This transatlantic study analyses a missing chapter in the history of art collecting, the first art market bubble in the United States. In the decades following the Civil War, French art monopolized art collections across the United States. During this "Gilded Age picture rush," the commercial art system-art dealers, galleries, auction houses, exhibitions, museums, art journals, press coverage, art histories, and collection catalogues-established a strong foothold it has not relinquished to this day. In addition, a pervasive concern for improving aesthetics and providing the best contemporary art to educate the masses led to the formation not only of private art collections, but also of institutions such as the Metropolitan Museum of Art and to the publication of art histories. Richly informed by collectors' and art dealers' diaries, letters, stock books, journals, and hitherto neglected art histories, The New York Market for French Art in the Gilded Age, 1867-1893 offers a fresh perspective on this trailblazing era.

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.

During the 1960s and 1970s, a loosely affiliated group of Los Angeles artists--including Larry Bell, Mary Corse, Robert Irwin, James Turrell, and Doug Wheeler--more intrigued by questions of perception than by the crafting of discrete objects, embraced light as their primary medium. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or playing with light through the use of reflective, translucent, or transparent materials, each of these artists created situations capable of stimulating heightened sensory awareness in the receptive viewer. "Phenomenal: California Light, Space, Surface," companion book to the exhibition of the same name, explores and documents the unique traits of the phenomenologically engaged work produced in Southern California during those decades and traces its ongoing influence on current generations of international artists.
Foreword by Hugh M. Davies
Additional contributors:
Michael Auping
Stephanie Hanor
Adrian Kohn
Dawna Schuld

Artists:
Peter Alexander
Larry Bell
Ron Cooper
Mary Corse
Robert Irwin
Craig Kauffman
John McCracken
Bruce Nauman
Eric Orr
Helen Pashgian
James Turrell
De Wain Valentine
Doug Wheeler

Located in the heart of Brussels, the Art et Margins Museum, an outsider art museum, questions art and its borders. Its collection has been built up since the mid-1980s with self-taught artists, art workshops for psychiatric patients and for those with learning difficulties. Its temporary exhibitions, at the rate of three per year, bring together artists from both sides of the margin, questioning the boundaries of art and its very definition. The museum's anniversary year is an opportunity to propose a book richly illustrated with visuals, specially produced by a team of professionals, and to take stock of its rich collections of works by outsider artists built up over time. Text in English, French, and Dutch.

WOW - a collaboration between Liss Llewellyn and the Laing Art Gallery - showcases 38 British women artists working on paper between 1905 and 1975, a transformative period for women in the arts. The featured artists approached the medium in vari ous ways, using traditional as well as innovative techniques to transform paper into beautiful and complex works of art. The exhibition celebrates the diversity of these approaches and highlights the ways in which paper provided artists with a rich arena for artistic innovation. Paper's adaptability allows for a multitude of techniques. Using paper in its traditional role as a support for drawings and prints, or creating collage and sculpture, the fea tured artists responded to the medium's inherent qualities - malleable, smooth and sensuous - to test ideas, express feelings or create a finished work. It is often in the more formative moments that the works in this exhibition most resonate; through these studies we bear witness to the seed of an idea in germination, as in Clare Leigh ton's iconic Southern Harvest, or Evelyn Dunbar's celebrated works for the War Artist's Advisory Committee. Selecting hand-made, mould-made or machine-made papers in various weights, tex tures and tints - depending on their intentions - artists worked with a variety of media from pencil, ink and pastel, to watercolour, tempera and oil, sometimes incorporating extraneous elements such as gold leaf and metallic forms. Working on monumental sheets, such as Winifred Knights' cartoon for St Martin's Altarpiece or tiny pages such as Edith Granger-Taylor's Small Grey Abstract, women's choices were nevertheless some times dictated by circumstance: the propensity of Frances Richards and Tirzah Gar wood - by no means isolated cases - to work on paper on a small scale was in part a result of not having access to a studio. From portraits, landscapes, botanical studies and genre scenes, many of the works in WOW highlight the artist's skill and dexterity in drawing on paper, which was at the core of artistic training and practice. Some artists have used the traditional techniques of etching, screen printing and woodblock to create a diverse range of images. Others highlight the ethereal properties of paper through precise cuts, resulting in elaborate collages combining shapes, patterns and designs, or compact and manipulate paper to create inventive and surprising sculptures. Featuring both famous and lesser-known talents, WOW celebrates the many ways in which women artists expressed themselves through works on, and with paper and highlights their unique contribution to the graphic arts in 20th century Britain.

