Since Tate Modern opened in 2000, the Turbine Hall has hosted some of the world's most memorable and acclaimed works of contemporary art, reaching an audience of millions. The way artists have interpreted this vast industrial space has revolutionised public perceptions of contemporary art in the twenty-first century. The annual Hyundai Commission, now in its third year, gives artists an opportunity to create new work for this unique context. In 2017 the Hyundai Commission will be undertaken by the Danish collective SUPERFLEX, known for their interests in unifying urban spaces and commenting on society with authenticity through art. Migration, alternative energy and the power of global capital are just some of the motives behind their highly engaging, visual and often humorous work. They are best known for their playfully subversive installations and films. Referring to their works as tools, the collective engage alternative models for the creation of social and economic organisation. SUPERFLEX was founded in 1993 by Danish artists Bjornstjerne Christiansen, Jakob Fenger and Rasmus Nielsen. Based in Copenhagen, they have gained international recognition for their projects and solo exhibitions around the world and are represented in several public art institutions, such as MoMA, New York; Queensland Art Gallery, Brisbane; Louisiana Museum of Modern Art, Denmark; FRAC Nord-Pas de Calais; and Coleccion Jumex, Mexico City. Created in close collaboration with SUPERFLEX, the book will feature a fully illustrated survey of their work and an in-depth conversation between the artists and curator Donald Hyslop. Exploring in fascinating detail the artistic processes involved in creating this exciting new work, it will include stunning photographs of the dramatic new installation to be revealed in the Turbine Hall in October 2017.

This beautiful and informative volume illustrates the vitality and importance of North Carolina's contemporary art scene, showcasing the creation, collection, and celebration of art in all its richness and diversity. Featuring profiles of individual artists, compelling interviews, and beautiful full-color photography, this book tells the story of the state's evolution through the lens of its art world and some of its most compelling figures. Liza Roberts introduces readers to painters, photographers, sculptors, and other artists who live and work in North Carolina and who contribute to its growing reputation in the visual arts. Roberts also provides fascinating historical context, such as the influence of Black Mountain College, the birth and growth of Penland School of Crafts, and short histories of North Carolina's art museums, including Charlotte's Mint Museum, Raleigh's North Carolina Museum of Art, Winston-Salem's Reynolda House, and those flourishing at universities. Artists featured include Stephen Hayes, Mel Chin, Cristina Cordova, Beverly McIver, and Scott Avett. The result is the most comprehensive, informative, and visually rich story of contemporary art in North Carolina.

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)

Year 3 is one of the most ambitious records of citizenship ever undertaken. Using the medium of the traditional school class photograph, this epic work captures tens of thousands of London schoolchildren from a single academic year. Mapping a picture of the present, the artwork captures a milestone year in a child's personal development: the moment when they become more conscious of the world beyond their immediate family. It is a critical time for them to develop confidence in all areas of life, to understand more about their place in the changing world and to think about the future. Depicting rows of children sitting or standing alongside their teachers and teaching assistants, Year 3 reflects this moment of excitement, anxiety and hope. Year 3 is more than a portrait of a generation however: it documents and explores, in a way never before attempted, a range of urgent ideas connected to the UK, and to our world, today. This book takes the photographs as a starting point and looks ahead, commenting on and contextualising the artwork and its message, but also providing a platform for new voices, and a new set of ideas. Year 3 is less a commemoration and more an active extension of the artwork itself: 'a glimpse of the capital's future, a hopeful portrait of a generation to come.'

