A portrait of a young artist's formative years studying sculpture in Paris, recounted in her own words. Angela Gregory is considered by many the doyenne of Louisiana sculpture and is a notable twentieth century American sculptor. In A Dream and a Chisel, Angela Gregory and Nancy Penrose explore Gregory's desire, even as a teenager, to learn the art of cutting stone and to become a sculptor. Through sheer grit and persistence, Gregory achieved her dream of studying with French artist Antoine Bourdelle, one of Auguste Rodin's most trusted assistants and described by critics of the era as France's greatest living sculptor. In Bourdelle's Paris studio, Gregory learned not only sculpting techniques but also how to live life as an artist. Her experiences in Paris inspired a prolific sixty-year career in a field dominated by men. After returning to New Orleans from Paris, Gregory established her own studio in 1928 and began working in earnest. She created bas-relief profiles for the Louisiana State Capitol built in 1932 and sculpted the Bienville Monument, a bronze statue honoring the founder of New Orleans, in the 1950s. Her works also include two other monuments, sculptures incorporated into buildings, portrait busts, medallions, and other forms that appear in museums and public spaces throughout the state. She was the first Louisiana woman sculptor to achieve international recognition, and, at the age of thirty-five, became one of the few women recognized as a fellow of the National Sculpture Society. Gregory's work appeared in group shows at many prestigious museums and in exhibitions, including the Salon des Tuileries and the Salon d'Automne in Paris, the Palace of the Legion of Honor in San Francisco, the National Collection of Fine Arts in the Smithsonian in Washington, D.C., and the Metropolitan Museum of Art in New York. This memoir is based on Penrose's oral history interviews with Gregory, as well as letters and diaries compiled before Gregory's death in 1990. A Dream and a Chisel demonstrates the importance of mentorships, offers a glimpse into the realities of an artist's life and studio, and captures the vital early years of an extraordinary woman who carved a place for herself in Louisiana's history.

"Wild Art" refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of "taste," one in which each expression is acknowledged as being different while deserving equal merit. Arguing that both the "art world" and "wild art" have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of "taste" in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of "wild art" in the present will radically transform our understanding of contemporary visual art in the future. Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of "kitsch" and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.

From the Roaring Twenties and the Group of Seven to the Automatistes and the early Cold War, Canadian artists lived through and embodied an era of global tumult and change. With an interweaving of historical narrative, lavish illustrations, and writings by many of Canada's most revered cultural figures, Lora Senechal Carney illuminates the lives, perspectives, and works of the era's painters and provides glimpses of the sculptors, poets, dancers, critics, and filmmakers with whom they associated. Canadian Painters in a Modern World gives readers direct access to a carefully curated selection of writings, artworks, photos, and other documents that help to reconstruct the public spheres in which artists including Paul-Emile Borduas, Emily Carr, Alex Colville, Lawren Harris, David Milne, and Pegi Nicol MacLeod circulated. Each of the book's eight chapters consists of a narrative about a key issue or debate, focusing on the relationship of art to politics and society, and on how these are negotiated in an individual's life. Relating artistic engagement with and responses to the Spanish Civil War, the Second World War, and the Cold War, Senechal Carney discovers a common desire for new connections between art and life. Revealing continuities, ruptures, and watershed moments, Canadian Painters in a Modern World showcases artistic production within specific socio-political contexts to shed new light on Canadian art during three decades of conflict and crisis.

The publication explores the diversity of the lives and destinies of artists during the Weimar Republic, under National Socialism, and until the inaugural documenta held in the young Federal Republic in 1955. Their works and biographies bear witness to the horrors of persecution and careers cut short, to resistance and conformity. The presentation intertwines the individual lives with the parallel strands of contemporary history and institutional frameworks. Numerous authors shed light on issues that have recently attracted sustained interest from historians. The choice of emphases reflects the history of the Lenbachhaus's collection and exhibition program. The presentation accordingly focuses on the Munich art scene, complemented by major phenomena on the national and international stages. Diversity of biographies and topics of German art history between 1918 and 1955 With works by Otto Freundlich, Kathe Hoch, Rudolf Schlichter, Maria Luiko, George Grosz, Gabriele Munter, and others Exhibition Stadtische Galerie im Lenbachhaus und Kunstbau October 15, 2022-April 16, 2023

