Set amid the most turbulent social and political period of modern times, Ninth Street Women is the impassioned, wild, sometimes tragic, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting -- not as muses but as artists. From their cold-water lofts, where they worked, drank, fought, and loved, these pioneers burst open the door to the art world for themselves and countless others to come. Gutsy and indomitable, Lee Krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock. Elaine de Kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax. Grace Hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Joan Mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. And Helen Frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Her gamble paid off: At twenty-three she created a work so original it launched a new school of painting. These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. In Ninth Street Women, acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future.

    Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice--one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism.Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint: Paintings for the Future represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Essays explore the social, intellectual and artistic context of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars and curators considers af Klint's sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art--a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the exhibition.

    Many consider her the first trained artist to create abstract paintings. With Hilma af Klint: Notes and Methods, we get to experience the arc of af Klint’s artistic investigation in her own words. Hilma af Klint studied at the Royal Swedish Academy in Stockholm where she was part of the first generation of female students.  Up until the beginning of the century, she painted mainly landscapes and detailed botanical studies. Her work from this period was that of a young artist of her time who meticulously observed the world around her. But, like many of her contemporaries, af Klint was also interested in the invisible relationships that shape our world, believing strongly in a spiritual dimension. She joined the Theosophical Society, and, with four fellow female members who together called themselves “The Five,” began to study mediumship.  Between 1906 and 1915, purportedly guided by a higher power, af Klint created 193 individual works that, in both scale and scope of imagery, are like no other art created at that time.  Botanically inspired images and mystical symbols, diagrams, words, and geometric series, all form part of af Klint’s abstract language. These abstract techniques would not be seen again until years later.            Notes and Methods presents facsimile reproductions of a wide array of af Klint’s early notebooks accompanied by the first English translation of af Klint’s extensive writings. It contains the rarely seen “Blue Notebooks,” hand-painted and annotated catalogues af Klint created of her most famous series “Paintings for the Temple,” and a dictionary compiled by af Klint of the words and letters found in her work. An introduction by Iris Müller-Westermann illuminates this unique and important contribution to the legacy of Hilma af Klint.

    In 1980, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1968, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.Whitewalling: Art, Race, & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.

    R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley.Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.

    Despite the challenges of ill health and asylum life, Van Gogh continued to produce a series of masterpieces – cypresses, wheatfields, olive groves and sunsets during his time there. This fascinating and insightful work from Van Gogh specialist Martin Bailey examines his time there, from the struggles that sent him to the asylum, to the brilliant creative inspiration that he found during his time here. He wrote very little about the asylum in letters to his brother Theo, so this book sets out to give an impression of daily life behind the walls of the asylum of Saint-Paul-de-Mausole and looks at Van Gogh through fresh eyes, with newly discovered material. An essential insight into the mind of a flawed genius , Starry Night is indispensable for those who wish to understand the life of one of the most talented and brilliant artists to have put paintbrush to canvas.

    Unlock the hidden meanings and symbols behind each painting, with over 700 photographs to bring the pictures to life and help you understand the key features, composition and techniques that have made these paintings stand out. Plus, biographies of the artists provide the background to each art work, inspiring you to paint your own picture of the historical and social context behind each masterpiece.Updated for 2018, Great Paintings is a beautiful guide to the paintings, both familiar and new, that have changed the world- it really is like having a gallery of all the great paintings at your fingertips.Previous ISBN: 9781405363303

    During these centuries, the English language was used and written down for the first time, pagan populations were converted to Christianity, and the foundations of the kingdom of England were laid.This richly illustrated new book - which accompanies a landmark British Library exhibition - presents Anglo-Saxon England as the home of a highly sophisticated artistic and political culture, deeply connected with its continental neighbours. Leading specialists in early medieval history, literature and culture engage with the unique, original evidence from which we can piece together the story of the Anglo-Saxon kingdoms, examining outstanding and beautiful objects such as highlights from the Staffordshire hoard and the Sutton Hoo burial.At the heart of the book is the British Library's outstanding collection of Anglo-Saxon manuscripts, the richest source of evidence about Old English language and literature, including Beowulf and other poetry; the Lindisfarne Gospels, one of Britain's greatest artistic and religious treasures; the St Cuthbert Gospel, the earliest intact European book; and historical manuscripts such as Bede's Ecclesiastical History and the Anglo-Saxon Chronicle. These national treasures are discussed alongside other, internationally important literary and historical manuscripts held in major collections in Britain and Europe.This book, and the exhibition it accompanies, chart a fascinating and dynamic period in early medieval history, and will bring to life our understanding of these formative centuries.

    In Houston, they built the Menil Collection, the Rothko Chapel, the Byzantine Fresco Chapel, the Cy Twombly Gallery, and underwrote the Contemporary Arts Museum. Now, with unprecedented access to family archives, William Middleton has written a sweeping biography of this unique couple. From their ancestors in Normandy and Alsace, to their own early years in France, and their travels in South America before settling in Houston. We see them introduced to the artists in Europe and America whose works they would collect, and we see how, by the 1960s, their collection had grown to include 17,000 paintings, sculptures, drawings, photographs, rare books, and decorative objects. And here is, as well, a vivid behind-the-scenes look at the art world of the twentieth century and the enormous influence the de Menils wielded through what they collected and built and through the causes they believed in.

    Marking the 450th anniversary of his death and his first ever monographic exhibition at the Kunsthistorisches Museum in Vienna, this XXL monograph gathers all 40 paintings, 65 drawings, and 89 engravings—each piece a unique witness to both the religious mores and the close-knit folk culture of Bruegel’s time.

