As Director of Exhibitions and Publications at the Museum of Modern Art from 1939 to 1967, Monroe Wheeler heavily influenced typography, book design, and the development of the museum exhibition catalogue. During his tenure at MoMA, Wheeler developed close relationships with many of the artists he exhibited and published. Season's Greetings is a volume of over fifty handmade art objects and limited printings that were sent to Wheeler from artists, many of whom he knew intimately, including never-before-seen work by such luminaries as Jean Cocteau, Ben Shahn, Miguel Covarrubias, Rufino Tamayo, Robert Parker, Roberto Montenegro, Herbert Bayer, and Max Weber. Essays by Allen Ellenzweig, Joseph Scott IV and Vincent Cianni establish the importance of this vast archive of art, letters, and ephemera, and highlight Wheeler's wide influence within his field. Season's Greetings is a fitting tribute to a man whose life's work centered on and celebrated fine art publications. Vincent Cianni is a documentary photographer and archivist for the Estate of Anatole Pohorilenko and the Monroe Wheeler Archive. He teaches at Parsons, The New School for Design in New York City, and has authored two books, including Gays in the Military, published by Daylight Books in 2014. Joseph Scott IV, Philadelphia, PA, became caretaker of the Manhattan apartment of Monroe Wheeler in 1990 to assist with organizing and preserving this important archive. His work continues today, as executor for Anatole Pohorienko, to help finish cataloging the remaining material for Mr. Wheeler, Glenway Wescott and George Platt Lynes. Allen Ellenzweig, New york, NY, is an arts critic and cultural commentator currently preparing a biography of twentieth-century photographer George Platt Lynes for Oxford University Press. He is a contributing writer to the Gay & Lesbian Review Worldwide and has published in Art in America, PASSION: the Magazine of Paris, Studies in Gender and Sexuality, and the online magazine Tablet. He has also published works of short fiction. His landmark 1992 illustrated history, The Homoerotic Photograph: Male Images from Durieu/Delacroix to Mapplethorpe, was reissued in paperback by Columbia University Press in 2012. He teaches in the Writing Program at Rutgers University, New Brunswick, New Jersey. He is a founding board member of The Robert Giard Foundation which offers an annual fellowship to photographers, videographers, or filmmakers.

Restoring a "perfect painter" to the Cubist canon Juan Gris (1887-1927) was central to the development of Cubism in the early 20th century. Though the writer and art collector Gertrude Stein considered him a "perfect painter," Gris's pivotal role within the movement has often been overshadowed. Cubism in Color: The Still Lifes of Juan Gris reveals the virtuosic range of the artist's short yet prolific career, illuminating his boundary-pushing contributions to Cubism. As a thorough examination of Gris's still lifes, Cubism in Color provides an important reassessment of this underappreciated artist, reestablishing his position as a modernist master. This fully illustrated volume traces the evolution of Gris's aesthetic and approach to still life through a selection of key works. It includes original essays by leading scholars in the field, offering new insights on Gris's elusive artistic process, the history of collecting his work in the United States and his native Spain, and his artistic legacy within modern and contemporary Latin American art. Distributed for the Dallas Museum of Art and The Baltimore Museum of Art Exhibition Schedule: Dallas Museum of Art (March 14-July 25, 2021) The Baltimore Museum of Art (September 12, 2021-January 9, 2022)

How do you write a history of a group that has been written out of history? In The Accidental Archives of the Royal Chicano Air Force, world-famous archaeologist La Stef and the clandestine Con Sapos Archaeological Collective track down the "facts" about the elusive RCAF, the Rebel Chicano Art Front that, through an understandable mix-up with the Royal Canadian Air Force, became the Royal Chicano Air Force. La Stef and her fellow archaeologists document the plight and locura que cura of the RCAF, a group renowned for its fleet of adobe airplanes, ongoing subversive performance stance, and key role as poster makers for the United Farm Workers Union during the height of the Chicano civil rights movement. As the Con Sapos team uncovers tensions between fact and fiction in historical consciousness and public memory, they abandon didactic instruction and strive instead to offer a historiography in which various cultural paradigms already intersect seamlessly and on equal ground. That they often fail to navigate the blurred lines between "objective" Western archival sciences and Indigenous/Chicana/o cosmologies reflects the very human predicament of documenting the histories of complicated New Worlds everywhere. Uniquely blending art history, oral history, cultural studies, and anthropology, The Accidental Archives of the Royal Chicano Air Force suspends historical realities and leaps through epochs and between conversations with various historical figures, both dead and alive, to offer readers an intimate experience of RCAF history.