Georgia O'Keeffe, a superbly gifted American artist usually associated with New Mexico, spent nearly four years in Texas, most of them in the Panhandle. She taught art in the public schools of Amarillo for two years, 1912-1914, and headed the art department at West Texas Normal College (now West Texas A & M University) in Canyon from the fall of 1916 to early 1918. She then went for a few months to Waring, Texas, northwest of San Antonio.There are scores of books on Georgia O'Keeffe. The books are of various lengths, covering her life, art, and influence on other artists; her time spent in New Mexico; and her relationship with and marriage to Alfred Stieglitz. By comparison, however, there is little on O'Keeffe's years in Texas. Georgia O'Keeffe in Texas: A Guide is different from previous O'Keeffe studies, as it provides a short biography of O'Keeffe on the people and events that influenced her Texas years. The authors are neither artists nor professional art critics, but are historians of the American West who have an interest in Georgia O'Keeffe. They believe her years in Texas, especially the Texas Panhandle, were significant for her subsequent development as a thoroughly modern American artist. This book is designed to work as a guide to O'Keeffe's life and work in Texas, and reveals an even more fascinating figure in the process.Front Cover Art Credit: Panhandle-Plains Historical Museum, Canyon, Texas

In the first half of the 20th century, thousands of newcomers-Eastern European emigres, Mexican immigrants, and Southerners both black and white-flocked to Chicago. These new residents included artists who made significant contributions to the vibrant cultural life of the city. They Seek a City highlights approximately seventy-five paintings, works on paper, photographs, and sculptures by such artists as Eldzier Cortor, Archibald Motley, and Morris Topchevsky that reflect the diverse urban social landscape. As these artists sought to navigate their surroundings and establish their identities amid a changing society, they found inspiration in their personal and cultural contexts. Frequently, they focused on the underlying causes of immigration or migration and depicted themes of exile and alienation. Others chose to represent their new surroundings, for better or worse, addressing concerns such as racism, poverty, and social injustice. Artistic styles also varied. Whereas many worked in a figurative mode to better convey social or political messages, modernist art by European immigrants such as Laszlo Moholy-Nagy also played a major role. Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago(03/03/13-06/02/13)

Hans Purrmann und Mathilde Vollmoeller-Purrmann zahlen zu den bedeutenden Malerpaaren der Klassischen Moderne. Der Diskurs mit anderen Kunstlerpaaren ihrer Zeit eroeffnet ein Spektrum vielfaltiger Lebensbilder. Rollenverteilung in Partnerschaft und Familie sowie Ausbildung, Alltag der kunstlerischen Arbeit oder Stellung im Ausstellungswesen sind spannende Aspekte moderner Kunstgeschichte. Hochkaratige Spezialist/-innen beleuchten Leben und Werk von Sabine und Reinhold Lepsius, Marg und Oskar Moll, Leo von Koenig und Mathilde Tardif, Carl Casper und Maria Caspar-Filser, Wassily Kandinsky und Gabriele Munter, Alexej von Jawlensky und Marianne von Werefkin sowie Max Beckmann und Minna Tube. In diesem imposanten Panorama der Avantgarde werden neben der Genderproblematik auch Netzwerke der Moderne sichtbar.

Knitting together two fascinating but entirely distinct lives, this ingeniously structured braided biography tells the story of the lives and work of two women, each a cultural icon in her own country yet lesser known in the other's. Australian poet Judith Wright and Canadian painter Emily Carr broke new ground for female artists in the British colonies and influenced the political and social debates about environment and indigenous rights that have shaped Australia and Canada in the 21st century. In telling their story/ies, this book charts the battle for recognition of their modernist art and vision, pointing out significant moments of similarity in their lives and work. Although separated by thousands of miles, their experience of colonial modernity was startlingly analogous, as white settler women bent on forging artistic careers in a male-dominated world and sphere rigged against them. Through all this, though, their cultural importance endures; two remarkable women whose poetry and painting still speak to us today of their passionate belief in the transformative power of art.

Die 1945 zu weiten Teilen zerstoerte Stadt Mainz wollten die franzoesischen Besatzer unmittelbar nach Kriegsende zu einem franzoesisch gepragten Mayence aufbauen. Fur diese Aufgabe wurde Marcel Lods berufen, Verfechter einer funktionalistischen Moderne, dessen deutsch-franzoesisches Architektenteam auch UEberlegungen aus der Zeit vor 1945 in den Aufbauplan einfliessen liess. Als Antwort auf die ablehnende Haltung der lokalen Bevoelkerung - aber auch einiger franzoesischer Militars - beauftragte die Stadt Mainz Paul Schmitthenner mit einem Projekt, das den historischen Charakter der Stadt starker bewahren sollte. Beide Projekte scheiterten zwar, doch blieb Mainz bis weit in die 1950er Jahre Schauplatz einer exemplarischen Konfrontation zweier sich unversoehnlich bekampfender Tendenzen innerhalb der europaischen Architektur des 20. Jahrhunderts, wie sie an keinem anderen Ort in dieser Scharfe und mit dieser fachlichen Kompetenz ausgetragen wurde. Als Ergebnis jahrzehntelanger Forschungen bietet dieses Buch erstmalig eine systematische Aufarbeitung dieser umfassenden Planungen und ihrer zeitgeschichtlichen Hintergrunde.

