In collaboration with the sculptor Leelee Chan, a world- and time-spanning project has been selected for the 8th BMW Art Journey-an initiative of BMW and Art Basel. Chan explores old and new materials in order enter them into a dialogue with the present day. On her travels across Italy in 2020, she learned about traditional techniques used to extract and work marble, copper, iron, and bronze. In Switzerland and Germany, including at BMW's Munich headquarters, she met engineers and scientists in order to learn about nanotechnologies and postindustrial materials. This richly illustrated volume brings together essays, documentary photographs, and works inspired by the trip to examine the core questions of Chan's project: What does it mean to be a sculptor in the current time? What can we learn from the materials of yesterday? And how can tomorrow's materials ensure a more sustainable future?

A timely reassessment of the artist's early performances and feminist sculptures, affirming their radical engagements and art historical significance This volume is a focused look at two bodies of work, the Tirs ("shooting paintings") and Nanas ("dames"), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle (1930-2002). Alongside a poetic response to the work, four essays treat Saint Phalle's oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle's life in the 1960s. Tirs were made by firing a .22 caliber rifle at the surfaces of paintings. The bullets pierced bags of pigment, aerosol paint cans, or even food embedded in dense assemblages covered in painted plaster. Saint Phalle's increasingly liberated female figures with outstretched arms, curvaceous forms, and powerful poses developed into her well-known Nanas, an evolution contemporaneous with the rise of a Euro-American feminist movement. Distributed for the Menil Collection and the Museum of Contemporary Art, San Diego Exhibition Schedule: Menil Collection, Houston (September 10, 2021-January 23, 2022) Museum of Contemporary Art, San Diego (April 9-July 17, 2022)

Mildred and Robert Woods Bliss were consummate collectors and patrons. After purchasing Dumbarton Oaks in 1920, they significantly redesigned the house and its interiors, built important new structures, added over fifty acres of planned gardens, hosted important musical evenings and intellectual discussions in their Music Room, and acquired a world-class art collection and library.

The illustrated essays in this volume reveal how the Blisses wide-ranging interests in art, music, gardens, architecture, and interior design resulted in the creation of the Dumbarton Oaks Research Library and Collection. Their collections of Byzantine and Pre-Columbian art and rare garden books and drawings are examined by Robert Nelson, Julie Jones, and Therese O Malley, respectively. James Carder provides the Blisses biography and discusses their patronage of various architects, including Philip Johnson, and the interior designer Armand Albert Rateau. The Blisses collaboration with Beatrix Farrand on the creation of the Dumbarton Oaks Gardens is recounted by Robin Karson, and their commission of Igor Stravinsky s Dumbarton Oaks Concerto and its premiere by Nadia Boulanger is examined by Jeanice Brooks. The volume demonstrates that every aspect of the Blisses collecting and patronage had a place in the creation of what they came to call their home of the humanities.

The companion to a one-of-a-kind exhibition at the University of Chicago's Smart Museum of Art, "Feast: Radical Hospitality in Contemporary Art" explores the role of the meal in contemporary art. "Feast" offers the first survey of the artist-orchestrated meal: since the 1930s, the act of sharing food and drink has been used to advance aesthetic goals and foster critical engagement with the culture of the moment. Both exhibition catalogue and reader, this richly illustrated book offers an interdisciplinary exploration of the art of the meal and its relationship to questions about hospitality, politics, and culture. From the Italian Futurists' banquets in the 1930s, to 1960s and '70s conceptual and performative work, to the global prevalence of socially engaged practice today, "Feast" considers a diverse group of artists who have taken on practices of sharing food with friends, families, and strangers. After an essay by curator Stephanie Smith, the book includes new interviews with over twenty contributing artists and reprinted excerpts of classic texts. It also features a selection of contextual essays contributed by an international group of critics, writers, curators, and scholars.

The first comprehensive study of these rare, influential objects, documenting a formative moment in the noted photographer's early career This elegant book unites all of the known carte postale prints by the photographer Andre Kertesz (1894-1985), including portraits, views of Paris, careful studio scenes, and exquisitely simple still lifes. Essays shed new light on the artist's most acclaimed images; themes of materiality, exile, and communication; his illustrious and bohemian social circle; and the changing identity of art photography. Playful yet refined, the book's design reflects the spirit of 1920s Paris while underscoring the modernity of the catalogue's more than 250 illustrated works. Kertesz made his rigorously composed prints on inexpensive but lush postcard stock, sharing them with friends and sending them back to family in Hungary. The works reveal the artist learning his craft as he encountered an international group of modernists-including Piet Mondrian, Fernand Leger, and Joseph Csaky-in the interwar metropolis. Prized by collectors as well as by Kertesz himself, the cartes postales influenced his compositions and the intimate scale of his picture making for decades. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (October 2, 2021-January 17, 2022) High Museum of Art, Atlanta (February 18-May 29, 2022)