This generously illustrated volume is the first comprehensive publication devoted to the powerfully expressive work of David Park (1911-60). Best known as the founder of Bay Area Figurative art, Park moved from Boston to California at the age of seventeen and spent most of his adult life in and around San Francisco. In the immediate postwar years, like many avant-garde American artists, he engaged with Abstract Expressionism and painted non-objectively. In a moment of passion in 1949, he made the radical decision to abandon nearly all of his abstract canvases at the Berkeley city dump and return to the human figure, in so doing marking the beginning of the Bay Area Figurative movement. The astonishingly powerful paintings he made in the decade that followed brought together his long-held interest in classic subjects such as portraiture, domestic interiors, musicians, rowers, and bathers with lush, gestural paint handling and an extraordinary sense of color. In 1958-59 Park reached his expressive peak, reveling in the sensuous qualities of paint to create intensely physical, psychologically charged, and deeply felt canvases. This fertile period cut short by illness in 1960, Park transferred his creative energy to other mediums when he could no longer work on canvas. In the last months of his life, bedridden, he produced an extraordinary thirty-foot-long felt-tip-pen scroll and a poignant series of gouaches. Published to accompany the first major museum exhibition of Park's work in more than thirty years, David Park: A Retrospective traces the full arc of the artist's career, from his early social realist and cubist-inspired efforts of the 1930s to his mature figurative paintings of the 1950s and his astounding final works on paper. An overview of Park's full body of work by Janet Bishop, SFMOMA's Thomas Weisel Family Curator of Painting and Sculpture, will be joined by approximately ninety full-color plates of paintings and works on paper; an essay by Tara McDowell on the figure drawing sessions held by Park, Richard Diebenkorn, Elmer Bischoff, Frank Lobdell, and others in their studios starting in 1953; short essays on Park's scroll, his gouaches, and the portraits that Imogen Cunningham and Park made of each other; and an illustrated chronology. Published in association with the San Francisco Museum of Modern Art. Exhibition schedule: Modern Art Museum of Fort Worth: June 2-September 8, 2019 Kalamazoo Institute of Arts: December 21, 2019-March 15, 2020 San Francisco Museum of Modern Art: October 4, 2020-January 18, 2021

A compelling examination of French sculptor Auguste Rodin from the perspective of his enthusiastic American audience This exhibition catalogue explores the American reception of French artist Auguste Rodin (1840-1917), from 1893, when his first work entered a US museum, to the present. Its trajectory reaches from the collecting frenzy of the early twentieth century-promoted by philanthropist Katherine Seney Simpson and performer Loie Fuller-to important museum acquisitions of the 1920s and 1930s. From there, it traverses the 1950s, when Rodin's reputation flagged, through to the artist's revival and recognition in the 1980s. Rodin's promoters include a dynamic cast of characters, each of whom played a crucial role in cementing his status. The book traces this story through approximately 50 sculptures and 20 drawings that cover Rodin's most iconic subjects and themes. They demonstrate his dexterity across media-his virtuosity in plaster, terracotta, bronze, and marble-as well as his expressive, colorful drawings, some of them relatively unknown, sparking new appreciation for his work and delight for readers. Distributed for the Clark Art Institute Exhibition Schedule: Clark Art Institute, Williamstown, MA (June 18-September 18, 2022) High Museum of Art, Atlanta (October 21, 2022-January 15, 2023)

This catalogue accompanies the inaugural exhibition of the Kaluz Museum, Mexico and the Mexicans in the Kaluz Collection, as a faithful display of a collector's passion for their cultural and artistic heritage. With a selection of more than 200 works that span a period of more than 250 years, mostly Mexican figurative painting, this catalogue presents the work of painters who have been captivated by Mexico's beauty, rarity and majesty. This pictorial exhibition talks about the country's landscape, people, food, customs and traditions. The talent and the gaze of established artists such as Pelegrin Clave, Jose Maria Velasco, Joaquin Clausell, Gerardo Murillo "Dr. Atl ", Angel Zarraga, Diego Rivera, David Alfaro Siqueiros, Jose Clemente Orozco and Raul Anguiano, are among the most prominent firms in the collection of the Kaluz Museum.

