By retracing Frank Lloyd Wright's footsteps on journeys he made beyond his homeland of the USA, this book explores his global ambitions and his lasting legacy and offers an original and contemporary view of Wright and his architecture. While Lloyd Wright is perceived as the quintessential American architect, in fact he was well-travelled, and these six journeys were to develop and promote his globalising 'organic' philosophy. The author takes off first to Japan and Germany to explore the way Wright's visits to these countries informed and framed his 'Prairie House' period. He then travels to Russia and the UK, where Wright presented his global 'Usonian' manifesto. The final two chapters pursue Wright to Italy and the Middle East as part of his 'Legacy' period. The book is beautifully illustrated with Wright's own sketches and photographs, as well as some historical photographs of Wright's original journeys and works. The author meets people who are living and coping with Wright's 'organic' architecture today and asks them whether their homes are still true to Wright's intent or whether there is something else that made their home particular.By considering Wright beyond America, his architecture is critiqued against different cultural settings so that it can be evaluated as emerging from a new globalised era of architectural production. The author reflects on Frank Lloyd Wright as an early promoter of globalisation - in fact, as the first 'global architect'.

Honore Sharrer (1920-2009) was a major art world figure in 1940s America, celebrated for exquisitely detailed paintings conveying subtly subversive critiques of the political and artistic climate of her time. This book offers the first critical reassessment of the artist: a leftist, female painter committed to figuration in an era when anti-Communist sentiment and masculine Abstract Expressionism dominated American culture. Her brightly colored, humorous, and distinctly feminine paintings combine elements of social realism and surrealism to seductive and disquieting effect. This publication is a timely reevaluation of an artist who pushed the boundaries of figurative painting with playfulness and biting wit. Distributed for the Columbus Museum of Art Exhibition Schedule: Columbus Museum of Art (02/10/17-05/21/17) Pennsylvania Academy of the Fine Arts, Philadelphia (06/30/17-09/03/17) Smith College Museum of Art, Northamton, MA (09/21/17-01/07/18)

Each of the five volumes in the Stone Art Theory Institutes series brings together a range of scholars who are not always directly familiar with one another's work. The outcome of each of these convergences is an extensive and "unpredictable conversation" on knotty and provocative issues about art. This fifth and final volume in the series focuses on the identity, nature, and future of visual studies, discussing critical questions about its history, objects, and methods. The contributors question the canon of literature of visual studies and the place of visual studies with relation to theories of vision, visuality, epistemology, politics, and art history, giving voice to a variety of inter- and transdisciplinary perspectives. Rather than dismissing visual studies, as its provocative title might suggest, this volume aims to engage a critical discussion of the state of visual studies today, how it might move forward, and what it might leave behind to evolve in productive ways. The contributors are Emmanuel Alloa, Nell Andrew, Linda Baez Rubi, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjorn Gronstad, Stephan Gunzel, Charles W. Haxthausen, Miguel A. Hernandez-Navarro, Tom Holert, Kivanc Kilinc, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Oyvind Vagnes, Sjoukje van der Meulen, Terri Weissman, Lisa Zaher, and Marta Zarzycka.

The catalogue to accompany a major solo presentation of the work of the influential New York-based artist Mary Heilmann, her first in a public institution in the UK in 15 years. Born in California in 1940, Heilmann studied ceramics and poetry before moving to New York in 1968 and taking up painting. A pioneer of infusing abstract painting with influences from craft traditions and popular culture (especially rock music and California's beach culture), Heilmann is one of the most important yet still underrecognised artists working today. This publication explores Heilmann's approach to abstraction from two distinct but interrelated perspectives: the formal and the personal. The personal is reflected in the title Looking at Pictures, named after a section in the artist's memoir The All Night Movie (1999), in which she writes, `Each of my paintings can be seen as an autobiographical marker', clearly represented here through works that relate to moments in the artist's friendships, memories of places where she has lived or spent time and her love of music and film. The juxtaposing formal aspect of her work is also explored, most evidently in her early paintings of grids and squares rendered in primary colours and in works that are based on architectural or interior planes, such as doors and mirrors. As well as new essays by Lydia Yee (Chief Curator, Whitechapel Gallery) and Briony Fer (Professor of History of Art, University College London), and writings by the artist on key works, the publication will feature 100 beautiful full-colour illustrations of paintings, works on paper, furniture and ceramics from Heilmann's five-decade career.

