Search results for ""Metropolitan Museum of Art New York""
Aperture Diane Arbus: Revelations
To ensure the ongoing availability of Diane Arbus Revelations, Aperture is proud to release this vitally important volume on the fiftieth anniversary of the posthumous 1972 Arbus retrospective at the Museum of Modern Art and the simultaneous publication of Diane Arbus: An Aperture Monograph. Revelations explores the origins, scope, and aspirations of Arbus's wholly original voice. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career. It also includes a new contribution by Sarah Meister, executive director of Aperture, alongside essays by Sandra S. Phillips, senior curator of photography, emeritus, at the San Francisco Museum of Modern Art, and a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. An extensive chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, is illustrated by more than three hundred additional images and composed primarily of excerpts from the artist’s letters, notebooks, and other writings, amounting to a kind of autobiography. An afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues, compiled by Jeff L. Rosenheim, curator in charge of the Department of Photographs at the Metropolitan Museum of Art, New York. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.
£58.50
David Kordansky Gallery Jonas Wood: Plants and Animals
Sumptuous and colorful new portraits, still lifes, landscapes and interior scenes from the beloved LA painter This volume provides a concise, comprehensive and intimate look at Jonas Wood’s 2022 solo exhibition at David Kordansky Gallery in Los Angeles. With illuminating texts by Wood that incorporate process notes, references and thoughts about his practice and artmaking in general, this richly illustrated monograph shows how he plans and executes his celebrated paintings from his own point of view. Jonas Wood: Plants and Animals features large full-color plates of the 14 paintings in the exhibition plus installation views and dozens of contextualizing images. These include drawings, collages, prints, photographs, previous paintings, research materials and studio shots; many are never-before-seen selections from Wood’s personal archive. Plants and Animals is a vivid and entertaining immersion in the world of an artist whose evocations of daily life, memories and invented scenes are both familiar and surprising, and whose paintings contain innumerable visual worlds of their own. Jonas Wood was born in Boston in 1977. He has been the subject of solo and two-person exhibitions at the Dallas Museum of Art (2019); Museum Voorlinden, Wassenaar, the Netherlands (with Shio Kusaka, 2017); Lever House, New York (2014); and Hammer Museum, Los Angeles (2010). His work is in the permanent collections of many institutions including the Hirshhorn Museum and Sculpture Garden, Washington, DC; Hammer Museum, Los Angeles; Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; Guggenheim Museum, New York; The Broad, Los Angeles; Museum of Modern Art, New York; and Whitney Museum of American Art, New York.
£52.00
Royal Society of Chemistry Science and Art: The Painted Surface
Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. For example, high resolution multispectral examination of paintings allows art historians to view underdrawings barely visible before, while the use of non-invasive and micro-sampling analytical techniques allow scientists to identify pigments and binders that help art conservators in their work. It also allows curators to understand more about how the artwork was originally painted. Through a series of case studies written by scientists together with art historians, archaeologists and conservators, Science and Art: The Painted Surface demonstrates how the cooperation between science and humanities can lead to an increased understanding of the history of art and to better techniques in conservation. The examples used in the book cover paintings from ancient history, Renaissance, modern, and contemporary art, belonging to the artistic expressions of world regions from the Far East to America and Europe. Topics covered include the study of polychrome surfaces from pre-Columbian and medieval manuscripts, the revelation of hidden images below the surface of Van Gogh paintings and conservation of acrylic paints in contemporary art. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art. The book features contributions from leading institutions across the globe including the Metropolitan Museum of Art, New York; Art Institute of Chicago; Getty Conservation Institute; Opificio delle Pietre Dure, Firenze; National Gallery of London; Tate Britain; Warsaw Academy of Fine Art and the National Gallery of Denmark as well as a chapter covering the Thangka paintings by Nobel Prize winner Richard Ernst.