    From leaders and scientists to artists and writers, the fascinating stories of these women that time forgot are now celebrated, putting their achievements firmly back on the map.The Artists brings together the stories of 48* brilliant woman artists who made huge yet unacknowledged contributions to the history of art, including Camille Claudel, the extraordinarily talented sculptor who was always unfairly overshadowed by her lover, Rodin; Baroness Elsa von Freytag-Loringhoven, who has been claimed as the true originator of Marcel Duchamp's Fountain; and Ana Mendieta, the Cuban refugee who approached violence against women through her performance art before her own untimely death.With chapters ranging from Figurative to Photography, and Craft to Conceptual, this is an alternative guide to art history that demonstrates the broad range of artistic movements that included, and were often pioneered by, female artists who have been largely overlooked.*The number of Nobel-prize-winning women.

    a celebration of the history and enduring romance of Islamic gardens' Washington Post As seen on the highly acclaimed BBC2 series Monty Don's Paradise Gardens, a glorious celebration of the richness of Islamic culture through some of the most beautiful gardens on earth. In the Islamic tradition, a garden with its central elements of water, the scent of fruit trees, and places for rest and reflection, celebrate heaven on earth. Paradise gardens play a central role in everyday life in the Islamic world, yet little is known about them. Monty Don and acclaimed photographer, Derry Moore, set off on a journey to find out more about the principles and immersive delights of paradise gardens and how a very different culture and climate has influenced garden design round the world. Their journey covers twenty-nine gardens from the Real Alcazar and the Alhambra in Spain, and Le Jardin Majorelle in Morocco, to Highgrove and a Mughal garden in Bradford in England. There are some spectacular and rarely seen examples such as Pasargadae and the Maidan in Isfahan, Iran, the birthplace of paradise gardens, as well as the more renowned examples such as Turkey's Topkapi Palace and the Amber Palace and Taj Mahal in India. 'A garden, green and filled with water is heaven on earth - it is paradise.' Monty Don ALSO BY MONTY DON & DERRY MOORE JAPANESE GARDENS: A JOURNEY An exploration of the exquisite beauty and fascinating history of the most beautiful and famous gardens across Japan, from Kenrok-en to the Zen gardens of Tokyo. 'A fabulous, bonsai-filled book' Daily Mail

    Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza's work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, and make art—especially art students and faculty, artists, art critics, and curators.

    Porter and David C. Driskell Book Award for African American Art History, I Too Sing America offers a major survey on the visual art and material culture of the groundbreaking movement one hundred years after the Harlem Renaissance emerged as a creative force at the close of World War I.It illuminates multiple facets of the era--the lives of its people, the art, the literature, the music, and the social history--through paintings, prints, photography, sculpture, and contemporary documents and ephemera. The lushly illustrated chronicle includes work by cherished artists such as Romare Bearden, Allan Rohan Crite, Palmer Hayden, William Johnson, Jacob Lawrence, Archibald Motley, and James Van Der Zee.The project is the culmination of decades of reflection, research, and scholarship by Wil Haygood, acclaimed biographer and preeminent historian on Harlem and its cultural roots. In thematic chapters, the author captures the range and breadth of the Harlem Reniassance, a sweeping movement which saw an astonishing array of black writers and artists and musicians gather over a period of a few intense years, expanding far beyond its roots in Harlem to unleashing a myriad of talents upon the nation. The book is published in conjunction with a major exhibition at the Columbus Museum of Art.

    

    But who were the skilled craftsmen who made these exquisite books? What precisely is parchment? How were medieval manuscripts designed and executed? What were the inks and pigments, and how were they applied? Examining the work of scribes, illuminators, and bookbinders, this lavishly illustrated account tells the story of manuscript production from the early Middle Ages through to the high Renaissance. Each stage of production is described in detail, from the preparation of the parchment, pens, paints, and inks to the writing of the scripts and the final decoration of the manuscript. Christopher de Hamel’s engaging text is accompanied by a glossary of key technical terms relating to manuscripts and illumination, providing an invaluable introduction for anyone interested in studying medieval manuscripts today.

    This stunningly illustrated compendium traces the intertwined intellectual and artistic histories of comparative anatomy from antiquity to today.Stripped Bare brings together some of the most arresting images ever produced, from the earliest studies of animal form to the technicolor art of computer-generated anatomies. David Bainbridge draws on representative illustrations from different eras to discuss the philosophical, scientific, and artistic milieus from which they emerged. He vividly describes the unique aesthetics of each phase of anatomical endeavor, providing new insights into the exquisite anatomical drawings of Leonardo and Albrecht D�rer in the era before printing, Jean H�roard's cutting and cataloging of the horse during the age of Louis XIII, the exotic pictorial menageries of the Comte de Buffon in the eighteenth century, anatomical illustrations from Charles Darwin's voyages, the lavish symmetries of Ernst Haeckel's prints, and much, much more.Featuring a wealth of breathtaking color illustrations throughout, Stripped Bare is a panoramic tour of the intricacies of vertebrate life as well as an expansive history of the peculiar and beautiful ways humans have attempted to study and understand the natural world.

    Indeed, by the time of his death, it contained some 2,000 paintings and sculptures. Charles I: King and Collector explores the origins of the collection, the way it was assembled and what it came to represent. Authoritative essays provide a revealing historical context for the formation of the King's taste. They analyse key areas of the collection, such as the Italian Renaissance, and how the paintings that Charles collected influenced the contemporary artists he commissioned. Following Charles's execution, his collection was sold. This book, edited by the curators of a spectacular exhibition at the Royal Academy, reunites its most important works in sumptuous detail. Featuring paintings by such masters as Van Dyck, Rubens and Raphael, this striking publication offers a unique insight into this fabled collection.

