"Jason C. Kuo's in-depth study of the paintings of Gao Xingjian significantly enriches our understanding of a major cultural polymath. This lavishly illustrated book enables us to make important connections between painting and writing, a type of synthesis often downplayed by western post-Enlightenment tendencies toward cultural specialization but very much at the heart of the Chinese literati tradition." Paul Gladston (University of Nottingham), principal editor of the Journal of Contemporary Chinese Art and author of Contemporary Chinese Art: A Critical History. "In The Inner Landscape: The Paintings of Gao Xingjian, Jason C. Kuo offers his readers a multifaceted lens through which to frame an engagement with the remarkable pictorial, filmic, and literary art of the Chinese writer and 2000 Nobel laureate in literature, Gao Xingjian. A central theme in his oeuvre is reflection on his life as a writer in self-exile in France, a life at once burdened with the memory of his homeland and yet artistically liberating. Kuo illuminates our understanding of the meaning and significance of his art by situating it within a critical discussion of the contemporary context of global modernity, a context that challenges our notions of national cultural identity in an age of mobile subjectivity and the deterritorialization of cultural practices." Stephen J. Goldberg (Hamilton College), author of Dislocating the Center: Contemporary Chinese Art Beyond National Borders. "The Inner Landscape: The Paintings of Gao Xingjian presents almost 300 paintings by the contemporary artist, poet, film-maker, author, and Nobel Laureate Gao Xingjian. Jason C. Kuo's erudite study not only details Gao's development as an intellectual, but also contextualizes and explores his attitudes toward writing, painting, and film-making in the interstices of 'East' and 'West'." Katharine P. Burnett (University of California, Davis), author of Dimensions of Originality: Essays in Seventeenth-Century Chinese Art Criticism. "The Inner Landscape: The Paintings of Gao Xingjian by Jason C. Kuo is a most thought-provoking and intelligent study of the art of Gao Xingjian. Kuo, driven by a desire for synthesis in his scholarship, brings a modernist practice to bear on a long tradition of intellectual discourse in China." Frances Klapthor, Baltimore Museum of Art.

"The problem of the Twentieth Century is the problem of the color-line." This quote is among the most prophetic in American history. It was written by W. E. B. DuBois for the Exhibition of American Negroes displayed at the 1900 Paris Exposition. They are words whose force echoed throughout the Twentieth Century. W.E.B. DuBois put together a groundbreaking exhibit about African Americans for the 1900 World's Fair in Paris. For the first time, this book takes readers through the exhibit. With more than 200 black-and-white images throughout, this book explores the diverse lives of African Americans at the turn of the century, from challenges to accomplishments. DuBois confronted stereotypes in many ways in the exhibit, and he provided irrefutable evidence of how African Americans had been systematically discriminated against. Though it was only on display for a few brief months, the award-winning Exhibit of American Negroes represents the great lost archive of African American culture from the beginning of the twentieth century.

Melanie Smith: Farce and Artifice is the publication that takes up the idea of the exhibition organised by the MACBA, jointly with the MUAC Museo Universitario Arte Contemporaneo and UNAM, in Mexico City, and the Museo Amparo, in Puebla, Mexico. It is the largest organised to date in Europe about the work of an artist who defies easy classification, born in England (Poole, 1965) but active on the Mexican art scene since the nineties.

This heavily illustrated publication considers the importance of art and design in the lives of composer Benjamin Britten and tenor Peter Pears. Anyone who has visited the Red House in Aldeburgh will have been struck by the range and quality of art collected by Benjamin Britten and, in particular, by Peter Pears. A Musical Eye is illustrated with more than 200 worksfrom the Britten-Pears collection and considers more widely the importance of art and design in their lives and work. There is also a comprehensive checklist of over 300 paintings, prints, drawings and sculptures in the collection with details including size, medium, date and purchase price. The book is edited by former Britten-Pears Foundation Curator Judith LeGrove, who also explains how the collection evolved and provides a checklist of keyworks. Colin Matthews, who worked with Britten and is now BPF's Director of Music, provides an introduction, while the current Curator at The Red House, Caroline Harding, uses correspondence in the BPF archive to explore the patronage by Britten and Pears of a wide range of artists. Julian Potter writes on the friendship between his mother, the artist Mary Potter, and Britten. Broadening the scope of the visual arts, architectural historian AlanPowers considers the buildings commissioned or modified by Britten and Bloomsbury; Britten's work for film; Sidney Nolan's artistic responses to Britten's music; and the designs for Britten's stage works, most notably by John Piper.

A pictorial chronology of Professional Fine Artist Sandy Garnett's First 1000 Career Paintings.

