each of the five sections in the book introduces in 20 principles architecture at different scales and stages of the design process. Through an inclusive and holistic approach, the book refers to initial design ideas, creative design approaches, reflections on the effects of the built and destroyed environments, and architectural desires and aspirations to transform the world and engage with the cosmos. Because architecture is the converging point where many fields of knowledge, ideas, forms, approaches, methods, sensibilities, and materials meet, the book provides a flexible and dynamic space where the material, conceptual, and social take shape. Written, illustrated, and designed by critically acclaimed architects, educators, and authors Cruz Garcia and Nathalie Frankowski of WAI Architecture Think Tank, Universal Principles of Architecture combines accessible writing with otherworldly images like the ones they have displayed in exhibitions at the Centre Pompidou Metz, Museum of Modern Art New York, Neues Museum Nuremberg, and Museum of Art, Architecture, and Technology Lisbon. The principles include: Figurative Archetypes Parasitic Architecture Diagramming Modelling Three-Dimensional Printing Carbon Neutral Biomimicry Inclusive Design Participatory Design AI Cities Queer Cartographies Intergalactic Architecture Intended as an intergenerational and transdisciplinary reference volume, the book presents an ambitious overview of what architecture has been and can be in a world full of urgent challenges and abundant opportunities for social and ecological responsibility, and design creativity. This book will challenge your preconceived notions of what architecture is and how it can be used. The titles in the Rockport Universal series offer comprehensive and authoritative information and edifying and inspiring visual examples on multidisciplinary subjects for designers, architects, engineers, students, and anyone who is interested in expanding and enriching their design knowledge.

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A visual and conceptual conversation between two leading US photo-artists famed for their mutual explorations of race, class and power Dawoud Bey and Carrie Mae Weems met in New York in the late 1970s, and over the next 45 years these close friends and colleagues have each produced unique and influential bodies of work around shared interests and concerns. This publication brings together over 140 photographs and video art from the 1970s through the 2010s by two of our most notable and influential photo-based artists. Since first meeting at the Studio Museum in Harlem five decades ago, Bey and Weems have maintained spirited and supportive mutual engagement while exploring and addressing similar themes: race, class, representation, and systems of power. Dawoud Bey & Carrie Mae Weems: In Dialogue brings their work together in five thematic groupings to shed light on their unique creative visions and trajectories, and their shared concerns and principles. Photographer Dawoud Bey (born 1953) had his first exhibition at the Studio Museum in Harlem in 1979. Since then, his work has been presented internationally to critical and popular acclaim. Recent large-scale exhibitions of his photographs have been presented at the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago and Tate Modern, London. Bey’s writings on his own and others’ work are included in Dawoud Bey: Seeing Deeply and Dawoud Bey on Photographing People and Communities. He is a professor of art and Distinguished College Artist at Columbia College Chicago. Famed for her Kitchen Table Series, among other works, Carrie Mae Weems (born 1953) explores power, class, Black identity, womanhood, and the historical past and its resonance in the present moment. In addition to photography, Weems creates video, performance and works of public art, and organizes thematic gatherings which bring together creative thinkers across a broad array of disciplines. Her work has been exhibited across the world, at venues such as the Frist Center for the Visual Arts, the Solomon R. Guggenheim Museum, the Centro Andaluz de Arte Contemporáneo and the American Academy in Rome.

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Important poems by the late New York poet published in The New American Poetry, Evergreen Review, Floating Bear and stranger places. Often this poet, strolling through the noisy splintered glare of a Manhattan noon, has paused at a sample Olivetti to type up thirty or forty lines of ruminations, or pondering more deeply has withdrawn to a darkened ware- or firehouse to limn his computed misunderstandings of the eternal questions of life, coexistence, and depth, while never forgetting to eat lunch, his favorite meal. "O'Hara speaks directly across the decades to our hopes and fears and especially our delights; his lines are as intimate as a telephone call. Few books of his era show less age." --Dwight Garner, New York Times "As collections go, none brings...quality to the fore more than the thirty-seven Lunch Poems, published in 1964 by City Lights." --Nicole Rudick, The Paris Review "What O'Hara is getting at is a sense of the evanescence, and the power, of great art, that inextricable contradiction -- that what makes it moving and transcendent is precisely our knowledge that it will pass away. This is the ethos at the center of "Lunch Poems": not the informal or the conversational for their own sake but rather in the service of something more intentional, more connective, more engaged." --David L. Ulin, Los Angeles TImes "The collection broadcasts snark, exuberance, lonely earnestness, and minute-by-minute autobiography to a wide, vague audience--much like today's Twitter and Facebook feeds." --Micah Mattix, The Atlantic Among the most significant post-war American poets, Frank O'Hara grew up in Grafton, MA, graduating from Harvard in 1950. After earning an MA at Michigan in 1951, O'Hara moved to New York, where he began working for the Museum of Modern Art and writing for Art News. By 1960, he was named Assistant Curator of Painting and Sculpture Exhibitions at MOMA. Along with John Ashbery, Kenneth Koch, James Schuyler, and Barbara Guest, he is considered an original member of the New York School. Though he died in a tragic accident in 1966, recent references to O'Hara on TV shows like Mad Men or Thurston Moore's new single evidence our culture's continuing fascination with this innovative poet.