    The first volume, a Sourcebook, was published in 2017 and focused on re-presenting key voices of the period by gathering a remarkable array of historical documents. Available in 2018, the second volume, New Perspectives, includes original essays and perspectives by Aruna D’Souza, Uri McMillan, Kellie Jones, and Lisa Jones that place the exhibition's works in both historical and contemporary contexts. New Perspectives also includes two new poems by Alice Walker. The book is generously illustrated with major objects from the exhibition, installation views, and other photographs. A checklist of the exhibition as well as an extensive bibliography complete the volume. Together with the Sourcebook, New Perspectives shares this important body of art by women of color, presents their voices, provides important commentary on that time and its unresolved issues, and offers extended documentation of the exhibition.We Wanted a Revolution will be on display at the California African American Museum in Los Angeles from October 13, 2017 through January 14, 2018; the Albright-Knox Art Gallery in Buffalo from February 17 through May 27, 2018; and The Institute of Contemporary Art/Boston from June 26 through September 30, 2018. Published by the Brooklyn Museum and distributed by Duke University Press

    Posing Modernity examines the legacy of Édouard Manet’s Olympia (1863), arguing that this radical painting marked a fitfully evolving shift toward modernist portrayals of the black figure as an active participant in everyday life rather than as an exotic “other.” Denise Murrell explores the little-known interfaces between the avant-gardists of nineteenth-century Paris and the post-abolition community of free black Parisians. She traces the impact of Manet’s reconsideration of the black model into the twentieth century and across the Atlantic, where Henri Matisse visited Harlem jazz clubs and later produced transformative portraits of black dancers as icons of modern beauty. These and other works by the artist are set in dialogue with the urbane “New Negro” portraiture style with which Harlem Renaissance artists including Charles Alston and Laura Wheeler Waring defied racial stereotypes. The book concludes with a look at how Manet’s and Matisse’s depictions influenced Romare Bearden and continue to reverberate in the work of such global contemporary artists as Faith Ringgold, Aimé Mpane, Maud Sulter, and Mickalene Thomas, who draw on art history to explore its multiple voices.   Featuring over 175 illustrations and profiles of several models, Posing Modernity illuminates long-obscured figures and proposes that a history of modernism cannot be complete until it examines the vital role of the black female muse within it.

    

    Now in a revised format, this radiant book brings you face-to-face with 167 of the most exquisite and important manuscripts of the medieval age.Presented in brilliant large-format reproductions, these paradigms of miniature painting and illumination from the 4th century to 1600 were once the property of some of the greatest power players in history. Now art-historical treasures, they are worth many millions and typically tucked away in private collections or closely guarded archives―until now.Although the focus of this collection is on European manuscripts, examples from Mexican, Persian, and Indian tradition illustrate the refinement and intricacy of manuscript illumination in non-European cultures. An informative synopsis for each manuscript orients the reader at a glance, while a 36-page appendix contains biographies of the artists, as well as an extensive bibliography, an index, and a glossary for technical terms.

    Working primarily in the traditional genres of portraiture and landscape, Wood infused his paintings with a palpable tension that is grounded in the profound epistemological and social upheavals of his time. Exploring Wood’s oeuvre from a variety of perspectives, this book presents the artist’s work in all of its subtle complexity and eschews the idea that Wood can be categorized simply as a Regionalist painter.   Generously illustrated, Grant Wood: American Gothic and Other Fables includes several works published here for the first time, as well as new photography of other paintings. The essays in the volume contextualize Wood’s work within a much larger art-historical framework than has previously been considered; renowned scholars address topics such as the artist’s literary influences, the role of gender identity in his paintings, and the parallels between Wood’s work and the contemporaneous European movements of Surrealism, Neue Sachlichkeit, Precisionism, Art Deco design, and the Arts and Crafts movement. Through a careful reconsideration of Wood’s career, creative process, technique, iconography, and critical reception, this book reveals for the first time the deep significance and cosmopolitan breadth of Wood’s artistic vision.

    

    A resident of both New Mexico and New York City, Martin has always remained an enigma due to her fiercely guarded private life. Henry Martin (no relation to the artist), a writer, editor and actor, having access to those who were close to Agnes Martin--friends, family, former lovers,— has given us a full portrait of this universally revered artist. Readers will learn of her bouts with mental illness, her several significant lesbian relationships, and her lifelong yearning for recognition despite her reclusive lifestyle and need for privacy. Arriving in the wake of major international retrospective exhibitions of her work from London's Tate Modern, LACMA in Los Angeles, and the Guggenheim in New York City, this book will provide a perspective of Agnes Martin that has not been seen in earlier, more academic works or fine-art monographs. Certain to be a mainstay for readers of the arts, and admirers of the creative spirit. This book will also include rare photographs from family and friends, some of which have never appeared in a book before.

     Throughout history, patterns have come in countless permutations of motif, color, and scale. From the first rhythmic marks pressed onto clay vessels, to the latest digital design, pattern-making has been an essential part of the decorative arts since time immemorial. With 1500 illustrations of patterns from all ages and cultures, The Complete Pattern Dictionary is not only a visual feast, it is the most comprehensive resource available on the subject. The book is arranged thematically according to pattern type, with chapters on Flora, Fauna, Pictorial, Geometric, and Abstract designs. Each pattern includes the name of the pattern, the year of its creation, and a brief description. The categories are supplemented by in-depth features highlighting the work of key designers including William Morris, Sonia Delaunay, Charles and Ray Eames, Lucienne Day, and Orla Kiely, as well as sections detailing the characteristic motifs of key period styles from Baroque to Art Deco.

    Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological, and spiritual potential of Conceptual art have had an incalculable influence on artists working today. Published in conjunction with the most comprehensive exhibition of her work to date, this catalogue presents more than 290 artworks that encompass the full range of Piper’s mediums: works on paper, video, multimedia installation, performance, painting, sound, and photo-texts. Essays by curators and scholars examine her extensive research into altered states of consciousness; the introduction of the Mythic Being—her subversive masculine alter-ego; her media and installation works from after 1980, which reveal and challenge stereotypes of race and gender; and the global conditions that illuminate the significance of her art. Previously unpublished texts by the artist lay out significant events in her personal history and her deeply felt ideas about the relationship between viewer and art object. This publication expands our understanding of the Conceptual and post-Conceptual art movements and Piper’s pivotal position among her peers and for later generations.