Artist Kate Freeman Clark (1875-1957) left behind over one thousand paintings now stored at a gallery bearing her name in her hometown of Holly Springs, Mississippi. Butit was not until after her death in 1957 at the age of eighty-one that citizens even discovered that she was a painter of considerable stature. In her will, Clark left the city her family home, her paintings stored at a warehouse in New York for over forty years, and money to build a gallery, much to the surprise of the Holly Springs community. As a young woman, Clark studied art in New York and took classes with some of the greatest American artists of the day. From the start Clark approached the study of art with discipline and tenacity. She learned from William Merritt Chase when he opened his own school in 1895. For six consecutive summers at his Shinnecock Summer School of Art in Long Island, she mastered the plein air technique. Chase trained many female students, yet he recognized Clark as "his most talented pupil." The book prints, for the first time, excerpts from Clark's delightful journal of the artist's experience at Chase's school, giving readers firsthand reporting of an artist-led school in the early twentieth century. Clark returned to Holly Springs in 1923. Mysteriously, sadly, she never resumed painting and lived the last ten years of her life in quietude. The Artist's Sketch shines a light on Clark, finally bringing her out of obscurity. This book also introduces Clark's art to a new generation of readers and highlights current projects and important work being done in Holly Springs by the Kate Freeman Clark Art Gallery and the Marshall County Historical Museum, the twoinstitutions that, since her death, have worked hard to keep Kate Freeman Clark's legacy alive.

Not far from Milan, in the hills of the northern Italian countryside, lies the estate of famed Italian artist Enrico Baj. This jewel of a book offers a unique lens through which to consider a true artistic giant of the late twentieth century associated with Dada, Surrealism, Art Informel, and CoBrA, as well as Nuclear Art, a movement he cofounded. Organized as a tour of the artist s home, from full rooms designed with a great attention to detail to entire walls covered floor to ceiling with paintings by the artist to a headboard carved directly into a wall, almost every surface of the house is covered in work made by Baj himself. While his subject matter may have been deeply serious (many of Baj s works reveal an obsession with nuclear war and the abuse of political power), as this book shows, his work was always playful and vibrant, often incorporating bits of found materials like military medals, seashells, rope, and twine. Whether one focuses on the luxurious trim and tassel of a bedroom curtain or the deeply personal arrangement of treasured sculptures on a dressing room table, every corner of the estate is energized by the element of surprise. This book showcases the artist s individual touch and provides a wealth of playful vignettes to inspire homeowners, collectors, and artists alike.

The radical changes wrought by the rise of the salon system in nineteenth-century Europe provoked an interesting response from painters in the American South. Painterly trends emanating from Barbizon and Giverny emphasized the subtle textures of nature through warm colour and broken brush stroke. Artists' subject matter tended to represent a prosperous middle class at play, with the subtle suggestion that painting was indeed art for art's sake and not an evocation of the heroic manner. Many painters in the South took up the stylistics of Tonalism, Impressionism, and naturalism to create works of a very evocative nature, works which celebrated the Southern scene as an exotic other, a locale offering refuge from an increasingly mechanized urban environment. Scenic Impressions offers an insight into a particular period of American art history as borne out in seminal paintings from the holdings of the Johnson Collection of Spartanburg, South Carolina. By consolidating academic information on a disparate group of objects under a common theme and important global artistic umbrella, Scenic Impressions will underscore the Johnsons' commitment to illuminating the rich cultural history of the American South and advancing scholarship in the field, specifically examining some forty paintings created between 1880 and 1940, including landscapes and genre scenes. A foreword, written by Kevin Sharp, director of the Dixon Gallery and Gardens in Memphis, Tennessee, introduces the topic. Two lead essays, written by noted art historians Pennington, Estill Curtisand Martha R. Severens, discuss the history and import of the Impressionist movement--abroad and domestically--and specifically address the school's influence on art created in and about the American South. The featured works of art are presented in full colour plates and delineated in complementary entries written by Pennington and Severens. Also included are detailed artist biographies illustrated by photographs of the artists, extensive documentation, and indices. Featured artists include Wayman Adams, Colin Campbell Cooper, Elliott Daingerfield, G. Ruger Donoho, Harvey Joiner, John Ross Key, Blondelle Malone, Lawrence Mazzanovich, Paul Plaschke, Hattie Saussy, Alice Ravenel, Huger Smith, Anthony Thieme, and Helen Turner.