The Louvre Abu Dhabi, which has aroused great curiosity since plans were first announced for the groundbreaking museum in 2007, will unveil a selected part of its nascent collection in April 2013. While the building that will house the museum collection, designed by architect Jean Nouvel, is already well- known, this book -the first to be dedicated to the museum's collection - allows the reader to discover the universal spirit that permeates and incarnates the birth of this new museum. The growing collection, presented here for the first time, best captures and expresses the essence and spirit of the museum itself. These 300 works, reproduced in exceptionally high-quality photographs commissioned for the publication, open a dialogue between the diverse world cultures and their artistic expressions, from the most antiquated to the ultra contemporary, ranging from archaeological treasures to groundbreaking works of contemporary art. All artistic traditions are present, from Ancient Egypt and Greco-Roman art to Islamic art and grand Asian statuary, from works by Bellini and Murillo to Manet or Mondrian, and masterpieces from the European Renaissance or an Art Deco ensemble, to Indian miniatures or paintings by Yan Pei-Ming. The works are analyzed in their cultural context, highlighting their particularities, while simultaneously placing them at the crossroads of the great cultures that comprise the museum's collections.

The Old Master paintings and European sculpture and decorative arts at the renowned Frick Collection might be thought to be all but inextricable from the domestic setting of the Gilded Age mansion in which they reside. For a couple of years, however, while the Frick is undergoing renovation, highlights from the collection have been relocated to a radically different, unlikely home: Marcel Breuer's Brutalist building five blocks away, which the architect designed for the Whitney Museum of American Art. The result is a stunning reconstruction and re-presentation of a beloved collection, with the museum's treasures comfortably and elegantly adapting to their temporary modernist abode. This handsome volume documents this altogether singular moment in the Frick's history with stunning photographs by Joseph Coscia Jr. and a reflective foreword by Roxane Gay.

"I was part of Fleur's British Interior Design Exhibition in London in the 1980s. The strength of Fleur's vision defined the event and made participation a real pleasure for me." - John Pawson, Renowned International Minimalist Architect, London The International Interior Design Exhibition (IIDE) came to Brussels in 2019 with heritage. First launched in London by Fleur Rossdale as The British Interior Design Exhibition (BIDE) during the 1980s and '90s, the event was highly acclaimed as a ground-breaking showcase for the design industry. With 30,000 international visitors to each, the exhibition helped propel interior design into the limelight, receiving worldwide press coverage and an insatiable demographic of private clients, hoteliers, designers and developers. Organiser Fleur commented, "Good design has a vital role to play in our everyday lives. It can improve how we live and function, be it at home, in the workplace, in education or on holiday. Interiors set a mood, portraying an identity that should feel enhancing and harmonious". Fleur, an active interior designer herself, chose Brussels for the re-launch due to the cultural heritage, not least as founders of the Art Nouveau movement. Fleur continues, "Decoration is all about bringing together skilled workmanship, colour, texture and fine art to create a melodious interior to enhance our everyday lives". The IIDE followed the ethos of past experience and showcased ten international designers, presenting their interior design vision to inspire private and trade visitors. This luxury coffee table book is a tribute to these new exhibitions, which is complemented by a short history of all previous exhibitions in London.

This catalogue for an exhibition at MAXXI Museum in Rome brings together 50 contemporary artists from ex-Yugoslavia whose work explores the history of the region through the action of contemporary heroes, and reflects on issues of acceptance and peaceful coexistence. In thematic sections (Liberty, Equality, Fraternity, Hope, Risk, the Individual, Otherness, Metamorphosis), the show asks if the legacy of Socialism can help to recover the concept of "common good" in a complex region which has recently endured the tragedy of a civil war and the rise of Nationalism. Text in English and Italian.