    Pocket Museum: Ancient Egypt answers these questions by examining a wide range of significant objects, beginning in around 4000 BCE from all spheres of Ancient Egyptian life. The compelling and informative text discusses some of the best- known masterpieces of Egyptian art—including the iconic mummy mask of Tutankhamun and the beautiful painted plaster bust of Nefertiti—and contextualizes them in relation to lesser-known works.Pocket Museum: Ancient Egypt provides a captivating overview of 5,000 years of civilization on the banks of the Nile, but it is also a fascinating history of collecting and methods of interpretation. How have the fashions of certain periods and collectors affected the ways in which Ancient Egypt is represented in museums and presented to the public, and what can these objects tell us about the people who made and commissioned them?

    As gallery goers soon discovered, this address did not exist--the street numbers went from 16 to 20 to 24 to 28--and neither did the art supposedly exhibited there. The ads were promoting fictional shows by fictional artists in a fictional gallery. The scheme, eventually exposed by a New York Times reporter, was concocted by the artist Terry Fugate-Wilcox as both work of art and critique of the art world. In this book, Christopher Howard brings this forgotten Conceptual art project back into view.Howard demonstrates that Fugate-Wilcox's project was an exceptionally clever embodiment of many important aspects of Conceptualism, incisively synthesizing the major aesthetic issues of its time--documentation and dematerialization, serialism and process, text and image, publishing and publicity. He puts the Jean Freeman Gallery in the context of other magazine-based work by Mel Bochner, Judy Chicago, Yoko Ono, and Ed Ruscha, and compares the fictional artists' projects with actual Earthworks by Walter De Maria, Peter Hutchinson, Dennis Oppenheim, and more. Despite the deadpan perfection of the Jean Freeman Gallery project, the art establishment marginalized its creator, and the project itself was virtually erased from art history. Howard corrects these omissions, drawing on deep archival research, personal interviews, and investigation of fine-printed clues to shed new light on a New York art world mystery.

    New scholarship based on documentary materials—including exhibition checklists, installation views, and artist-made ephemera—reconstructs the group’s six exhibitions, held between 1966 and 1969, and offers a reassessment of the Hairy Who’s idiosyncratic place within the cultural and political context of its time and place.   Insightful essays examine the distinctive features of the Hairy Who’s art and collaboration, explain how the group’s work diverges from contemporaneous movements such as Pop and Funk, and provide biographical information on the artists themselves. Contributions from acclaimed contemporary artists Richard Hull and Laura Owens reflect on the Hairy Who’s sources and influence, exploring how the group remains relevant in today’s art world in significant and unexpected ways.

    Thayer was a wealthy publisher, poet, and aesthete who led an intense public life that included the editorship of the prominent literary journal The Dial and friendships with literary luminaries such as e. e. cummings. In the 1920s, Thayer went on an art-buying spree in London, Paris, Berlin, and Vienna, acquiring approximately 600 works of art. Among these are particularly provocative drawings and watercolors by Klimt, Schiele, and Picasso, at a time when these works were little known or appreciated. This book showcases 52 of the rarely seen works—which have now taken their place as modernist erotic masterpieces—and presents them within the context of the collector’s remarkable life and tempestuous times.

    It engages with the numerous and complex connotations of the human body in more than 250 artworks by the greatest masters of the Renaissance. Paintings, sculptures, prints, drawings, illuminated manuscripts, and book illustrations reveal private, sometimes shocking, preoccupations as well as surprising public beliefs—the Age of Humanism from an entirely new perspective.This book presents works by Albrecht Dürer, Lucas Cranach, and Martin Schongauer in the north and Donatello, Raphael, and Giorgione in the south; it also introduces names that deserve to be known better. A publication this rich in scholarship could only be produced by a variety of expert scholars; the sixteen contributors are preeminent in their fields and wide-ranging in their knowledge and curiosity. The structure of the volume essays alternating with shorter texts on individual artworks—permits studies both broad and granular. From the religious to the magical and the poetic to the erotic, encompassing male and female, infancy, youth, and old age, The Renaissance Nude examines in a profound way what it is to be human.This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center October 30, 2018 to January 27, 2019, and at The Royal Academy of Arts, London, United Kingdom, February 26 to June 2, 2019.

    By questioning Thiebaud’s relationship to Pop art, his self-imposed distance from the movement, and the popular urge to affiliate him with it, Teagle explores the role of his painting in the traffic of images at the end of the twentieth century. Organized in close cooperation with the artist, this is the first study of the emergence of Thiebaud’s mature style and the only museum exhibition to date to delve into a specific period of his production, a time that coincides with the start of his teaching career at University of California at Davis.   Thiebaud’s art, like that of the celebrated Pop artists with whom he shared early exhibitions, is ripe for critical reappraisal. The “soft” nature of Thiebaud’s famous subjects, his creamy pies and dripping ice creams, positioned his art as fodder for social-political review on occasion, but rarely for serious historical analysis. Since the beginning of his career Thiebaud reminded critics of his formal interests and his deep affiliation with the history of painting. This exhibition takes as its starting point an understanding of Thiebaud’s painterly language—its historical sources and contemporary affiliations. Shaped around the seminal exhibitions that marked Thiebaud’s entrance onto the stage of contemporary art, it concludes with a close reading of the artists’ expanded subject matter presented in a major traveling exhibition in 1968. Portraits and landscapes now joined the food that prevailed in early exhibitions, and all pictured in the artist’s now signature style of objects deployed in neutral space, bounded by halated light and casting long shadows of saturated color.   With contributions by Margaretta Lovell, Alexander Nemerov, Francesca Wilmott, and Arielle Hardy.   Published in association with the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis.   Exhibition dates: Manetti Shrem Museum of Art, University of California, Davis: January 16–May 13, 2018

    Exploring material objects from the European, Byzantine and Islamic worlds, the book casts a new light on the cultures that formed them, each culture illuminated by its treasures. The objects are divided among four topics: The Holy and the Faithful; The Sinful and the Spectral; Daily Life and Its Fictions, and Death and Its Aftermath. Each section is organized chronologically, and every object is accompanied by a penetrating essay that focuses on its visual and cultural significance within the wider context in which the object was made and used. Spot maps add yet another way to visualize and consider the significance of the objects and the history that they reveal. Lavishly illustrated, this is an appealing and original guide to the cultural history of the Middle Ages.