This is volume 1: A-D, of a four-volume set. The complete four-volume set presents the careers of 320 women artists working in California, with more than 2,000 images, over the course of a century. Their work encompasses a broad range of styles-from the realism of the nineteenth century to the modernism of the twentieth-and of media, including painting, sculpture, drawing, illustration and print-making. While some of the profiled artists are already well known, others have been previously ignored or largely forgotten. Yet all had serious careers as artists: they studied, exhibited, and won awards. These women were trailblazers, each one essential to the momentum of a movement that opened the door for heartfelt expression and equality. Much of the information and many of the images in the book have never before been published. Artists are presented alphabetically; also included are additional primary sources that put the artists' work in context.

The inspirational genius of Germany explores the neglected issue of the cultural influence of Germany upon Britain between 1850 and 1939. While the impact on Britain of German Romanticism has been extensively mapped, the reception of the more ideologically problematic German culture of the later period has been neither fully explained or explored. After the 1848 revolutions, Germany experienced a period of political and economic growth which not only saw it achieving Unification in 1871 but also challenging the industrial and imperial supremacy of Britain at the dawn of the twentieth century. Matthew Potter uses images, art criticism, and the public writings and private notes of artists to reconstruct the intellectual history of Germanism during a period of heightened nationalism and political competition. Key case studies explore the changing shape of intellectual engagements with Germany. It examines the German experts who worked on the margins of the Pre-Raphaelite circle, the engagements of Victorian 'academics' including Frederic Leighton, G.F. Watts, Walter Crane and Hubert Herkomer as well as avant-gardists like the Vorticists, the reception of Arnold Boecklin and Wassily Kandinsky by the Britons during the dawn of modern art, and the last gasp of enthusiasm for German art that took place in defiance of the rise of Nazism in the 1930s. -- .

Internal criticism of the Bauhaus For a long time, the topic of far-left currents within Bauhaus was one of controversy. Thanks to recent research on the Communist Student Fraction (Kostufra), the leftist students are finally coming into focus. Their magazine: bauhaus. sprachrohr der studierenden. organ der kostufra was a venue for unsparing critique of events, curricula, and teachers. The journal was published between 1930 and 1932 in Dessau and Berlin in 15 hectographed issues in a loose-leaf collection and is critically discussed here for the first time by researchers from art and cultural studies, architecture, and editorial studies. It clearly demonstrates that the experimental value of Bauhaus cannot be separated from its political radicalism. First detailed reappraisal of communism in Bauhaus With contributions by Peter Bernhard, Marcel Bois, Magdalena Droste, Elizabeth Otto, Patrick Roessler, and others

Diagnosed with schizophrenia in the 1950s, German writer and artist Unica Zurn produced a wealth of remarkable textual and visual material within psychiatric institutions across Germany and France. While Zurn is often discussed in relation to her partner, the controversial artist Hans Bellmer, this innovative book moves beyond the familiar model of the overlooked 'significant other' and re-introduces her as a member of the French Surrealist group. This is the first monograph on the life and work of the Unica Zurn in English. Esra Plumer presents Zurn's life and work in light of the artist's individual experiences with WWII, Post-war Surrealism and mental illness, at the same time revealing wider aspects of her artistic practice in relation to her contemporaries. She also reveals how the techniques of anagrams and automatism (writing and drawing methods designed to unlock the subconscious mind) form the pillars of Zurn's artistic creative output, which carry her work into the wider theoretical circles of psychoanalytic theory and post-structuralist thought.