Jean de Jullienne (1686-1766) was one of the leading French amateurs and collectors of the eighteenth century. He played an important role as editor and dealer, most famously of Watteau's oeuvre, and held an influential position in the French art administration of his time, as director of the Gobelins factory until 1729. Jullienne's collection epitomizes the most advanced taste of Parisian private collectors of the period. His strong interest in contemporary French art, Netherlandish painting, in sketches, pastels and drawings were all typical or even trendsetting for a new generation of rich Parisian collectors with only loose ties to the French court. The two sales of his collection were major events for the European art market. The watercolor views of his collection in the inventory from 1756, a unique document for the period, are here published in their entirety for the first time. This exhibition catalog will present masterworks from Jullienne's collection, including Rubens, Rembrandt, Watteau, Wouwermans, Netscher, Bourdon, Vanloo, Greuze and Vernet. These are drawn from the Wallace Collection as well as museums in London, Edinburgh, Valenciennes, Berlin and from several important British private collections.

Celebrating twenty years of collecting photographs at the Getty Museum, Photographers of Genius at the Getty and the exhibition it accompanies spotlight the genius of thirty-eight seminal photographers selected from the hundreds of artists represented in the collection. The exhibition will be on view at the Getty Museum from March 16 to July 25, 2004. As the author, Weston Naef, writes, "Genius causes us to stretch our own limits, and genius photographers take us into new realms of seeing through their eyes." The innovative pioneers presented here span the early nineteenth to mid-twentieth centuries. They advanced the art of photography and in the process brought about changes in the history of art. These artists include will known photographers such as Gustave Le Gray, Julia Margaret Cameron, Eugene Atget, Alfred Stieglitz, August Sander, Andre Kertesz, Man Ray, Edward Weston, Brassai, Henri Cartier-Bresson, Manuel Alvarez Bravo, Walker Evans, Dorothea Lange, Weegee, and Diane Arbus. Others will be new even to experts. For example, early innovators Girault de Pragney, Anna Atkins, Camille Silvy, Henry Bosse and the Langenheim brothers have been rediscovered in recent years, bringi

This important publication accompanies a major exhibition at The Courtauld Gallery, London, of paintings by Edvard Munch, one of the world's greatest modern artists. The exhibition and catalogue showcase 18 major works from the collection of KODE Art Museums in Bergen. The works span the most significant part of Munch's artistic development and have never before been shown as a group outside of Scandinavia. KODE houses one of the most important collections of paintings by Edvard Munch (1863-1944) in the world. The collection was assembled at the beginning of the 20th century by the Norwegian industrialist, mill owner and philanthropist Rasmus Meyer (1858-1916), who was one of the first significant early collectors of Munch's work. Meyer knew Munch personally and was astute in acquiring major canvases by the artist that chart his artistic development. Edvard Munch: Masterpieces from Bergen explores this group of remarkable works in detail and considers the important role of Rasmus Meyer as a collector. The exhibition and publication include seminal paintings from Munch's early 'realist' phase of the 1880s, such as Morning (1884), which was made when the artist was just twenty years old, and Summer Night (1889), a pivotal work that shows the artist's move towards the expressive and psychologically charged work for which he became famous. These paintings launched Munch's career and set the stage for his renowned, highly expressive paintings of the 1890s when his compositions became powerful projections of his emotions and imaginative states. Such works are a major feature of the exhibition that includes remarkable canvases from Munch's famous 'Frieze of Life' series, such as Evening on Karl Johan (1892), Melancholy (1894-96) and At the Death Bed (1895). Through his 'Frieze of Life' works, Munch intended to address profound themes of human existence, from love to death. The artist used his own experiences as source material to make visceral depictions of the human psyche, which he hoped would help others understand their own life. Munch's powerful use of colour and form to convey his subjects marked him out as one of the most radical painters at the turn of the 20th century. This fully illustrated publication includes a catalogue of the works, with contributions by leading experts in their fi eld from KODE and The Courtauld.

In July 1897, in a flourish of publicity, Sir Benjamin Stone - Birmingham industrialist, Member of Parliament and passionate, almost obsessive collector, announced the formation of the National Photographic Record Association. Its prime objective was to make a record of England for future generations, to foster "a national pride in the historical associations of the country, or neighbourhood, in family traditions, or in personal associations." Over the next 13 years, Stone and his amateur supporters deposited their photographs at the British Museum. In 2000, these were moved to the V&A. This book examines Stone's central role in the project and presents over 100 of his photographs, many of which have never been published before. It also charts the history of the NPRA and points to its legacies within photography. What is especially striking is the resonance of these pictures in our own age.