This book is a glorious celebration of Rhoda Pritzker's collection of 20th-century British art, much of which has been donated to the Yale Center for British Art. Pritzker, who was born in Manchester in1914 and emigrated to the United States during the Blitz, was an avid and daring collector of paintings, sculptures, and drawings. Keen to support artists whose reputations were still emerging, and loyal to no single school or style, she developed a unique and impressively diverse collection. While Pritzker most actively purchased pieces in the 1950s and 1960s, her collection offers a fascinating window onto postwar artistic production. Beautifully illustrated, this catalogue features a number of unpublished works and archival materials. Among the artists discussed are key figures, including L. S. Lowry, Barbara Hepworth, Anthony Caro, and Henry Moore, as well as lesser-known artists. The texts elucidate the factors that made Pritzker's method of collecting so singular-namely her relationship to an evolving transatlantic artistic community and the deeply personal nature of the works she procured. Distributed for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art, New Haven (05/11/2016-08/21/2016)

Frida Kahlo (1907-1954) is without doubt the most famous Latin-American painter of the 20th century and a fundamental figure in Mexican art. Her work has been celebrated internationally as emblematic of Mexican national and indigenous traditions, and by feminists for its uncompromising depiction of the female experience and form. This fabulously illustrated volume brings together a series of stunning portraits, each one giving readers a glimpse into the many and varied ways in which Frida Kahlo has inspired countless artists across the globe.

This final volume in the British Sculptors and Sculpture series addresses the work of the important but neglected British sculptor Francis Derwent Wood RA (1871-1926). A student of Edouard Lanteri at the Royal College of Art, Derwent Wood's early artistic career was distinguished. His reputation grew rapidly and a period as Director of Modelling at the Glasgow School of Art saw him working on public commissions with many of the city's most important architects. Simultaneously, he built his London practice, perfecting the art of the rapidly executed, observationally astute portrait bust, and becoming a well-connected member of the Chelsea set. He exhibited at the Royal Academy every year from 1895 until his death in 1926, becoming a full Academician in 1920. During the First World War he carried out pioneering work in the field of facial prosthetics. He was appointed Professor of Sculpture at the Royal College of Art in 1918, where Henry Moore was amongst his many pupils. Derwent Wood's Machine Gun Corps memorial at Hyde Park Corner in London, completed in the year of his death, is amongst the best-known and most consistently reviled sculptures in Britain. Matthew Withey offers readers a subtle and layered interpretation of the career that led up to this iconic and misunderstood work, together with a comprehensive catalogue of Derwent Wood's diverse body of work.

Egon Schiele (1890 - 1918) is nowadays regarded as one of the leading pioneers of Modernism in Austria. Although he already enjoyed some success during his lifetime and came to be considered Austria's greatest artist following his death, his outstanding impo rtance for art was recognized only in the early 1950s. Rudolf Leopold, the early collector of Schiele who first became interested in Schiele in the 1950s, has been instrumental in raising the international profile of Egon Schiele. Today, his art treasures are housed in the Leopold Museum in Vienna, which holds the world's largest and most outstanding collection of works by Schiele. Diethard Leopold, the collector's son and author of this volume, naturally grew up with Schiele's works, developing a special affinity and familiarity with the artist and his works. In this monograph he examines the life of the painter, who died prematurely at the age of 28, and based on major works from every one of his creative periods he presents an artist who captivates the viewer with emotional subjects and technical ingenuity al ike. In the archive section of this volume, special finds from the rich trove of documents he left behind show the copious talent of Egon Schiele who not only excelled as a painter and graphic artist, but also awaits discovery for his expressionist poetry.

Of the late nineteenth- and early twentieth-century Jewish artists, a large number turned toward radical socialist politics. These artists, even the most secularized among them, were deeply influenced by the Jewish traditions, teachings, and culture in which they were raised. The communal thrust of Judaism that calls upon Jews to bear the responsibility for the moral, spiritual, and material welfare of their community informed the creative output of these artists. Baigell explores the meaningful yet little-examined connections between religious heritage, social concerns, and political radicalism in the Jewish American art world from the time of the Great Migration from Eastern Europe in the 1880s to the beginning of World War II. Focusing on political cartoons published in left-wing Yiddish- and English-language newspapers and magazines, Baigell shows how artists commented on current events using biblical and other Jewish references within a medium of expression that had the widest possible audience. Set against the backdrop of the Russian Revolution, the Depression, and the rise of fascism during the 1930s, the book examines the work of such well-known artists as William Gropper and Mark Rothko, and brings to light the work of lesser-known artists, such as Leon Israel and Louis Ribak. Artists' personal correspondence, newspaper articles, and the writings of art critics all reveal the intimate connections between Jewish memories, religious customs, and radical socialist concerns.

Seven of Salvador Dali's mind-bending images re-imagined as superbly crafted pop-ups. The art of Salvador Dali, like the man himself, defies easy description. During a hugely productive working life that spanned much of the 20th century, he produced more than 1,500 paintings as well as other artworks and objets d'art including sculpture, jewelry, photography, etchings, lithographs, designs for theatre sets and costumes, plus commercial projects such as the Chupa Chups lollipop logo. Decades after his death, his trademark moustache and dandy outfits remain instantly recognisable, while his art has inspired and continues to inspire new generations of artists, from Andy Warhol to Damien Hirst. Enigmatic, playful, deceptive, outrageous, and - above all - adventurous, Salvador Dali will be remembered as one of the most important artists of the twentieth century.