£49.99
Hatje Cantz Donatien Grau: Living Museums: Conversations with Leading Museum Directors
Between a Temple of Art and a Big EventAs places to enjoy art, as well as institutions that have become historic, museums can also be examined through the question of who exactly heads up these temples of art. What kinds of personalities have guided the fates of these large, traditional institutions? How have they done so, and what has motivated them? What galvanizes international curators or museum employees, and how have they risen to the challenge of opening their organizations to increasingly large numbers of visitors? Donatien Grau has conducted impressive conversations with influential museum operators. We have him to thank for these personal, art historical, cultural-political, and timely insights into museum operations, the histories of various institutions, and their leaders’ very personal attitudes toward art. This volume reads like a detective story about the mediation efforts of museums and the personal motives behind them. Interviews with MICHEL LACLOTTE, Director of the Louvre, Paris, 1987–1995; SIR ALAN BOWNESS, Director of the Tate, London, 1980–1988; SIR TIMOTHY CLIFFORD, Director of the National Galleries of Scotland, Edinburgh, 1984–2006; PHILIPPE DE MONTEBELLO, Director of the Metropolitan Museum of Art, New York, 1977–2009; IRINA ANTONOVA, Director of the Pushkin Museum, Moscow, 1961–2013; PETER-KLAUS SCHUSTER, General Director of the Staatliche Museen zu Berlin, 1998–2008; SIR MARK JONES, Director of the Victoria & Albert Museum, London 2001–2011; TOM KRENS, Director of the Guggenheim Museum, New York, Venice, and Bilbao, 1988–2008; WILFRIED SEIPEL, General Director of the Kunsthistorisches Museum, Vienna, 1998–2008; HENRI LOYRETTE, Director of the Musée d’Orsay, Paris (1994–2001), and the Louvre, Paris (2001–2013). DONATIEN GRAU is a newspaper art critic, a museum curator, and a university teacher. His lively and clever voice has a firm place in the field of art.
£19.80
American University in Cairo Press Women in Ancient Egypt: Revisiting Power, Agency, and Autonomy
Cutting-edge research by twenty-four international scholars on female power, agency, health, and literacy in ancient EgyptThere has been considerable scholarship in the last fifty years on the role of ancient Egyptian women in society. With their ability to work outside the home, inherit and dispense of property, initiate divorce, testify in court, and serve in local government, Egyptian women exercised more legal rights and economic independence than their counterparts throughout antiquity. Yet, their agency and autonomy are often downplayed, undermined, or outright ignored. In Women in Ancient Egypt twenty-four international scholars offer a corrective to this view by presenting the latest cutting-edge research on women and gender in ancient Egypt.Covering the entirety of Egyptian history, from earliest times to Late Antiquity, this volume commences with a thorough study of the earliest written evidence of Egyptian women, both royal and non-royal, before moving on to chapters that deal with various aspects of Egyptian queens, followed by studies on the legal status and economic roles of non-royal women and, finally, on women’s health and body adornment. Within this sweeping chronological range, each study is intensely focused on the evidence recovered from a particular site or a specific time-period. Rather than following a strictly chronological arrangement, the thematic organization of chapters enables readers to discern diachronic patterns of continuity and change within each group of women.· Clémentine Audouit, Paul Valery University, Montpellier, France· Anne Austin, University of Missouri, St. Louis, Missouri, USA· Mariam F. Ayad, The American University in Cairo, Cairo, Egypt· Romane Betbeze, Université de Genève, Switzerland, and Ecole Pratique des Hautes Etudes, PSL, France· Anke Ilona Blöbaum, Saxon Academy of Sciences and Humanities in Leipzig, Leipzig, Germany· Eva-Maria Engel, Humboldt-Universität zu Berlin, Berlin, Germany· Renate Fellinger, University of Cambridge, Cambridge, UK· Kathrin Gabler, University of Basel, Basel, Switzerland· Rahel Glanzmann, independent scholar, Basel, Switzerland. · Izold Guegan, Swansea University, UK, and Sorbonne University, Paris, France· Fayza Haikal, The American University in Cairo, Cairo, Egypt· Janet H. Johnson, Oriental Institute, University of Chicago, Chicago, Il, USA· Katarzyna Kapiec, Institute of the Mediterranean and Oriental Cultures of the Polish Academy of Sciences, Warsaw, Poland· Susan Anne Kelly, Macquarie University Sydney, Sydney, Australia· AnneMarie Luijendijk, Princeton University, Princeton, New Jersey, USA· Suzanne Onstine, University of Memphis, Memphis, Tennessee, USA· José