Madame Vuillard is a particular focus of the work produced during the initial decade of Edouard Vuillard's (1868 - 1940) career, the 1890s, when Vuillard was a member of the Nabis and forging an artistic identity as part of the Parisian avant-garde. During this period Vuillard and his widowed mother shared a series of modest rented apartments in central Paris in which the artist sustained a works-on-paper and (from 1897) amateur photographic practice out of his 'studio-bedroom', whilst in the dining room Madame Vuillard ran the corsetry business employing a handful of seamstresses including Vuillard's sister. In these apartments Vuillard and Madame Vuillard operated mutually supportive, parallel working practices, to the extent that Vuillard put his mother and the fabric of her atelier 'in the picture' whilst she posed for his pencil and camera or developed his photographs in the kitchen. Their Parisian co-habitation, and Vuillard's portrayal of his mother across a range of pictorial media, lasted until Madame Vuillard's death as an elderly woman in 1928. This mutuality of working and living practice will constitute one of the themes of this unique loan exhibition, drawn from UK and Parisian collections and featuring paintings, lithographs and other works on paper as well as photographs. It will also explore the diverse domestic roles and responsibilities of a petit-bourgeois widow at the turn of the century in works that portray Madame Vuillard as seamstress; resting after dinner; imparting maternal advice and care to her daughter; as a woman at her toilette; and as the apartment's cook and cleaner. The exhibition will also foreground Vuillard's practice as modernist artist by focusing on the maternal fi gure in relation to the specifi c formal properties of his work. These include, in the 1890s at least, the paintings' diminutive size; their shallow, simplifi ed compositional structure worked over with dense webs or matt patches of pigment; and the omission of spaces between fi gures and things. It was the intimacy (sometimes serious or witty, often banal) of their maternal motifs, the intimate formal relation between fi gure and ground and the intimate viewing conditions these small works required of their viewers that caught the attention of Vuillard's earliest critics, who in the 1890s fi rst labeled him an 'intimiste' artist. This exhibition and accompanying illustrated catalogue will locate Madame Vuillard as muse, as motif and as everyday practical support at the core of Vuillard's developing Intimism; an artistic corpus spanning 40 years. The exhibition catalogue will feature an essay on Madame Vuillard's role in her son's practice by the exhibition's curator, Dr Francesca Berry, and an essay on Vuillard and photography by Mathias Chivot of the Archives Vuillard-Archives Roussel, Paris.

The Crocker Art Museum has one of the finest and earliest German drawings collections in the United States. Featuring artists such as Johann Wolfgang Baumgartner, Anton Raphael Mengs and Johann Heinrich Wilhelm Tischbein, The Splendor of Germany examines the major developments in German draughtsmanship over the course of the eighteenth century. Published to coincide with the collection's 150th anniversary. In the 21st century, the collecting and study of 18th-century German drawings has become a major focus for American museums. One of the finest collections of them, however, has been in California for 150 years. The superb drawings at the Crocker Art Museum, from a Baroque altarpiece design by Johann Georg Bergmuller to a Neoclassical mythology by Johann Heinrich Wilhelm Tischbein, provide a panorama of German draughtsmen and draughtsmanship throughout the century. Many of the drawings are remarkable for their modernity. A self-portrait by Johann Gottlieb Prestel bypasses convention to achieve a direct, unmediated likeness. Well-placed slashes with brush and black ink define the features below his peruke outlined in black chalk. Other drawings encapsulate specific developments and styles, such as Johann Wolfgang Baumgartner's Lazarus and the Rich Man, which shows the florid dynamism of the Augsburg Rococo. A full range of eighteenth-century German artists are represented here, from the satirizing moralists Johann Elias Ridinger and Daniel Chodowiecki to the Classicist and friend of the art theorist Johann Joachim Winkelmann, Anton Raphael Mengs. Landscape artists are especially well represented, such as the key figure Johann Georg Wille, printmaker to the French king Louis XV, and generations of artists he taught and influenced all the way to the early Romantic landscapists. The exhibition and catalogue gather together a variety of dynamic and sensitive portraits, charming scenes of daily life, and often humorous moralizing subjects, as well as narratives, both religious and mythological, from the late Baroque to Neoclassicism. In the realm of landscape, the depth of the collection allows the exhibition to trace schools and influences-in addition to Wille's mentioned above-even in families such as that of Prestel, whose wife and daughter were both landscapists. It also allows it to demonstrate the great variety of works by single artists such as Christoph Nathe, represented by four landscapes in four different genres including a splendid scene near Goerlitz. Some artists, in fact, work in several genres as in the case of Johann Christian Klengel, whose works include the scene of a family by candlelight, a farmstead landscape, and a sketchbook that he carried through the countryside to record picturesque views. This is a rare opportunity for the public and for drawings enthusiasts. Two-thirds of the drawings in the exhibition have not been shown before; most of the exceptions have not been seen since 1989. Because of the drawings' 150-year history of limited exposure, the state of preservation of the collection is exceptional, as is the condition of the new acquisitions included in the exhibition.