In his fascinating study of the pervasive theme of 'The Dance of Death' 'Edward Lucie-Smith traces its lineage in art from mosaiics of Pompeii and early Medieval frescos. He cites the celebrated engraving by Albrecht Durer: The Knight, Death and the Devil' and an extensive series of woodcuts,'The Dance of Death' by Hans Holbein the Younger. He explores 'Les Grand Miseres de Guerre', by Jaques Callot, the nightmares of Henri Fuseli and bitter social studies of Goya. The story takes in harsh anti-war prints by Louis Raemaeker and iconic works by Edvard Munch and Egon Schiele.The monograph is fully illustrated in colour with bio-data, notes and references.

C.R.W. Nevinson (1889-1946) is regarded as one of the finest British printmakers of the first half of the twentieth century - admired by contemporaries and modern-day viewers in equal measure. Yet despite this assured reputation, nothing substantial has been published on his remarkable printmaking career until now. Nevinson began creating prints in 1916, only stopping, due to ill health, in 1932. During this period he produced 148 prints, all of which reflecting his distinct vision and outstanding skills as a printmaker. Providing historical and social insights, his body of work is impressive in its range - images depicting the horrors of the First World War sit alongside contrasting cityscapes which present Nevinson's singular interpretation of Paris, New York and London. Drawing on original archival research and including a catalogue raisonne of Nevinson's prints, this unrivalled resource stands as a landmark publication in the literature available on this outstanding British modernist. It is an essential reference volume for all those who collect, sell or study Nevinson's prints and also provides much needed context for those with a general interest in the artist and the period in which he worked.

In this study of surrealism and ghostliness, Katharine Conley provides a new, unifying theory of surrealist art and thought based on history and the paradigm of puns and anamorphosis. In Surrealist Ghostliness, Conley discusses surrealism as a movement haunted by the experience of World War I and the repressed ghost of spiritualism. From the perspective of surrealist automatism, this double haunting produced a unifying paradigm of textual and visual puns that both pervades surrealist thought and art and commemorates the surrealists' response to the Freudian unconscious. Extending the gothic imagination inherited from the eighteenth century, the surrealists inaugurated the psychological century with an exploration of ghostliness through doubles, puns, and anamorphosis, revealing through visual activation the underlying coexistence of realities as opposed as life and death. Surrealist Ghostliness explores examples of surrealist ghostliness in film, photography, painting, sculpture, and installation art from the 1920s through the 1990s by artists from Europe and North America from the center to the periphery of the surrealist movement. Works by Man Ray, Claude Cahun, Brassai and Salvador Dali, Lee Miller, Dorothea Tanning, Francesca Woodman, Pierre Alechinsky, and Susan Hiller illuminate the surrealist ghostliness that pervades the twentieth-century arts and compellingly unifies the century's most influential yet disparate avant-garde movement.

Eye on a Century celebrates a cornerstone of the Yale University Art Gallery's holdings: the Charles B. Benenson Collection of Modern and Contemporary Art. This major bequest includes works by a veritable pantheon of modern and contemporary artists-among them Jean-Michel Basquiat, Stuart Davis, Fernand Leger, Joan Miro, James Rosenquist, and David Smith. The catalogue provides exciting new scholarship on some of the collection's most significant objects, including works by Alexander Calder, Kurt Schwitters, and Pablo Picasso, alongside lesser-known works, by artists such as Alicia Penalba, David Wojnarowicz, and Martin Wong, several of which have never before been published. The introduction, which examines the context of Benenson's collecting, is followed by more than fifty catalogue entries and an illustrated checklist of the complete collection. Distributed for the Yale University Art Gallery

This book is dedicated to the great Georgian modern artist David Kakabadze (1889-1952). This book compares the importance of David Kakabadze's creative work against the background of world avant-garde art of the beginning of the 20th century. This book is of interest for art historians and other experts, studying Georgian and Soviet art/culture, modern art and, especially, abstract art.

The work of German cultural theorist and art historian Aby Warburg (1866 1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Mnemosyne-Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Mnemosyne-Atlas as a vital form of metaphoric thought.

While the nondiscursive, frequently digressive character of the Mnemosyne-Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that "pathos formulas" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Mnemosyne-Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Mnemosyne-Atlas. As Johnson demonstrates, the Mnemosyne-Atlas is not simply the culmination of Warburg s lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture."