    In your experience, is this process changing? How should it proceed? How can an institution address the dichotomy between art as cultural entertainment and art as political inquiry? What is the role of the curator in mediating this? How does this compare to the artist’s role? How can art institutions be better?

    As a novelist, he won the Booker prize in 1972, donating half his prize money to the Black Panthers. As a TV presenter, he changed the way we looked at art with Ways of Seeing. As a storyteller and political activist, he defended the rights and dignity of workers, migrants, and the oppressed around the world. “Far from dragging politics into art,” he wrote in 1953, “art has dragged me into politics.” He remained a revolutionary up to his death in January 2017.Built around a series of watersheds, at once personal and historical, A Writer of Our Time traces Berger’s development from his roots as a postwar art student and polemicist in the Cold War battles of 1950s London, through the heady days of the 1960s—when the revolutions were not only political but sexual and artistic—to Berger’s reinvention as a rural storyteller and the long hangover that followed the rise and fall of the New Left.Drawing on first-hand, unpublished interviews and archival sources only recently made available, Joshua Sperling digs beneath the moments of controversy to reveal a figure of remarkable complexity and resilience. The portrait that emerges is of a cultural innovator as celebrated as he was often misunderstood, and a writer increasingly driven as much by what he loved as by what he opposed. A Writer of Our Time brings the many faces of John Berger together, repatriating one of our great minds to the intellectual dramas of his and our time.

    Her achievement sparked critical discussion around contemporary art as well as the absence, and growing presence, of Inuit art: an important conversation that continues to this day.The life and death of Annie Pootoogook is a story of national significance. The complex narratives weaving through her short life speak to possibility and heartbreak, truth and reconciliation, the richness of community, and the depths of tragedy. These complexities are recorded in her arresting pencil crayon compositions. Her frank, sometimes challenging, sometimes amusing images of everyday life, acutely observed and marked by a linear control as taut as a wire, declare her as a major contributor to the landscape of contemporary Inuit art.Annie Pootoogook: Cutting Ice accompanies an exhibition organized by the McMichael Canadian Art Collection, the gallery of record for works on paper from Annie Pootoogook's Inuit community of Kinngait (Cape Dorset). Under the direction of Nancy Campbell, this publication and the exhibition serve to commemorate the life and work of a remarkable artist a year after her tragically early death.

    Lange's career stretched far beyond the Great Depression, driven throughout by her compassionate advocacy for the people and land of California. This riveting book opens with Lange's Bay Area portraits of the 1920s and '30s when her photo studio formed a hub for San Francisco's bohemian and artistic elite. It offers a generous overview of her work with the Farm Security Administration, where Lange was the only female photographer documenting the impact of the Depression and Dust Bowl on the west coast, working alongside the likes of Walker Evans, as well as her pictures of Japanese Americans forcibly displaced into internment camps following Pearl Harbor. It also includes images from her wartime shipyards series with Ansel Adams, postwar projects on the injustices of the American court system, loss of a community through the damming of the Putah Creek, and a photo series on Ireland. Accompanying these superbly reproduced images are thoughtful essays by curator Drew Johnson, critic Abigail Solomon-Godeau, and writer and curator David Campany, which offer appreciations of Lange's work as an artist and humanitarian, charting the legacy of her exceptional photographic oeuvre.

    Calatrava first made a name for himself in the late 1980s, with delicately designed structures in Zürich that seem to grow out of the earth. He went on to create a series of highly innovative, iconic bridges across Europe and, in recent years, has drawn attention for such large-scale projects as the City of Arts and Sciences in his birth town of Valencia, Spain, and the World Transportation Hub at Ground Zero in New York.Written in the first person and accompanied by a wealth of sketches never seen outside Calatrava’s studio, this book reveals the breadth of his influences, and how they have combined with his background in engineering and architecture to inspire his signature buildings. Moving beyond a documentation of Calatrava’s architectural output, this book offers a rare opportunity for readers to explore the creative process of one of the world’s great architects. In this heartfelt memoir of an architect of singular conviction, Calatrava’s inspirations, lessons, and achievements will touch every reader, whether aspiring architect or lover of art and nature.

    Today Berthe Morisot (1841-1895) is considered a major Impressionist artist, a recent development despite the respect received in her lifetime from peers Edgar Degas, �douard Manet, Claude Monet, and Pierre-Auguste Renoir. As the only female member of the Impressionist group at its founding in late 1873, Morisot played a major and multifaceted part in the movement, and her works were prized by pioneering dealers and collectors.Lush illustrations from throughout Morisot's career depict her daring experimentations and her embrace of modern subjects in the city and at the seaside: fashionable young women, and intimate, domestic interiors. Texts examine her in the context of her contemporaries, the critical reception of her work, the subjects and settings she chose, and the state of Morisot scholarship. Berthe Morisot, Woman Impressionist makes an important contribution to the field, with never-before-published letters, interdisciplinary scholarship, and a specific focus on Morisot's pioneering developments as a painter first, woman second.

    He used drawing to think, to explore the world around him and to develop his other artistic projects. His drawings are among the most diverse and technically accomplished in the entire history of art, and the Royal Collection holds by far the most important selection of these. In 2019, to mark the 500th anniversary of Leonardo’s death, a series of special exhibitions of his drawings will open simultaneously at 12 venues across the United Kingdom, including Belfast, Birmingham, Bristol, Cardiff, Glasgow, Leeds, Liverpool, Manchester, Sheffield, Southampton and Sunderland, with a further venue to be announced. This publication includes all 200 of the drawings shown across these venues and provides an authoritative account of Leonardo’s works within the Royal Collection.

    Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Védrès's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.

