Illustrated with over fifty photos, Civilizing Rituals merges contemporary debates with lively discussion and explores central issues involved in the making and displaying of art as industry and how it is presented to the community.Carol Duncan looks at how nations, institutions and private individuals present art, and how art museums are shaped by cultural, social and political determinants.Civilizing Rituals is ideal reading for students of art history and museum studies, and professionals in the field will also find much of interest here.

    This passionate, often surprising, intimate record, kept under lock and key for some forty years in Mexico, reveals many new dimensions in the complex persona of this remarkable Mexican artist.Covering the years 1944-45, the 170-page journal contains Frida's thoughts, poems, and dreams, and reflects her stormy relationship with her husband, Diego Rivera, Mexico's famous artist. The seventy watercolor illustrations in the journal - some lively sketches, several elegant self-portraits, others complete paintings - offer insights into her creative process, and show her frequently using the journal to work out pictorial ideas for her canvases.The text entries, written in Frida's round, full script in brightly colored inks, add an almost decorative quality, making the journal as captivating to look at as it is to read. Frida's childhood, her political sensibilities, and her obsession with Diego are all illuminated in witty phrases and haunting images.Although much has been written recently about this extraordinary woman, Frida Kahlo's art and life continue to fascinate the world. This personal document, published in a complete full-color facsimile edition, will add greatly to the understanding of her unique and powerful vision and her enormous courage in the face of more than thirty-five operations to correct injuries she had sustained in an accident at the age of eighteen. The facsimile is accompanied by an introduction by the world-renowned Mexican man of letters Carlos Fuentes and a complete translation of the diary's text. An essay on the place of the diary in Frida's work and in art history at large, as well as commentaries on the images, is provided by Sarah M. Lowe.

    A house cast in concrete. The London Underground map with all the station names changes - the Circle Line stations are comedians, the Northern Line stations are philosophers. A tent embroidered with the names of everyone the artist who set up the tent has ever slept with. But what does it all mean? What is Modern Art? Why do we like/hate it? Can anybody do it? Is it always modern? Who started it? In this refreshing and extremely accessible book Matthew Collings tells the story of modern art and our modern attitude to it. It combines hard information on major artists and movements - what really happened - with ordinary reflections: modern art is intimidating and unfathomable to many but Matthew Collings cuts through this barrier by asking all the kinds of questions many of us will have asked and been puzzled by. He will compare Goya to Duchamp and Picasso, Rothko to Yves Klein; he will look at the role of African tribal art in the rise of Modernism and Punk Rock in the rise of Post-Modernism. This will become a classic book of its kind, quirky, culty and great fun.

    Adopting an innovative year-by-year approach, Foster, Krauss, Bois and Buchloh present more than one hundred short essays, each focusing on a crucial event - such as the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition - to tell the story of the dazzling diversity of practice and interpretation that characterized the art of the period. are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' fine texts are more than six hundred of the most important works of the century, most reproduced in full colour. The book's flexible structure and extensive cross-referencing allow readers to plot their own course through the book and to follow any one of the many narratives that unfold through the century, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as Surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. and issues surrounding the art. In their perceptive introductions, the four authors set out and explain the different methods of art history at work in the book, providing the reader with the conceptual tools to further his or her own study. Two roundtable discussions - one at mid-century, the other at the close of the book - consider some of the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.

    Heralded by Publishers Weekly as one of the best science books of the year, it is a provocative and deeply engaging book that elucidates the ties between a woman's experience of her vagina and her sense of self; her impulses, dreams, and courage; and her role in love and in society in completely new and revelatory ways sure to provoke impassioned conversation.A brilliant and nuanced synthesis of physiology, history, and cultural criticism, Vagina: A New Biography explores the physical, political, and spiritual implications of this startling series of new scientific breakthroughs for women and for society as a whole, from a writer whose conviction and keen intelligence have propelled her works to the tops of bestseller lists, and firmly into the realms of modern classics.

    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.

    Since nobody photographs libraries as beautifully as Hofer, it seemed only natural to dedicate one of her publications to the splendid and intimate cathedrals of knowledge across Europe and the US: the Escorial in Spain, the Whitney Museum in New york, Villa Medici in Rome, the Hamburg University library, the Bibliotheque nationale de France in Paris, the Museo Archeologico in Madrid, and Pierpont Morgan Library in New York, to name just a few. Almost completely devoid of people, as is Candida Hofer's trademark, these pictures radiate a comforting serenity that is exceptional in contemporary photography. Now available in an unchanged reprint.

    In this, the first-ever book to be written about him, Daniel Farson, friend and confidant to Bacon for over forty years, gives a highly personal, first-hand account of the man as he knew him. From his sexual adventures to his rise from obscurity to international fame, Farson gives us unique insight into Bacon's genius.

    Building on the manifesta power of Things, this memoir goes deeply into Jes's inner life, from growing up a fat girl to dating while fat. With material that will have readers laughing and crying along with Jes's experience, this new book is a natural fit with her irreverent, open-book style. A deeply personal take, Landwhale is a glimpse at life as a fat woman today, but it's also a reflection of the unforgiving ways our culture still treats fatness, all with Jes's biting voice as the guide.

    A dynamic chronicle not just a movement but an era, this is the story of a group of pissed-off girls with no patience for sexism and no intention of keeping quiet.

    In her groundbreaking book, New York magazine writer Ariel Levy argues that, if male chauvinist pigs of years past thought of women as pieces of meat, Female Chauvinist Pigs of today are doing them one better, making sex objects of other women – and of themselves. Irresistibly witty and wickedly intelligent, Female Chauvinist Pigs makes the case that the rise of raunch does not represent how far women have come; it only proves how far they have left to go.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    Situations include these men in art and antiquity sharing keen insight on the female anatomy, an eloquent defense of catcalling, or offering sage advice about horseback riding to the woman who owns the horse and many more situations.

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    Rockwell senior, who said he depicted life “as I would like it to be,” chronicled iconic visions of American life: the Thanksgiving turkey, soda fountains, ice skating on the pond, and small-town boys playing baseball-not to mention the beginning of the civil rights movement. Now, the best-selling collection of Rockwell’s most beloved illustrations, organized by decade, is available in a refreshed edition. With more than 150 images-oil paintings, watercolors, and rare black-and-white sketches--this is an uncommonly faithful Rockwell treasury. The original edition has sold nearly 200,000 copies.