Beginning in Paris in the 1920s, women poets, essayists, painters, and artists in other media have actively collaborated in defining and refining surrealism's basic project--achieving a higher, open, and dynamic consciousness, from which no aspect of the real or the imaginary is rejected. Indeed, few artistic or social movements can boast as many women forebears, founders, and participants--perhaps only feminism itself. Yet outside the movement, women's contributions to surrealism have been largely ignored or simply unknown.

This anthology, the first of its kind in any language, displays the range and significance of women's contributions to surrealism. Letting surrealist women speak for themselves, Penelope Rosemont has assembled nearly three hundred texts by ninety-six women from twenty-eight countries. She opens the book with a succinct summary of surrealism's basic aims and principles, followed by a discussion of the place of gender in the movement's origins. She then organizes the book into historical periods ranging from the 1920s to the present, with introductions that describe trends in the movement during each period. Rosemont also prefaces each surrealist's work with a brief biographical statement.

Are women s orgasms more intense than men s? What did Andre Breton think of homosexuality? Can love be separated from physical desire? In 1928 a group of surrealist writers and artists held twelve round table discussions to address these questions.

Calling them researches into sexuality, their bizarre and humorous conversations are now made available in this new edition in all their surreal and salacious detail. Their research spanned the most critical period for surrealism, a time of bitter political disputes, echoed in the intensity of these meetings and in the range of participants, including Andre Breton, Paul Eluard, Yves Tanguy, Benjamin Peret and Pierre Naville.

Well before the so-called sexual revolution, their erotic exchanges broke sexual taboos and encouraged surrealists to openly share the libidinal themes they explored in their writing and art. In doing so, JoAnn Wypijewski writes in the new introduction, they are revealed as lovers and prigs, fantasists and humanists, adventurers in mind if not always in flesh flawed, foolish, brilliant, clangingly sexual human beings.

In 1943, while the world was convulsed by war, a few visionaries--in the private sector and in the military--committed to protect Europe's cultural heritage from the indiscriminate ravages of World War Two.
And so the Allies appointed the Monuments Officers, a motley group of art historians, curators, architects, and artists, to ensure that the masterpieces of European art and architecture were not looted or bombed into oblivion. Often working as shellfire exploded around them, the Monuments men and women of Italy shored up tottering palaces and cathedrals, safeguarded Michelangelos and Giottos, and even blocked a Nazi convoy of stolen paintings bound for Goring's birthday celebration. Sometimes they failed. But to an astonishing degree they succeeded, and their story is an unparalleled adventure with the gorgeous tints of a Botticelli as its backdrop.

The artist Francis Picabia--notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist--has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada. In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade--Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history--and naming them--for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage. Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada "manifestations" to Picabia's polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his "painting" Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, Andre Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.George Baker is Assistant Professor of Art History at the University of California, Los Angeles, and an editor at October magazine and October Books. He is the editor of James Coleman (MIT Press) and a frequent contributor to Artforum."

When Kasimir Malevich's Black Square was produced in 1915, no-one had ever seen anything like it before. And yet it does have precedents. In fact, over the previous 500 years, several painters, writers, philosophers, scientists and censors - each working independently towards an absolute statement of their own - alighted on the form of the black square or rectangle, as if for the first time. This book explores the resonances between Malevich's Black Square and its precursors, showing how a 'genealogical' thread binds them together into an intriguing, and sometimes quirky, sequence of modulations. Andrew Spira's book explores how each predecessor both 'foreshadows' Malevich's work and, paradoxically, throws light on it, revealing layers of meaning that are often overlooked but which are as relevant today as ever.

A new title of the 5-volume series covering the fundamental events and pivotal works of international art in the 20th century. With the third volume, this history of art goes past the halfway mark of the 20th century to enter the contemporary sphere. The book relates how artists reacted to the greatest tragedy of the 20th century and responded to the advent of the society of mass communication and consumption, to the moulding of the world in which we find ourselves ever more deeply immersed today. The collapse and rebirth of Europe, the years of the Cold War and the evolution leading to the upheavals of 1968 are fundamental themes of this third volume.

COLOURFIELD PAINTING

Sixties painting was variously termed Colourfield, Hard Edge, Minimal, and post-painterly abstraction, and was linked with Pop Art, Op (optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting.

The painters linked in this study with Colourfield, Hard Edge Minimal and Post-Painterly Abstraction painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colourfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray.

Colourfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser s Questions to Andre and Judd, Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. Time and again Judd insisted that the new art was to trying to get away from the European tradition. It suits me fine if that s all down the drain, Judd said. I m totally uninterested in European art and I think it s over with.

Many of the Colourfield and Sixties painters have made extremely brilliantly colourful works in the 1960s, then turned back to the sombre colours of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated colour: they moved back and forth from monochrome greys and blacks to full colour. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright colour to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colours of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works.

Fully illustrated, with notes and bibliography.