Consuming Surrealism in American Culture: Dissident Modernism argues that Surrealism worked as a powerful agitator to disrupt dominant ideas of modern art in the United States. Unlike standard accounts that focus on Surrealism in the U.S. during the 1940s as a point of departure for the ascendance of the New York School, this study contends that Surrealism has been integral to the development of American visual culture over the course of the twentieth century. Through analysis of Surrealism in both the museum and the marketplace, Sandra Zalman tackles Surrealism's multi-faceted circulation as both elite and popular. Zalman shows how the American encounter with Surrealism was shaped by Alfred Barr, William Rubin and Rosalind Krauss as these influential curators mobilized Surrealism to compose, to concretize, or to unseat narratives of modern art in the 1930s, 1960s and 1980s - alongside Surrealism's intersection with advertising, Magic Realism, Pop, and the rise of contemporary photography. As a popular avant-garde, Surrealism openly resisted art historical classification, forcing the supposedly distinct spheres of modernism and mass culture into conversation and challenging theories of modern art in which it did not fit, in large part because of its continued relevance to contemporary American culture.

Terry Frost was one of Britain's great abstract painters. His career spanned seven decades, starting with his introduction to art in a prisoner of war camp, and stretching into the twenty-first century. He drew inspiration from a wide range of sources, but most especially from poetry and from the landscapes of Cornwall, Yorkshire, the Greek islands and America. Resolutely abstract, his paintings collages and sculptures are known for their exuberance and strong colour. Joyful and celebratory, his work is also a sensitive and contemplative articulation of the way in which the artist experience the world. In this book Chris Stephens presents Frost's art within a historical context and in relation to the work of his international contemporaries.

J. P. Bryan, whose monumental collection of Texas art is the source of this traveling exhibition, determined that he would collect only those artists who had actually participated in the settlement of Texas--not artists who imagined the events after they were history. Thus, as editor Michael Duty observes, "Deep in the Art of Texas" constitutes not just a tour of Texas artists, but a virtual tour of the romantic history and vast geography of the state itself.
Recognition that art is an essential part of Texas culture came late. Ron Tyler points out that if you searched art in the first edition of the Handbook of Texas, you discovered that it was "a small town in eastern Mason County." The lively essays here--by Bryan, Duty, and Tyler, the former director of the Amon Carter Museum--do more than illuminate the works themselves: they shed light on the creators and collectors of Texas art from the nineteenth century through the middle of the twentieth. "Deep in the Art of Texas" pulls pieces from the Torch Energy Advisors Collection of Texas Art, which showcases the likes of Charles Franklin "Frank" Reaugh and Robert Julian Onderdonk. The collection is housed at Torch Energy Advisors Inc. in Houston.

This unique book proposes a re-reading of the relationship between artists and the contemporary museum. In Australia in particular, the museum has played a significant role in the colonial project and this has generally been considered as the predominant mode of artists' engagement with such institutions and collections. Australian Artists in the Contemporary Museum expands the post-colonial frame of reference used to interpret this work, to demonstrate the broader implications of the relationship between artists and the museum, and thus to offer an alternative way of understanding recent contemporary practices. The authors' central argument is that artists' engagement with the museum has shifted from politically motivated critique taking place in museums of fine art, towards interventions taking place in non-art museums that focus on the creation of knowledge more broadly. Such interventions assume a number of forms, including the artist acting as curator, art works that highlight the use of taxonomic modes of display and categorization, and the re-consideration of the aesthetics of collections to suggest different ways of interpreting objects and their history. Central to these interventions is the challenge to better connect the museum and its public. The book will be essential reading for scholars, professionals and students in the fields of contemporary art and museum studies, art history, and in the museum sector. These include artists, curators, museum and gallery professionals, postgraduate researchers, art historians, designers and design scholars, art and museum educators, and students of visual art, art history, and museum studies. This project has been assisted by the Australian government through the Australia Council for the Arts, its arts funding and advisory body.

INDIEFAB Book of the Year Awards -- 2014 Finalist A monumental new monograph accompanying the first major retrospective in fifty years of the work of William Glackens, an important American realist painter. This richly illustrated volume provides a comprehensive introduction to William Glackens (1870-1938), one of the liveliest and most influential American painters of the early twentieth century. A founder of the Ashcan School, along with painters such as Robert Henri and John Sloan, Glackens was crucial to the introduction of modern art in the United States through his collaboration with Albert C. Barnes and his championing of landmark exhibitions of American and European avant-garde art. The finest examples of his works over a fifty-year career, including paintings previously unknown to the general public, are reproduced here-from intimate nudes, portraits, and figure studies to vivid still lifes, vibrant street scenes, and landscapes, in which he captured people and their surroundings with matchless spontaneity and spirit. The book features essays by important scholars examining the artist's relationship with French painting, his social observation and interest in costume, his depiction of women, and his role as a tastemaker.