This book is based on the artwork of Sue Jane Taylor. She is no stranger to extreme working environments, having worked for over thirty years recording the lives of workers in the North Sea oil industry on sites such as Piper Alpha, Piper B, Forties platforms and recently Murchison in the Northern Seas. Her work now extends to the offshore renewable energy industry. The book brings a unique perspective to the relationship between art, environment and industry while revealing a relatively alien way of life on board a North Sea oil platform. Among other themes it will consider the future of energy in Scotland. The book has an introductory essay by Elsa Cox, Senior Curator of Technology at National Museums Scotland, illustrated by relevant objects from the collections in the National Museum. This is followed by Sue Jane Taylor's artwork, with extended captions.

This comprehensive reconstruction and interpretation of Louise and Walter Arensberg's groundbreaking collection of modern and pre-Columbian art takes readers room by room, wall by wall, object by object through the couple's Los Angeles home in which their collection was displayed. Following the Armory Show of 1913, Louise and Walter Arensberg began assembling one of the most important private collections of art in the United States, as well as the world's largest private library of works by and about the philosopher Sir Francis Bacon. By the time Louise and Walter died--in 1953 and 1954, respectively--they had acquired some four thousand rare books and manuscripts and nearly one thousand works of art, including world-class specimens of Cubism, Surrealism, and Primitivism, the bulk of Marcel Duchamp's oeuvre, and hundreds of pre-Columbian objects. These exceptional works filled nearly all available space in every room of their house--including the bathrooms. The Arensbergs have long had a central role in the histories of Modernism and collecting, but images of their collection in situ have never been assembled or examined comprehensively until now. Presenting new research on how the Arensbergs acquired pre-Columbian art and featuring never-before-seen images, Hollywood Arensberg demonstrates the value of seeing the Arensbergs' collection as part of a single vision, framed by a unique domestic space at the heart of Hollywood's burgeoning artistic scene.

Walking, Finding, Sharing offers visitors of the world's largest art exhibition a novel approach to experiencing art. Inspired by travel guides and museum tours, this richly illustrated book invites children and families, comic lovers, and seasoned exhibition visitors alike to see documenta fifteen with new eyes. Four international illustrators and four authors bring the universe of ruangrupa's documenta fifteen to life through graphic storytelling, stimulating readers' imaginations with their vivid imagery. Each of the five tours - Humor, Local Anchor, Independence, Generosity, and Transparency - is based on the value system of the Indonesian curatorial team and offers ideas and perspectives that complement the exhibition. Walking, Finding, Sharing encourages visitors to find their own ways of approaching documenta fifteen: each path is a suggestion and can be explored spontaneously, in full or only in parts. This entertaining book serves as a reference, a joyful companion, and an innovative guide that will inspire both children and adults to engage with the exhibition.

J. Paul Getty had a passion for the exquisitely made furniture and decorative objects of eighteenth-century France, which he began collecting in the 1930s. Gillian Wilson, curator of decorative arts since 1971, has broadened and strengthened the collection, adding Boulle furniture, mounted oriental porcelain, tapestries, clocks, ceramics, and more. In the 1980s and 1990s the Museum continued to enlarge its decorative arts holdings, creating a European sculpture department in 1984 and adding glass, maiolica, goldsmiths' work, pietre dure, and furniture from Italy and Northern Europe.
This book is a revised and expanded edition of Decorative Arts: An Illustrated Summary Catalogue of the Collection of the J. Paul Getty Museum (1993). In addition to more than forty recent acquisitions--among these four wall sconces from Versailles that once belonged to Marie Antoinette and an elaborate upholstered bed from the collection of Karl Lagerfeld--it includes the results of years of research. Designed for scholars, students, and devotees of the decorative arts, this volume provides a comprehensive look at the Getty's fine collection.

Published on the occasion of Damien Hirst's exhibition at the Wallace Collection, London, in October 2009, this small volume presents 30 colorplates showcasing a selection of blue skull and flower paintings from that show, and three gatefolds. An interview also featured in the larger Wallace Collection catalogue is also included here.