Founded in the first century BCE near a set of natural springs in an otherwise dry northeastern corner of the Valley of Mexico, the ancient metropolis of Teotihuacan was on a symbolic level a city of elements. With a multiethnic population of perhaps one hundred thousand, at its peak in 400 CE, it was the cultural, political, economic, and religious center of ancient Mesoamerica. A devastating fire in the city center led to a rapid decline after the middle of the sixth century, but Teotihuacan was never completely abandoned or forgotten; the Aztecs revered the city and its monuments, giving many of them the names we still use today. Teotihuacan: City of Water, City of Fire examines new discoveries from the three main pyramids at the site-the Sun Pyramid, the Moon Pyramid, and, at the center of the Ciudadela complex, the Feathered Serpent Pyramid-which have fundamentally changed our understanding of the city's history. With illustrations of the major objects from Mexico City's Museo Nacional de Antropologia and from the museums and storage facilities of the Zona de Monumentos Arqueologicos de Teotihuacan, along with selected works from US and European collections, the catalogue examines these cultural artifacts to understand the roles that offerings of objects and programs of monumental sculpture and murals throughout the city played in the lives of Teotihuacan's citizens. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young, San Francisco, September 30, 2017-February 11, 2018 Los Angeles County Museum of Art (LACMA), March-June 2018

Two centuries ago, a teenage genius created a monster that still walks among us. In 1818, Mary Shelley published Frankenstein, and in doing so set forth into the world a scientist and his monster. The daughter of Mary Wollstonecraft, famed women's rights advocate, and William Godwin, radical political thinker and writer, Mary Shelley is considered the mother of the modern genres of horror and science fiction. At its core, however, Shelley's Frankenstein is a contemplation on what it means to be human, what it means to chase perfection, and what it means to fear things suchsuch things as ugliness, loneliness, and rejection. In celebration of the two hundredth anniversary of the publication of Frankenstein, the Lilly Library at Indiana University presents Frankenstein 200: The Birth, Life, and Resurrection of Mary Shelley's Monster. This beautifully illustrated catalog looks closely at Mary Shelley's life and influences, examines the hundreds of reincarnations her book and its characters have enjoyed, and highlights the vast, deep, and eclectic collections of the Lilly Library. This exhibition catalog is a celebration of books, of the monstrousness that exists within us all, and of the genius of Mary Shelley.

A breathtaking collection of work celebrating 125 years of San Francisco's legendary museum The de Young is San Francisco's oldest art museum, treasured in a unique verdant setting. Beginning as the Golden Gate Park Memorial Museum in 1895, the museum has been a valued center of world art and culture, serving the Bay Area and, increasingly, national and international visitors and scholars. A city museum since 1924, it joined the Legion of Honor in 1972 to become part of the Fine Arts Museums of San Francisco, together preserving and exhibiting the most widely inclusive art collections in the city. Over the years, the de Young buildings changed in telling ways, transforming to protect and present a continuously expanding array of objects and their histories. Published to mark the 125th anniversary of the de Young, this volume offers a new path to artworks from across its departmental disciplines: art from Africa, Oceania, and the Americas; American art; contemporary art and programming; costume and textiles; and works on paper. Poetic themes, curatorial insights, brief institutional histories, and an expanded historical timeline are accompanied by lavish new photography, presenting this beloved museum to audiences today. de Young 125 features a selection of 125 works from around the world that span more than two millennia and convey a shared human experience and creative achievement.

Auguste Rodin (1840-1917) was a radical sculptor whose unorthodox approach to sculpture-making provided a definitive break in the history of Western sculpture. Although much of his commercial success was based on the bronze and marble versions of his work, Rodin's greatest talent was as a modeller who captured movement, emotion, light and volume in clay and plaster, to challenge traditional conceptions of beauty and perfection. In line with new thinking on Rodin, this book explores the artist's use of plaster, a material which demonstrates his interest in creating sculptures that are never completed, always becoming. United by their materiality, fragile and experimental pieces are explored alongside new readings of some of Rodin's iconic works, and a selection of his watercolour drawings. Including an exclusive contribution from sculptor Phyllida Barlow, The Making of Rodin sheds light on the artist's use of materials, his unique way of working, and his imaginative use of photography, revealing how Rodin reinvented sculpture for the modern age - and why his work continues to enthral and provoke to this day.

How do cultural institutions and art practices respond to long-standing states of national and international emergency? It is with these questions in mind that Khalil Rabah's artistic practice investigates the future of visual arts production under such conditions. Exploring the relationships between historically sanctioned and experimental exhibition settings, fictional and documentative narratives, and the histories of displacement, his methods not only propose but produce speculative institutions. As the artist's first major monograph, Falling Forward / Works (1997-2025) presents a comprehensive selection of exhibition materials, previously unseen archival documents, and detailed background notes on how Rabah's methods relate to broader themes in his work. The volume also introduces new critical writing from curators, authors, and researchers on the interrelated subjects of anticipatory aesthetics, subterfuge and fugitive acts, mimicry and performativity, knowledge production, archival technologies and, crucially, the politics of humor.