    Melissa McCormick provides a unique companion to Murasaki's tale that combines discussions of all fifty-four of its chapters with paintings and calligraphy from the Genji Album (1510) in the Harvard Art Museums, the oldest dated set of Genji illustrations known to exist.In this book, the album's colorful painting and calligraphy leaves are fully reproduced for the first time, followed by McCormick's insightful essays that analyze the Genji story and the album's unique combinations of word and image. This stunning compendium also includes English translations and Japanese transcriptions of the album's calligraphy, enabling a holistic experience of the work for readers today. In an introduction to the volume, McCormick tells the fascinating stories of the individuals who created the Genji Album in the sixteenth century, from the famous court painter who executed the paintings and the aristocrats who brushed the calligraphy to the work's warrior patrons and the poet-scholars who acted as their intermediaries.Beautifully illustrated, this book serves as an invaluable guide for readers interested in The Tale of Genji, Japanese literature, and the captivating visual world of Japan's most celebrated work of fiction.

    Kemp explains his thinking on the Last Supper and the Mona Lisa, retells his part in the identification of the stolen Buccleuch Madonna, and explains his involvement on the two major Leonardo discoveries of the last 100 years: La Bella Principessa and Salvator Mundi. His engaging narrative elucidates the issues surrounding attribution,the scientific analyses that support experts’ interpretations, and the continuing importance of connoisseurship.Illustrated with the works being discussed, Living with Leonardo explores the artist’s genius from every angle, including technical analysis and the pop culture works he inspired, such as The Da Vinci Code, and his enduring influence 500 years after his death.

    The big beat, said Billy Graham, was “ever working in the world for evil.” Yet by the early 2000s Christian rock had become a billion-dollar industry. The Devil’s Music tells the story of this transformation.Rock’s origins lie in part with the energetic Southern Pentecostal churches where Elvis, Little Richard, James Brown, and other pioneers of the genre worshipped as children. Randall J. Stephens shows that the music, styles, and ideas of tongue-speaking churches powerfully influenced these early performers. As rock ’n’ roll’s popularity grew, white preachers tried to distance their flock from this “blasphemous jungle music,” with little success. By the 1960s, Christian leaders feared the Beatles really were more popular than Jesus, as John Lennon claimed.Stephens argues that in the early days of rock ’n’ roll, faith served as a vehicle for whites’ racial fears. A decade later, evangelical Christians were at odds with the counterculture and the antiwar movement. By associating the music of blacks and hippies with godlessness, believers used their faith to justify racism and conservative politics. But in a reversal of strategy in the early 1970s, the same evangelicals embraced Christian rock as a way to express Jesus’s message within their own religious community and project it into a secular world. In Stephens’s compelling narrative, the result was a powerful fusion of conservatism and popular culture whose effects are still felt today.

    Larry Broutman has been researching Chicago's cemeteries and recording them with his beautiful photography for the past five years. In the pages of Chicago Eternal, he takes readers on a spectacular tour of death's domain, which is, in another sense, a celebration of the fullness and flourishing of life.

    1400–1570). She explains how artists and patrons from the regions north of the Alps – the Low Countries, France, England, Germany – responded to an era of rapid political, social, economic, and religious change, while redefining the status of art. Porras discusses not only paintings by artists from Jan van Eyck to Pieter Bruegel the Elder, but also sculpture, architecture, prints, metalwork, embroidery, tapestry, and armor. Each chapter presents works from a roughly 20-year period and also focuses on a broad thematic issue, such as the flourishing of the print industry or the mobility of Northern artists and artworks. The author traces the influence of aristocratic courts as centers of artistic production and the rise of an urban merchant class, leading to the creation of new consumers and new art products.This book offers a richly illustrated narrative that allows readers to understand the progression, variety, and key conceptual developments of Northern Renaissance art.

    galleries are female, but over two-thirds of students enrolled in art and art-history programs are young women.Arranged in thematic sections focusing on feminism, race, and sexuality, Curatorial Activism examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Linda Nochlin’s “Women Artists” at LACMA in the mid-1970s to Jean-Hubert Martin’s “Carambolages” in 2016 at the Grand Palais in Paris. Profiles key exhibitions by pioneering curators including Okwui Enwezor, Linda Nochlin, Jean-Hubert Martin and Nan Goldin, with a foreword by Lucy Lippard, internationally known art critic, activist and curator, and early champion of feminist art, this volume is both an invaluable source of practical information for those who understand that institutions must be a driving force in this area and a vital source of inspiration for today’s expanding new generation of curators.

    Buildings fulfilled various roles in Monet’s canvases; some are chiefly compositional devices while others throw into sharp contrast the forms of man-made construction against the irregularity of nature, or suggest the absent presence of humans. The theme was both central and consistent over five decades of his 60-year career.   Written by a renowned expert on Impressionism, this book covers Monet’s representations of historical buildings, inner cities, beach resorts, railway bridges and stations, suburban housing, and busy harbors—subjects spanning northern France, the Mediterranean, and the cities of Rouen, London, and Venice.  In addition to 75 great paintings by Monet, this thematic, picture-led book includes a wealth of comparative material, such as postcards, posters, original travel photography, and rarely seen aerial photography that sets Monet’s work firmly in its historical, cultural, and social framework.

    For centuries the range has inspired cultural pride and a vast outpouring of creative expression. Yet since the partition of Korea in the 1940s, situating them in the North, the Diamond Mountains have remained largely inaccessible to visitors, shrouding the site in legend, loss, and longing.   This book examines the visual representation of this remarkable landscape from the 18th century to the present day. It explores how Jeong Seon (1676–1759) revolutionized Korean painting with his Diamond Mountains landscapes, replacing conventional generic imagery with specific detail and indelibly influencing generations of artists in his wake. It also discusses the potency of these mountains as an emblem of Korean cultural identity, as reflected in literature and in exquisitely detailed album leaves, handscrolls, hanging scrolls, and screens. This magnificent volume is the first in English to survey this rich artistic tradition and bring these distant mountains into view.