This volume is a timely exploration of many facets of collecting and collectors. It brings together sixteen papers originally presented in two colloquia and a workshop at the 2017 Annual Meeting in Toronto. Part 1, Collecting and Presenting the Etruscans in North America, focuses on a select number of collecting narratives that demonstrate how the art and material culture of a then little-known Italic culture made its way to the United States during the mid- to late 19th and early 20th centuries. Part 2, Satis sit una aliqua gemma: Collecting Classical Gem from Antiquity through the 19th Century, explores the significance that collecting antique gems acquired across time and space, as well the reasons why these objects remained highly valued and sought-after collectibles from antiquity to the modern era. Part 3, Researching Ownership Histories for Antiquities in Museum Collections, draws attention to discoveries that have been made through provenance research, and also to the challenges that shape the investigation of provenance.

With cover artwork specially created by Ruscha, this book documents hundreds of projects and miscellaneous ephemera produced by the artist alongside his main oeuvre-including installations, films, painted book covers, contour gauge profiles, and more Introducing readers to the stunning breadth of Edward Ruscha's (b. 1937) creative output over the course of his entire life, this book includes materials dating back to his childhood and extending to his present-day output. The projects featured here fall outside Ruscha's production of paintings, drawings, prints, and artists' books. Many of these are unknown and most are reproduced here for the first time. Composed of three sections-Projects and Ephemera; Contour Gauge Profiles; and Painted Book Covers-the book offers Ruscha enthusiasts and scholars a hitherto unknown aspect of Ruscha's practice, while also showing how these projects coincide with, and sometimes even prefigure, the artistic work for which he is best known. The approximately 270 painted book covers, begun in 1990, utilize found books as support for small paintings and drawings. The 57 contour gauge profiles are silhouette-like profiles made using a mechanical device for reproducing contours. The largest section, Projects and Ephemera, consists of installations, sculpture and objects, films, book and poster design, utilitarian works, and more. Distributed for Gagosian

Focusing on production and patronage, this new volume features over 150 images of magnificently illustrated books and precious bindings, drawn largely from North American collections. The book's three sections are arranged chronologically, yet in each case with a different thematic focus. Opening with a look at the precedents set by the Carolingian forerunners of the Empire, the first section considers deluxe imperial manuscripts associated with the Ottonian emperors. The second section examines the role of imperial monasteries in the production of manuscripts, considering in particular the patronage of aristocratic elites. The final section offers a tour of imperial cities in the fourteenth and fifteenth centuries, from Vienna and Prague to Augsburg and Nuremberg. This final stop considers the impact of Albrecht Durer and humanism on the arts of the book. The volume features a glossary, indexes, and maps showing the shifting borders of the Empire over 700 years.

This book presents the Gianfranco Luzzetti collection housed in the historic complex of the former convent of the Clarisse in Grosseto, a new museum in the city. The collection is the result of the donation to the Municipality, in 2018, of over 60 works from the personal heritage of Luzzetti, an antiquarian from Grosseto, deeply linked to his land. The paintings, of great quality, trace Italian art from the 14th to the 19th century, with particular attention to Florentine art of the 17th century. The collection includes masterpieces by Antonio Rossellino, Giambologna, Rutilio Manetti, Passignano, Niccolo di Pietro Lamberti, Corrado Giaquinto, Camillo Rusconi, Pier Dandini and Giovanni di Tano Fei, as well as important works by Donatello and Beccafumi and works already donated to the Municipality of Grosseto in past years, of Santi di Tito and Cigoli. This volume, with introductory texts regarding the history of the site, the birth of the Museum and the Collection, is complemented by an anthology of writings by Luzzetti and bibliographic apparatuses. Research and texts: Sandro Bellesi, Marco Ciampolini, Roberto Contini, Elena Dubaldo, Lucia Ferri, Claudia Ganci, Cecilia Luzzetti, Gianfranco Luzzetti, Andrea Marchi, Mauro Papa, Marcella Parisi, Francesca Perillo, Gianluca Sposato, Angelo Tartuferi. Italian edition, with English translation in the appendix.

The collection of Roman art at The Metropolitan Museum of Art is one of the finest in the world. It contains more than 5,000 objects, including exquisite cameos, refined silver vessels and utensils, spectacular Pompeiian frescoes, monumental sculptures in stone and bronze and elaborate sarcophagi. This handsome guide features a selection of over 200 of the most important works that exemplify this rich and diverse collection, each presented in detail and illustrated with stunning colour photography. Every work is accompanied by an engaging text written by prominent scholars that establishes the object's significance in antiquity, providing new insights for a contemporary understanding of ancient Roman art. Contents: Acknowledgments; Director's Foreword; Introduction; Roman Copies and Adaptations of Greek Sculpture; The Decoration of House and Villa; Luxury Art; Shrines of the Lares and Offerings to Other Divinities; Roman Egyptomania; Tombs and Funerary Monuments; Imperial and Private Portraits; Gladatorial Games, Sports, and the Military; Architectural Elements; A Selection of Roman Works and their Modern Histories; Bibliography; Index.