A celebration of Houston's Rothko Chapel on its fiftieth anniversary, featuring work by contemporary artists responding to its continuing impact Artists and the Rothko Chapel celebrates the legacy of the Rothko Chapel in Houston and globally, highlighting how it has inspired artists since its founding in 1971. The catalogue reflects on the Chapel's past while looking toward its future, featuring recent work by four contemporary artists-Sam Gilliam, Sheila Hicks, Shirazeh Houshiary, and Byron Kim-as well as illustrating the 1975 exhibition Marden, Novros, Rothko: Painting in the Age of Actuality shown at Rice University. The volume includes interviews with Brice Marden and David Novros, statements from the artists about their work's relationship to the Chapel, and testimonies by local figures reflecting on questions of spirituality, identity, and equality. With new photography of the installations and of the recently restored Chapel, this vividly illustrated catalogue is a testament to the enduring impact of the non-denominational space Mark Rothko created. Distributed for the Moody Center for the Arts, Rice University Exhibition Schedule: Moody Center for the Arts, Rice University (February 23-May 15, 2021)

Founded in 1841 and located since October 2019 in a striking new building by celebrated Spanish-Italian architects Barozzi Veiga, the Musee Cantonal des Beaux-Arts in Lausanne (MCBA) is one of Switzerland's major public art galleries. It is home to an impressive permanent collection spanning eight centuries of art history that comprises manifold works by Swiss and international artists. This compact guide introduces 212 works from all periods represented in the collection with image and a concise text about its history and reception. An essay on the museum's development over 170 years as well as an index of artists round out the book.

Diego Rivera's America revisits a historical moment when the famed muralist and painter, more than any other artist of his time, helped forge Mexican national identity in visual terms and imagined a shared American future in which unity, rather than division, was paramount. This volume accompanies a major exhibition highlighting Diego Rivera's work in Mexico and the United States from the early 1920s through the mid-1940s. During this time in his prolific career, Rivera created a new vision for the Americas, on both national and continental levels, informed by his time in both countries. Rivera's murals in Mexico and the U.S. serve as points of departure for a critical and contemporary understanding of one of the most aesthetically, socially, and politically ambitious artists of the twentieth century. Works featured include the greatest number of paintings and drawings from this period reunited since the artist's lifetime, presented alongside fresco panels and mural sketches. This catalogue serves as a guide to two crucial decades in Rivera's career, illuminating his most important themes, from traditional markets to modern industry, and devoting attention to iconic paintings as well as works that will be new even to scholars-revealing fresh insights into his artistic process. Published by the San Francisco Museum of Modern Art in association with University of California Press Exhibition dates: San Francisco Museum of Modern Art: July 16, 2022-January 1, 2023 Crystal Bridges Museum of American Art, Bentonville, Arkansas: March 11-July 31, 2023

A sweeping retrospective of Alma W. Thomas's wide-reaching artistic practice that sheds new light on her singular search for beauty Achieving fame in 1972 as the first Black woman to mount a solo show at the Whitney Museum of American Art, Alma W. Thomas (1891-1978) is known for her large abstract paintings filled with irregular patterns of bright colors. This insightful reassessment of Thomas's life and work reveals her complex and deliberate artistic existence before, during, and after the years of commercial and critical success, and describes how her innovative palette and loose application of paint grew out of a long study of color theory. Essays trace Thomas's journey from semirural Georgia to international recognition and situate her work within the context of the Washington Color School and creative communities connected to Howard University. Featuring rarely seen theatrical designs, sculpture, family photographs, watercolors, and marionettes, this volume demonstrates how Thomas's pursuit of beauty extended to every facet of her life-from her exuberant abstractions to the conscientious construction of her own persona through community service, teaching, and gardening. Published in association with The Columbus Museum and the Chrysler Museum of Art Exhibition Schedule: Chrysler Museum of Art, Norfolk, VA (July 9-October 3, 2021) The Phillips Collection, Washington, DC (October 30, 2021-January 23, 2022) Frist Art Museum, Nashville (February 25-June 5, 2022) The Columbus Museum, GA (July 1-September 25, 2022)

For the first time in a museum exhibition-and hence, in this catalogue-the groundbreaking work of a great innovator of late-nineteenth-century sculpture encounters the influential work from a protagonist of twentieth-century abstract sculpture: Auguste Rodin meets Jean Arp. Both artists are characterized by their unique artistic innovations and the joy of experimentation; both strongly influenced their eras and have lost nothing of their topicality to this day. As sculptural milestones, the creations of Rodin and Arp illustrate in a vivid and exemplary way fundamental aspects in the development of modern sculpture. Rodin's pioneering ideas and new artistic ideas for sculpture were taken up by Arp and fascinatingly developed, reinterpreted, or contrasted. Indeed, both oeuvres exhibit numerous artistic affinities and points of reference, which becomes a particularly revealing visual experience in this clever juxtaposition.