When architecture is the subject of an exhibition, there is almost always a dilemma: architecture can only be represented through drawings, models, and photographs; the physicality of architecture per se is missing. The abstraction of architecture for exhibition and the absence of architectural experience in architectural exhibition are in fact two sides of the same coin: The problem of the lack of an architectural reality. In this book, Yong He Chang traces the history of architectural intervention in exhibitions and answers the above questions through more than forty exhibition designs made by Chang and Atelier FCJZ. The book showcases his original approach to construction and shares his thoughts on the relationship between architecture and the timeless aspects of 'exhibition'. It also includes a discussion of a series of issues Yong He Chang and his team have encountered in designing exhibitions and installations, and the responses they came up with.

Luisa Lambri's art revolves around the human condition and its relationship with space, touching on areas such as the politics of representation, architecture, the history of abstract photography, modernism, feminism, identity and memory. The title of the exhibition presented at PAC, in Milan, is a tribute to Carla Lonzi who, in 1969, published "Autoritratto", a collection of interviews with avant-garde artists that revealed their private sides. In the same way, Lambri constructs personal and intimate readings of the subjects of her photographs and encourages a dialogue between the observer, the work of art and the space. Light, time and movement play an important role in her work, where slight differences reflect the artist's movement within the space. Lambri uses architecture to create her images, rather than images to document architecture, revealing negligible details of modernist architecture or iconic minimalist sculptures. At PAC, her works relate to the unique qualities of the architecture designed by Ignazio Gardella, for which the exhibition was specifically developed. Text in English and Italian.

A richly illustrated companion to selected works from the collections at M+. At the heart of Hong Kong's new museum of visual culture are the M+ Collections - the result of a carefully considered programme of collection-building that began with the inception of M+ in 2011. The first of their kind in Asia, the collections comprise four different holdings: the M+ Collection, made up of 6,000-plus works and objects from the worlds of visual art, moving image, and design and architecture, the museum's core areas of interest; the M+ Sigg Collection, consisting of 1,510 works of contemporary Chinese art; the M+ Collection Archives, composed of over 45,000 items; and the M+ Library Special Collection, with 400-plus items. Together, the holdings serve to embody the bold and ambitious mission with which M+ was founded: to become a multidisciplinary museum of contemporary visual culture, rooted in Hong Kong and Asia but with an international outlook. M+ Collections: Highlights presents the work of more than 300 artists, designers, film-makers, photographers and architects specially selected to represent the collections as a whole, from Zhang Peili and Charlotte Perriand to Nam June Paik, Zaha Hadid, and Shigeru Ban. Organized into seven chapters, each encompassing a different decade of the collections' span - from the 1950s to the 2010s - the book consists of individual entries on the featured makers composed of one or more of their works and an insightful analysis by an M+ curator. Interspersed among these entries are 24 thematic essays intended to illuminate some of the movements, tendencies and ideas around which the collections have grown, including modernism in Asian art and the future of painting in a digital world. Full of unexpected connections and new perspectives, M+ Collections: Highlights represents not only an invaluable introduction to M+'s unrivalled storehouse of visual culture but also an indispensable work of reference.

As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, this book celebrates the work of a series of extraordinary Indian artists, each with their own style and tastes and agency, all of whom worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.