An accessible introduction to the quintessential art form of the Islamic world How to Read Islamic Calligraphy explores the preeminence of the written word as a means of creative expression throughout the Islamic world. Aimed at a general audience, the book introduces all five major Islamic calligraphic script types, demonstrates their distinctive visual characteristics, and explains the various contexts in which each one came to be used, whether for transcribing the Qur'an, composing poetry, or issuing written edicts from the sultan's court. Numerous examples illustrate how the transmission of these styles and techniques from master to pupil was fundamental to the flourishing of Islamic calligraphy, and handwriting models from as early as the 10th century continue to inspire students of calligraphy today. Superbly illustrated, the works discussed include manuscripts, glass, metalware, and ceramic tiles. This accessible and engaging book traces the progression of calligraphic styles over centuries and across geographical regions, affirming the spectacular range of creative possibilities afforded by this unique art form. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

The idea of "renaissance," or rebirth, arose in Italy as a way of reviving the art, science, and scholarship of the Classical era. It was also powered by a quest to document artistic "reality" according to newly discovered scientific and mathematical principles. By the late 15th century, Italy had become the recognised European leader in the fields of painting, architecture, and sculpture. But why was Florence the centre of this burgeoning creativity, and how did it spread to other Italian cities? Brimming with vivid reproductions of works by Leonardo, Michelangelo, Botticelli, Raphael, Titian, and others, this book showcases the creative achievements that traveled from Florence to Rome to Venice. Art historian Norbert Wolf explores the influence of secular and religious patronage on artistic development; how the urban structure and way of life allowed for such a rich exchange of ideas; and how ideas of humanism informed artists reaching toward the future while clinging to the ideals of the past. Insightful, accessible, and fascinating, this thoroughly researched book highlights the connections and mutual influences of Florence, Rome, and Venice as well as their intriguing rivalries and interdependencies.

In the first exhibition highlight of the year, three outstanding artists - Wilhelm Lehmbruck, Georg Kolbe, and Ludwig Mies van der Rohe - are being brought together for the first time at Haus Lange in Krefeld. Figurative sculpture, as repeatedly integrated into designs and buildings by the architect Mies van der Rohe, is thus placed in direct dialog with the building, the design, and the gardens of Haus Lange. The background for the interplay between architecture and sculpture is the natural-philosophical climate, which, in the early twentieth century, influenced a wide range of disciplines. On display will be roughly twenty-five sculptures by Lehmbruck and Kolbe as part of the organic body of Haus Lange.

Nearly a century's worth of Scurlock photographs combine to form a searing portrait of black Washington in all its guises--its challenges and its victories, its dignity and its determination. Beginning in the early twentieth century and continuing into the 1990s, Addison Scurlock, followed by his sons, Robert and George, used their cameras to document and celebrate a community unique in the world, and a stronghold in the history and culture of the nation's capital.
Through photographs of formal weddings, elegant cotillions, ballet studios, and quiet family life, the Scurlocks revealed a world in which the black middle class refused to be defined or held captive by discrimination. From its home on the vibrant U Street corridor, the Scurlock Studio gave us indelible images of leaders and luminaries, of high society and working class, of Washingtonians at work and at play. In photograph after photograph, the Scurlocks captured an optimism and resiliency seldom seen in mainstream depictions of segregated society.
Luminaries such as Duke Ellington, Ralph Bunche, Mary McLeod Bethune, Alain Locke, Martin Luther King, Jr., and Lois Mailou Jones testify to the intellectual and cultural vibrancy that was unique to Washington and an inspiration to the nation. Photographs of a Peoples Drugstore protest and Marian Anderson's Easter morning concert at the Lincoln Memorial remind us that the struggle for equality in black Washington began long before the civil rights movement of the 1960s. Offering a rich lens into our past, "The Scurlock Studio and Black Washington" is a powerful trigger of personal and historical memory.