Passage is a site-specific, two-channel video installation, which expands Nujoom Alghanem's experimentation with contemporary Arabic poetry through the language of film. Taking her quintessential 2009 poem, The Passerby Collects the Moonlight, as a point of departure, this installation explores the universal experience of displacement. This Brechtian conflation of reality and fiction, culminating in a scene that depicts Falak arriving at the pavilion in Venice, prompts the viewers to consider the parallelism between the film's three protagonists: the director, the actress and the fictional character. These three women of a similar age share the experience of similar dualities: the hidden and the revealed, fragility and power, belonging and displacement. The experience of passage and duality also permeates the design of the exhibition space, where visitors can enter and exit from either side of the pavilion. A large screen, diagonally positioned at the centre, divides the space into two symmetrical halves. The viewers are invited to engage both with Nujoom and Amal's real process of creating the film and with the cinematographic portrayal of the fictional character of Falak.

Graphicstudio: Uncommon Practice at USF explores the incredible body of art from Graphicstudio, the print atelier at the University of South Florida, Tampa, Florida that has hosted artists including Louise Bourgeois, Jim Dine, Alex Katz, and Roy Lichtenstein. Founded in 1968, the studio has developed an international reputation, and work produced at Graphicstudio can now be found in private and museum collections across the world. This volume presents over one hundred artworks by forty-five artists including Chuck Close, Roy Lichtenstein, Christian Marclay, Philip Pearlstein, Robert Rauschenberg, Ed Ruscha, and Kiki Smith. The range of artworks includes etchings, photo- and direct gravures, digital or pigment prints, cyanotypes, lithographs, woodcuts and screen prints, as well as sculpture in bronze, concrete, basalt, and cast epoxy resin. Author Jade Dellinger investigates Graphicstudio's innovative atmosphere and interdisciplinary resources as well as the technical challenges artists have faced. Illustrated case studies focus on the work of seven artists; also featured are four illustrated interviews with the current and past Graphicstudio directors and brief biographies of the careers of the forty-five artists represented.

From Sumatra to Java, from the Moluccas to Papua, across the whole of Indonesia, ancestors have played and still play a leading role. The cults and representations are evidence of an enormous diversity, power and poetry. This unique introduction to Indonesia starts from a cultural heritage perspective, but also poses topical questions about the place of traditions and rituals in contemporary society. Never before exhibited archaeological and ethnographic treasures are brought together with unique footage and interviews. In collaboration with the National Museum in Jakarta and numerous collections from all four corners of the archipelago.

The latest curatorial partnership between Whitechapel Gallery, London and The Gallery at Windsor features one of the most significant and influential American artists of our time, Jasper Johns. In dialogue with the artist Robert Rauschenberg and his friends the composer John Cage and choreographer Merce Cunningham, Johns evolved a new language in art in the 1960s. As all four artists became immersed in dance and performance, the body itself entered Johns' work, at first as fragments, but more recently the whole body appeared as a shadow or silhouette flitting through his lithographs and etchings. Johns' prints overlay images and textures to stress process, and at the same time reflect the way our consciousness overlaps memory and perception. The Gallery at Windsor presents `the body' as it has appeared in Jasper Johns' lithographs and etchings created with Universal Limited Art Editions (ULAE) print studio from the 1980s to the present. This exhibition is organised by the Whitechapel Gallery, London, where Jasper Johns had his first UK show in 1964. It is curated by Iwona Blazwick and Bill Goldston in partnership with Hilary Weston and with the artist. In 1960, Russian emigree Tatyana Grosman invited Johns to transform his legendary paintings into equally radical works on paper. As co-founder of ULAE with her husband Maurice Grosman, Tatyana invited a host of young artists to the modest cottage in Long Island that was ULAE headquarters. As one artist recommended another, the ULAE press came to make prints with some of the most important artists of the time. Today, under the leadership of Bill Goldston, ULAE continues to make prints with living artists that are held in major museum collections. Awarded the Presidential Medal of Freedom in 2011, Jasper Johns has been the subject of major retrospectives and is one of the most influential American artists of his generation. Yet he continues to experiment, pushing the boundaries of printmaking today. The publication features an essay by Iwona Blazwick 0-9 uses of the body, in which Johns' interest in the body is explored through ideas such as form, sign, being, performance, memory and icon. The illustrated plate section contains all 30 works in the exhibition. There is a Q&A between Candy Stobbs and Director of ULAE, Bill Goldston which looks at the historic art of printmaking and the longstanding creative relationship between Jasper Johns and ULAE. Also included is a section of archival images from ULAE which includes historic portraits of Jasper Johns and his contemporaries.