    Yet, scale and scaled relationships are essential to the visual cultures of many societies from around the world, especially in the Andes. In Scale and the Incas, Andrew Hamilton presents a groundbreaking theoretical framework for analyzing scale, and then applies this approach to Inca art, architecture, and belief systems.The Incas were one of humanity's great civilizations, but their lack of a written language has prevented widespread appreciation of their sophisticated intellectual tradition. Expansive in scope, this book examines many famous works of Inca art including Machu Picchu and the Dumbarton Oaks tunic, more enigmatic artifacts like the Sayhuite Stone and Capacocha offerings, and a range of relatively unknown objects in diverse media including fiber, wood, feathers, stone, and metalwork. Ultimately, Hamilton demonstrates how the Incas used scale as an effective mode of expression in their vast multilingual and multiethnic empire.Lavishly illustrated with stunning color plates created by the author, the book's pages depict artifacts alongside scale markers and silhouettes of hands and bodies, allowing readers to gauge scale in multiple ways. The pioneering visual and theoretical arguments of Scale and the Incas not only rewrite understandings of Inca art, but also provide a benchmark for future studies of scale in art from other cultures.

    Every chapter includes rich and compelling discussions of pivotal art works, periods and geographies in art history, as well as new artists and art forms. Of course, the bold illustrations on the pages look almost as good as the real thing, especially when you use the unique Scale feature to imagine a work's stature from the artist's point of view. And to keep your course success in focus, the text offers Quick Review Captions and Big Picture Overviews, as well as an optional ebook that enables you to zoom in on fine details of paintings, sculptures, and priceless art forms of all kinds.

    The selection of texts—many of which appear here for the first time in English—includes manifestos, essays, transcripts of roundtable discussions, diary entries, exhibition guest-book comments, letters, and more. Traversing empires and nation-states, diasporas and speculative cultural and political federations, these documents bring light to the formation of a global modernism, through debates on originality, public space, spiritualism and art, postcolonial exhibition politics, and Arab nationalism, among many other topics. The collection is framed chronologically, and includes contextualizing commentaries to assist readers in navigating its broad geographic and historical scope. Interspersed throughout the volume are sixteen contemporary essays: writings by scholars on key terms and events as well as personal reflections by modern artists who were themselves active in the histories under consideration. A newly commissioned essay by historian and Arab-studies scholar Ussama Makdisi provides a historical overview of the region’s intertwined political and cultural developments during the twentieth century. Modern Art in the Arab World is an essential addition to the investigation of modernism and its global manifestations. Publication of the Museum of Modern Art Distributed by Duke University Press

    The results are considered masterpieces of early 20th-century illustration: bursting with sumptuous colors of deep blues, reds, and gold leaf, and evoking all the magic of this legendary collection of Indo-Persian and Arabic folktales, compiled between the 8th and 13th centuries. In the financially strapped postwar climate, however, publishers retreated from Nielsen's project and the publication never happened. A rising star, Nielsen moved on to other work, and the spectacular pen, ink, and watercolor images of this world heritage classic remained under lock and key for 40 years. Published just once in the 1970s, the illustrations were rescued from oblivion after Nielsen's death in 1957 and are now held by the UCLA Grunwald Center for the Graphic Arts at the Hammer Museum in Los Angeles, the Art Institute of Chicago, and in two private collections. Published for the first time ever in five colors including gold, this unique presentation of fine art prints revives all 21 strikingly beautiful illustrations reproduced directly from Nielsen's original watercolors- the only complete set of his beloved illustrations to have survived. Each illustration is presented individually in an extra-large format and on fine art paper, allowing Nielsen's graphic mastery and rich array of influences, from Art Nouveau to Japanese woodcuts to Indian painting, to dazzle. The set also includes a 144-page hardcover book also printed in five colors, featuring descriptions of all of the images, and three generously illustrated essays on the making of this series, the origin of Nielsen's unique imagery, and a history of the tales. In addition, the accompanying book features many unpublished or rarely seen artworks by Nielsen, as well as all 23 of the incredibly intricate black-and-;white drawings Nielsen also created for the original publication. This is a rare chance to own exceptional reproductions of this highly-influential artist's only surviving complete set of watercolors.Text in English, French, and German

    It accompanied an exhibition of the artist's work held at the Norton Museum of Art in West Palm Beach, FL January 28 - April 24, 2016. Contents include an introductory essay by exhibition curator Cheryl Brutvan, Taiye Selasi's "Bye-Bye, Babar (Or: What Is An Afropolitan?)", artist interview, artist's chronology, and select bibliography and exhibition history. With full color reproductions of all works in the exhibition.

    In a series of case studies spanning the globe from Asia to the Americas, it shows how the expansion of intercontinental trade and the proliferation of colonial ventures gave rise to new and diverse forms of visual and material culture. Among the examples discussed are ornate altarpieces in the cathedrals of colonial Latin America, Dutch still-life paintings of exotic luxury imports, English interior decoration in the Chinoiserie style and the architecture of plantation houses in North America and the Caribbean. Drawing on a wide range of recent scholarship, the book proposes a new history of European art 1600-1800, which should appeal to undergraduate students as well as to a general readership

    In the history of art, the widespread use of fairy tales is new—a phenomenon of the late twentieth century that continues to gain traction. Surveying some forty years of artistic production, this is the first book to consider why artists have turned to fairy tales and how they are reinvigorating the genre.  In recalling specific stories—including “Hansel and Gretel,” “Little Red Riding Hood,” “Cinderella,” and others—some artists have embraced fairy tales’ promises of transformation and championing of the disenfranchised. Others, however, have plumbed their darker elements—poverty, abuse, addiction, and exploitations of power. Many artists engage in what Renaissance scholar Armando Maggi describes as “dirty” storytelling, a disjointed and spontaneous mode of narration that revels in the marvelous and denies easy explanations. Rather than merely recasting classical fairy tales in contemporary contexts, these artists dismantle and reassemble the stories in wholly transformative ways. In 1982, conceptual artist John Baldessari noted, “What appears to be trivial in a fairy tale, etc. could be the lingering remnant of the memory of the soul.” Focusing on specific cultural contexts for fairy tale subjects, Dread and Delight explores the ways in which artists have countered this notion of fairy tales as inconsequential and instead revealed their relevance for our lives today.