An amply illustrated examination of Vincent Geyskens' work exploring of the position of painting in contemporary society Vincent Geyskens examines the position of painting in contemporary society, engaging with abstraction, figuration and a variety of media and styles as the artist probes their possibilities and limits. Complemented by a number of older reference works, this book zooms in on Geyskens' practical work over the past ten years to bring together various series in free-ranging connection with one another. It places the spotlight on the breadth of his experience and gathers together the diverse series and types of work produced over the course of his oeuvre. The links forged between the various approaches he uses lends voice to Geyskens' quest as a painter exploring the status of the image and visual representation in the present day. His painting is a way of turning thoughts into something tangible, translating them into substance in this amply illustrated publication. Distributed for Mercatorfonds Exhibition Schedule: EXPO M Museum Leuven (May 27-September 5, 2021)

A groundbreaking introduction to the photographic work of an iconic modern artist The pathbreaking artist Georgia O'Keeffe (1887-1986) is revered for her iconic paintings of flowers, skyscrapers, animal skulls, and Southwestern landscapes. Her photographic work, however, has not been explored in depth until now. After the death of her husband, the photographer Alfred Stieglitz, in 1946, photography indeed became an important part of O'Keeffe's artistic production. She trained alongside the photographer Todd Webb, revisiting subjects that she had painted years before-landforms of the Southwest, the black door in her courtyard, the road outside her window, and flowers. O'Keeffe's carefully composed photographs are not studies of detail or decisive moments; rather, they focus on the arrangement of forms. This is the first major investigation of O'Keeffe's photography and traces the artist's thirty-year exploration of the medium, including a complete catalogue of her photographic work. Essays by leading scholars address O'Keeffe's photographic approach and style and situate photography within the artist's overall practice. This richly illustrated volume significantly broadens our understanding of one of the most innovative artists of the twentieth century. Published in association with the Museum of Fine Arts, Houston Exhibition Schedule: Museum of Fine Arts, Houston (October 17, 2021-January 17, 2022) Addison Gallery of American Art, Phillips Academy, Andover, MA (February 26-June 12, 2022) Denver Art Museum (July 3-November 6, 2022) Cincinnati Art Museum (February 3-May 7, 2023)

To celebrate its fiftieth birthday, this comprehensive new catalogue records the breadth of art held in the international Hiscox Collection, as seen through the eyes of two celebrated contemporary artists. Edited by Whitney Hintz and Laura Smith. Global insurer Hiscox have been collecting modern and contemporary art for fifty years, and their significant collection comprises 1000 works by international artists at the forefront of contemporary practice. Including work by Etel Adnan, Nan Goldin, David Hockney, Joan Miro, Eduardo Paolozzi and Pablo Picasso, the collection will be on public view for the first time in two consecutive displays at Whitechapel Gallery: the first curated by British painter Gary Hume (b.1962) and the second by Berlin-based Venezualean artist Sol Calero (b.1982 ). The catalogue will include contributions by both artistcurators, as well as colour illustrations of every work in the collection.

A penetrating reevaluation of the period in which the German Expressionist George Grosz created his best-known, most searing satirical works This overdue investigation of George Grosz's (1893-1959) most compelling paintings, drawings, prints, and collages offers a reassessment of the celebrated German Expressionist during his years in Berlin-from his earliest artistic endeavors to the trenchant satirical images and searing depictions of moral decay between the World Wars for which he is known today. Menacing street scenes, rowdy cabarets, corrupt politicians, wounded soldiers, greedy war profiteers, and other symbols of Berlin's interwar decline all met with the artist's relentless gaze, which exposed the core social issues that eventually led to Germany's extreme nationalist politics. Featuring masterpieces as well as rarely published works, this book provides further insight into the artist's creative pinnacle, reached during this critical and ominous period in German history. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: Staatsgalerie, Stuttgart (November 18, 2022-February 26, 2023)

Cosmos: Silence and Infinite offers new approaches on the stunning art works of Eduardo Terrazas's (1936) art works. Four well known authors present a multidisciplinary vision on the artists ongoing series Possibilities of a Structure. Which suggests at once a curiosity in the fabric of our universe and a profoundly human hope for an underlying rationality behind the chaos of the world. Eduardo Terrazas's has explored a lifetime's worth of questions about the nature of the universe through the microcosm of his images. He derives his visual reflections with a basic geometric structure and a technique that is inspired by the Huichol "tablas" from Mexican indigenous tribes. His highly colourful and playful series Possibilities of a Structure - of which Cosmos is a subseries - is ongoing since 1974 and holds over 650 works until today: an artistic exploration of the boundaries of the infinite.