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Bull City Summer: A Season At The Ballpark unites a group of artists and documentarians (Hiroshi Watanabe, Alec Soth, and Hank Willis Thomas) around the 2013 season of minor league baseball in Durham, North Carolina, evoking an atmosphere described by The New York Times as "lazing out on the porch of a summer's night and meditating to your favorite ball team." Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. His photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and São Paulo Biennials. Soth has been the recipient of numerous fellowships and awards, including the Guggenheim Fellowship (2013). In 2008, Soth started his own publishing company, Little Brown Mushroom. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, Fraenkel Gallery in San Francisco, and is a member of Magnum Photos. Hank Willis Thomas is a photo conceptual artist working primarily with themes related to identity, history and popular culture. He received a BFA in Photography and Africana studies from New York University and his MFA/MA in Photography and Visual Criticism from the California College of Arts. Thomas has exhibited throughout the U.S. and abroad, including the International Center of Photography, Galerie Michel Rein in Paris, Studio Museum in Harlem, Galerie Henrik Springmann in Berlin, and the Baltimore Museum of Art, among others. Thomas’ work is in numerous public collections including The Museum of Modern Art New York, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art, The Brooklyn Museum, The High Museum of Art and the National Gallery of Art in Washington DC. Hiroshi Watanabe Born in Sapporo, Hokkaido, Japan in 1951, Hiroshi Watanabe graduated from the Department of Photography of Nihon University in 1975. Watanabe moved to Los Angeles, where he worked as a production coordinator for Japanese television commercials and later co-founded a Japanese coordination services company. Watanabe obtained an MBA from the UCLA Anderson Business School in 1993. Two years later, however, his earlier interest in photography revived, and Watanabe started to travel worldwide, extensively photographing what he found intriguing at each moment and place. As of 2000, Watanabe has worked full-time at photography.

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Mary Mattingly is a visual artist. She founded Swale, an edible landscape on a barge in New York City. Docked at public piers but following waterways common laws, Swale circumnavigates New York's public land laws, allowing anyone to pick free fresh food. Swale instigated and co-created the "foodway" in Concrete Plant Park, the Bronx in 2017. The "foodway" is the first time New York City Parks is allowing people to publicly forage in over 100 years. It's currently considered a pilot project. Mattingly recently launched Public Water with More Art and completed a two-part sculpture “Pull” for the International Havana Biennial with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts, two spherical ecosystems that were pulled across Habana to Parque Central and the museum. In 2018 she received a commission from BRIC Arts Media to build "What Happens After" which involved dismantling a military vehicle (LMTV) that had been to Afghanistan and deconstructing its mineral supply chain. A group of artists including performance artists, veterans, and public space activists re-envisioned the vehicle for BRIC. In 2016 Mattingly led a similar project at the Museum of Modern Art. In 2014, an artist residency on the water called WetLand launched in Philadelphia and traveled to the Parrish Museum. It was employed by the University of Pennsylvania’s Environmental Humanities program until 2017. Mary Mattingly’s work has also been exhibited at Storm King, the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, and the Palais de Tokyo. Her work has been featured in Aperture Magazine, Art in America, Artforum, Art News, Sculpture Magazine, The New York Times, New York Magazine, Financial Times, Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street Journal, the Brooklyn Rail, and on BBC News, MSNBC, NPR, WNBC, and on Art21. Her work has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series titled “Nature” and edited by Jeffrey Kastner, Triple Canopy’s Speculations, the Future Is... published by Artbook, and Henry Sayre’s A World of Art, 8th edition, published by Pearson Education Inc.

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We commonly think of the psychedelic sixties as an explosion of creative energy and freedom that arose in direct revolt against the social restraint and authoritarian hierarchy of the early Cold War years. Yet, as Fred Turner reveals in The Democratic Surround, the decades that brought us the Korean War and communist witch hunts also witnessed an extraordinary turn toward explicitly democratic, open, and inclusive ideas of communication and with them new, flexible models of social order. Surprisingly, he shows that it was this turn that brought us the revolutionary multimedia and wild-eyed individualism of the 1960s counterculture. In this prequel to his celebrated book From Counterculture to Cyberculture, Turner rewrites the history of postwar America, showing how in the 1940s and '50s American liberalism offered a far more radical social vision than we now remember. Turner tracks the influential mid-century entwining of Bauhaus aesthetics with American social science and psychology. From the Museum of Modern Art in New York to the New Bauhaus in Chicago and Black Mountain College in North Carolina, Turner shows how some of the most well-known artists and intellectuals of the forties developed new models of media, new theories of interpersonal and international collaboration, and new visions of an open, tolerant, and democratic self in direct contrast to the repression and conformity associated with the fascist and communist movements. He then shows how their work shaped some of the most significant media events of the Cold War, including Edward Steichen's Family of Man exhibition, the multimedia performances of John Cage, and, ultimately, the psychedelic Be-Ins of the sixties. Turner demonstrates that by the end of the 1950s this vision of the democratic self and the media built to promote it would actually become part of the mainstream, even shaping American propaganda efforts in Europe. Overturning common misconceptions of these transformational years, The Democratic Surround shows just how much the artistic and social radicalism of the sixties owed to the liberal ideals of Cold War America, a democratic vision that still underlies our hopes for digital media today.

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