    These paintings, drawings, mixed-media compositions, sculptures, and textiles include pieces ranging from the profound assemblages of Thornton Dial to the renowned quilts of Gee’s Bend. Nearly 60 remarkable examples are illustrated alongside insightful texts that situate them in the history of modernism and the context of African American experience in the 20th-century South. This remarkable study simultaneously considers these works on their own merits while also making connections to mainstream contemporary art. Art historians Cheryl Finley, Randall R. Griffey, and Amelia Peck illuminate shared artistic practices, including the novel use of found or salvaged materials and the artists’ interest in improvisational approaches across media. Novelist and essayist Darryl Pinckney provides a thoughtful consideration of the cultural and political history of the American South, during and after the Civil Rights era. These diverse works, described and beautifully illustrated, tell the compelling stories of artists who overcame enormous obstacles to create distinctive and culturally resonant works of art.

    Told in six chapters, arranged both chronologically and thematically, and richly enhanced with outstanding images, it provides an illuminating insight into the material culture produced from West Africa to Southeast Asia through art and artifacts, people and places.From pre-Islamic works that provided a foundation for the arts of Islam to masterpieces produced under the great empires and objects that continue to be made today, this expansive survey traces the development of civilizations at the forefront of philosophical and scientific ideas, artistic and literary developments, and technological innovations, exploring a wealth of cultural treasures along the way.Texts are accompanied by a wide variety of objects, including architectural decoration, ceramics, jewellery, metalwork, calligraphy, textiles, musical instruments, coins, illustrated manuscripts, and modern and contemporary art, all of which shed new light on the Islamic world both past and present. This book will inspire and inform anyone interested in one of the most influential and diverse cultures of the world.Table of ContentsIntroduction • 1. A history of histories • 2. Belief and practice • 3. Interconnected worlds (750–1500) • 4. The age of empires (1500–1900) • 5. Literary and musical traditions • 6. The modern world • 7. Glossary • 8. Selected bibliography • 9. Acknowledgements • 10. Credits • 11. Index

    In Posthumous Images, Chad Elias analyzes a generation of contemporary artists who have sought, in different ways, to interrogate the contested memory of those years of civil strife and political upheaval. In their films, photography, architectural projects, and multimedia performances, these artists appropriate existing images to challenge divisive and violent political discourses. They also create new images that make visible individuals and communities that have been effectively silenced, rendered invisible, or denied political representation. As Elias demonstrates, these practices serve to productively unsettle the distinctions between past and present, the dead and the living, official history and popular memory. In Lebanon, the field of contemporary art is shown to be critical to remembering the past and reimagining the future in a nation haunted by a violent and unresolved war.

    In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of Francois Boucher, Jean-Simeon Chardin, and Jean-Honore Fragonard, entirely recasting our understanding of these painters' practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment.Lajer-Burcharth traces how the distinct logic of these painters' work--the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard--contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher's commercial tact, Chardin's interiorized craft, and Fragonard's materialization of eros. Foregrounding the question of experience--that of the painters and of the people they represent--she shows how painting as a medium contributed to the Enlightenment's discourse on the self in both its individual and social functions.By examining what paintings actually "say" in brushstrokes, texture, and paint, The Painter's Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.

    Focused texts by established and emerging scholars assess themes in Piper’s work such as the Kantian framework that draws on her extensive philosophical studies; her unique contribution to first-generation conceptual art; the turning point in her work, in the early 1970s, from conceptual works to performance; the connection of her work with her yoga practice; her ongoing exposure of and challenge to xenophobia and sexism; and the relation between prevailing interpretations of her work and the viewers who engender them.

    Latin American artists contributed to and reinterpreted nearly every major modernist movement that took place in the creative center of Paris between World War I and World War II, including Cubism (Diego Rivera), Surrealism (Antonio Berni and Roberto Matta), and Constructivism (Joaquín Torres-García). Yet their participation in the Paris art scene has remained largely overlooked until now. This vibrant book examines their collective role, surveying the work of both household names and an extraordinary array of lesser-known artists.   Author Michele Greet illuminates the significant ways in which Latin American expatriates helped establish modernism and, conversely, how a Parisian environment influenced the development of Latin American artistic identity. These artists, hailing from former Spanish and Portuguese colonies, encountered expectations of primitivism from their European audiences, and their diverse responses to such biased perceptions—ranging from rejection to embrace to selective reinterpretation of European tendencies—yielded a rich variety of formal innovation. Magnificently illustrated and conveying with clarity a nuanced portrait of modernism, Transatlantic Encounters also engages in a wider discussion of the relationship between displacement, identity formation, and artistic production.

    Bainton Book Prize, The Sixteenth Century Society and Conference, 2019Some sixty years after the Spanish conquest of Mexico, a group of Nahua intellectuals in Mexico City set about compiling an extensive book of miscellanea, which was recorded in pictorial form with alphabetic texts in Nahuatl clarifying some imagery or adding new information altogether. This manuscript, known as the Codex Mexicanus, includes records pertaining to the Aztec and Christian calendars, European medical astrology, a genealogy of the Tenochca royal house, and an annals history of pre-conquest Tenochtitlan and early colonial Mexico City, among other topics. Though filled with intriguing information, the Mexicanus has long defied a comprehensive scholarly analysis, surely due to its disparate contents.In this pathfinding volume, Lori Boornazian Diel presents the first thorough study of the entire Codex Mexicanus that considers its varied contents in a holistic manner. She provides an authoritative reading of the Mexicanus’s contents and explains what its creation and use reveal about native reactions to and negotiations of colonial rule in Mexico City. Diel makes sense of the codex by revealing how its miscellaneous contents find counterparts in Spanish books called Reportorios de los tiempos. Based on the medieval almanac tradition, Reportorios contain vast assortments of information related to the issue of time, as does the Mexicanus. Diel masterfully demonstrates that, just as Reportorios were used as guides to living in early modern Spain, likewise the Codex Mexicanus provided its Nahua audience a guide to living in colonial New Spain.