In and Out of View models an expansion in how censorship is discursively framed. Contributors from diverse backgrounds, including artists, art historians, museum specialists, and students, address controversial instances of art production and reception from the mid-20th century to the present in the Americas, Africa, Asia, Europe, and the Middle East. Their essays, interviews, and statements invite consideration of the shifting contexts, values, and needs through which artwork moves in and out of view. At issue are governmental restrictions and discursive effects, including erasure and distortion resulting from institutional policies, canonical processes, and interpretive methods. Crucial considerations concerning death/violence, authoritarianism, (neo)colonialism, global capitalism, immigration, race, religion, sexuality, activism/social justice, disability, campus speech, and cultural destruction are highlighted. The anthology-a thought-provoking resource for students and scholars in art history, museum and cultural studies, and creative practices-represents a timely and significant contribution to the literature on censorship.

This catalogue for a show at the Royal Museum of Fine Arts, Brussels, brings Picasso's relationship to abstraction into focus. With more than 120 exceptional works of art in dialogue with some of the great works of the early 20th century abstraction movement, it addresses the major stages that punctuated the links between Picasso's work and the history of abstract art. It covers the period from the first Cubist experiments of 1907, carried out simultaneously with Les Demoiselles d'Avignon, to his later work, which is sometimes situated on the borders of gestural painting.

This volume addresses the question of the relation between sculpture and coins--or large statuary and miniature art--in the private and public domain. It originates in the Harvard Art Museums 2011 Ilse and Leo Mildenberg interdisciplinary symposium celebrating the acquisition of Margarete Bieber's coin collection. The papers examine the function of Greek and Roman portraiture and the importance of coins for its identification and interpretation. The authors are scholars from different backgrounds and present case studies from their individual fields of expertise: sculpture, public monuments, coins, and literary sources. Sculpture and Coins also pays homage to the art historian Margarete Bieber (1879-1978) whose work on ancient theater and Hellenistic sculpture remains seminal. She was the first woman to receive the prestigious travel fellowship from the German Archaeological Institute and the first female professor at the University of Giessen. Dismissed by the Nazis, she came to the United States and taught at Columbia. This publication cannot answer all the questions: its merit is to reopen and broaden a conversation on a topic seldom tackled by numismatists and archaeologists together since the time of Bernard Ashmole, Phyllis Lehmann and Leon Lacroix.

Embroideries from the Greek islands dazzle with their bright colours and charming motifs. This publication reveals little-known pieces from the Ashmolean Museum at the University of Oxford, newly photographed and published here for the first time. The embroideries include fragments of pillowcases, bed valances, tents and curtains, as well as items of dress. As with all collections of textiles, the story of the Ashmolean holdings is chiefly about their makers and their ingenuity. Once forming the bulk of bridal trousseaux, Greek embroidered textiles were produced and maintained by young and old women for themselves and the house using locally produced materials. A mark of their worth and a platform for self-expression, embroidered textiles also helped Greek women to negotiate their place in the community, signalling status and affiliation.

The brief Russian presence in California yielded some of the earliest ethnography of Native Californians and some of the best collections of their material culture. Unstudied by western scholars because of their being housed in Russian museums, they are presented here for the first time in an English language volume. Descriptions of early nineteenth-century travelers such as von Wrangel and Voznesenskii are followed by a catalog of objects ranging from hunting weapons to household objects to ritual dress to musical instruments, games, and gift objects. This catalog of objects includes over 150 images, many in full color. An essential volume for those interested in the ethnology, archaeology, art, and cultures of Native Californians.