Until spring 2020 the trade fair sector was still boasting: "You can't e-mail a handshake!" Then Covid-19 came along and everything was turned upside down: exhibitions were postponed, cancelled or relocated into digital space. It also brought forth new concepts with which we had not reckoned a couple of years ago: virtual twins, AR or VR walk-through stands, online exhibitions with new meeting formats, or quite different ideas that are currently turning the sector upside down, providing new impetuses and making the trade fair a place as we have never known it before. The new trade fair yearbook presents not only the most exciting exhibition settings of the previous year but also entices us into virtual space.

A stunning, full-color volume that examines 82 pieces in the University of Rochester Memorial Art Gallery's American collection and their connections to American history, culture, literature, and politics. Seeing America is the first-ever catalog of the University of Rochester Memorial Art Gallery's American collection. Founded in 1913, the Memorial Art Gallery was created in conjunction with the University of Rochester so that it would function within a scholarly milieu, yet at the same time perform service as a community museum. From its conception it has been an ardent advocate for American art, which so many counterpart institutions snubbed untilat least the 1930s, and more often until well after World War II, in favor of European and Asian art. The 336-page, full-color volume examines 82 objects and their connections to American history, culture, literature and politics. The 73 articles present a running commentary on each piece by knowledgeable and thoughtful contemporary scholars and artists writing with expertise and insight, ultimately presenting a new and deeper understanding that enhances the reader/viewer's appreciation of the work. The tour ranges from Colonial times to the twenty-first century, from Maine to Florida to the far West, from mighty historical subjects to intimate byways, from august figures and events to the humblest and most anonymous. The diversity of American experience on display here reminds us that the best American art is inextricably bound up with the essential truths of American experience.

An insightful study of the progressive politics animating a great work of modernist mural painting In 1936 the Works Progress Administration's Federal Art Project commissioned Stuart Davis (1892-1964) to paint a mural for the Williamsburg Houses, a New York City housing project. Though the mural, Swing Landscape, was never installed in its intended location, it survives as an impressive testament to Davis's energetic, colorful brand of abstraction and the progressive politics that animated it. This study explores the painting, one of the greatest of twentieth-century America and arguably Davis's most ambitious work. This book challenges the prevailing tendency to separate Davis's leftist activism from his art and contextualizes Swing Landscape within 1930s abstract mural painting in New York, emphasizing the politics of abstraction. The book also offers the first comprehensive look at the Williamsburg mural commission, including works by Willem de Kooning, Ilya Bolotowsky, and others. The result is an indispensable resource on interwar modernism, mural painting, and urban development.

Since its founding in 1602, the Bodleian Library has become home to treasures from throughout history and every corner of the globe. From among this remarkable and historically rich collection, former Bodley's Librarian David Vaisey has selected nearly one hundred treasures with a particularly fascinating story to tell.
Rare books, music, manuscripts, ephemera, and maps, many of the treasures photographed and described for this lavish volume are well-loved around the world, from Jane Austen's manuscript of "The Watsons "to notebooks created by the poet Percy Bysshe Shelley, a map of Narnia drawn by C. S. Lewis, and the original manuscript of the renowned children's work "The Wind in the Willows." Others are known for their beauty or historical significance, including the Gutenberg Bible, the Magna Carta, and the extraordinary medieval manuscript "The Douce Apocalypse." Still others hold poignant stories like the small handwritten book presented as a New Year's present in 1545 to Katherine Parr by an eleven-year-old stepdaughter who would later become Queen Elizabeth I. Vaisey brings these and other treasures together in chronological order, showcasing the Bodleian Library's renowned collections.
A coveted glimpse into the Bodleian Library, "Treasures" serves as a beautifully illustrated introduction to the Library's literary and historical riches, while offering insights into particular works contained within.

London in Paint provides a fresh look at an iconic global city, through the eyes of some of the world's most influential artists: Canaletto, Turner, Constable, Pissarro, Monet, Kossoff, Auerbach and many others. The hustle and bustle of London, its changing landscape and infinite sights have provided a rich subject for the many artists who have visited and inhabited the city. From the earliest known paintings, artists have sought to encapsulate their impressions of this lively metropolis. Their representations are fascinatingly diverse, revealing visions of London that let us see the city as it has been experienced and reflected by a variety of artists through the centuries. Drawing from Tate's superb collection and beyond, this stunning book presents 100 paintings from the seventeenth-century to the present. Whether iconic or unusual, topographical or verging on the abstract, each work offers a special perspective. Contextualised by an insight into the chosen view or location, the artist, and their particular technique, the paintings are also accompanied by revealing and memorable anecdotes which vividly bring the images to life.