Ramón Pérez-Accino Picatoste, Facultad de Geografía e Historia, Universidad Complutense de Madrid, Madrid, Spain· Tara Sewell-Lasater, University of Houston, Houston, Texas, USA· Yasmin El Shazly, American Research Center in Egypt, Cairo, Egypt· Reinert Skumsnes, Centre for Gender Research, University of Oslo, Oslo, Norway· Isabel Stünkel, The Metropolitan Museum of Art, New York, New York, USA· Inmaculada Vivas Sainz, National Distance Education University), Madrid, Spain· Hana Vymazalová, Czech Institute of Egyptology, Faculty of Arts, Charles University, Prague, Czeck Republic· Jacquelyn Williamson, George Mason University, Fairfax, Viriginia, USA· Annik Wüthrich, Austrian Academy of Sciences, Austrian Archaeological Institute, Vienna, Austria
£85.00
Anomie Publishing Ian Mckeever – Henge Paintings
With a career spanning more than five decades, Ian McKeever is one of Britain’s most senior artists working on the international stage. This publication documents the Henge paintings – a series started in 2017 and completed over the course of five years, inspired by prehistoric standing stones in the county of Wiltshire, England, and continuing the artist’s long-standing investigation into the languages and possibilities of abstract painting.Comprising thirty paintings along with numerous works on paper, the genesis of the series was a visit by McKeever to the world-famous neolithic site in the village of Avebury in 2016, where he took black and white photographs of the large stones that form three discrete circles: two smaller ones contained within the largest. Erected some 4500 years ago, Avebury is the largest stone circle in Britain, and forms part of what English Heritage asserts to be ‘a set of neolithic and Bronze Age ceremonial sites that seemingly formed a vast sacred landscape.’Art historian and curator Paul Moorhouse, in his essay commissioned for the publication, describes how McKeever ‘framed each megalith in close-up, their edges visible at the extremity of the resulting images,’ explaining how ‘the experience of moving around Avebury and responding to the huge stones’ monumental presence made an abiding impression that resonated with deep-seated preoccupations.’ McKeever’s resulting body of work is an earnest and considered exploration into how paint can convey universal forces and properties such as mass, gravity and time, and how colour, texture and abstraction can converse with three-dimensional space, form and materiality.The relationship between painting and sculpture in McKeever’s work is discussed by means of an in-conversation between the artist and Dr Jon Wood. ‘My interest in alluding to early megalithic sites in titling the group of paintings Henge paintings,’ says McKeever, ‘was in touching that deeper sense of time, time’s weight, so to speak. How to imbue a painting with its own weight of time, forsake the immediacy of the here and now.’Designed and produced by Tim Harvey, the publication has been printed by Narayana Press in Odder, Denmark. It is published by Anomie, London, with support from Galleri Susanne Ottesen, Copenhagen, and Heather Gaudio Fine Art, New Canaan, Connecticut. The publication accompanies exhibitions of selected works from the Henge paintings at both galleries in 2022.Ian McKeever was born 1946, Withernsea, Yorkshire, UK. He lives and works in Hartgrove, Dorset. McKeever has received numerous awards including the prestigious DAAD scholarship in Berlin 1989/90 and was elected a Royal Academician in 2003. He has held several teaching positions including Guest Professor at the Städel Akademie der Kunst in Frankfurt, Senior Lecturer, Slade, University of London and Visiting Professor at the University of Brighton. He has also published many texts on painting.Recent public solo exhibitions include Ian McKeever / Tony Cragg – Painting and Sculpture, Skulpturenpark Waldfrieden, Wuppertal, Germany (2020); Paintings 1992–2018, Ferens Art Gallery, Hull, UK (2018); Hours of Darkness, Hours of Light, Kunstmuseet i Tønder, Denmark (2015); Between Darkness and Light, National Gallery of the Faroe Islands, Tórshavn, Faroe Islands (2015); Hours of Darkness, Hours of Light, Kunst-Station Sankt Peter Köln, Cologne, Germany (2014); and Hartgrove. Malerei und Fotografie, Josef Albers Museum, Bottrop, Germany (2012). McKeever’s work is represented in leading international public collections, including Tate, British Museum, Royal Academy of Arts, London; Museum Moderner Kunst (mumok), Vienna; Museum of Fine Arts, Budapest; Louisiana Museum of Modern Art, Humlebæk; Glyptotek, Copenhagen; Museum of Contemporary Art, Helsinki; Brooklyn Museum of Art, New York; Metropolitan Museum of Art, New York; Boston Museum of Fine Art and Yale Center for British Art, Connecticut.
£22.50