The Tyrolean State Museums, Innsbruck, Austria, hold a treasure-trove of over 5 million objects and offer an extensive, interdisciplinary program of exhibitions and events to introduce new audiences to the region and to explore the links between past and present. The core of the collection, the Ferdinandeum, is a sprawling art and culture complex that has continued to thrive since it was founded in 1823. Named after Archduke Ferdinand, it is the third oldest national Museum of the Austro-Hungarian Empire. Inside, visitors can explore the Tyrol's past, present and future through archeological, historical, scientific, cultural, music and art exhibits that help define the Tyrol's place in the world. Thirty-seven significant objects were selected for this guide in order to highlight the wide range and complexity of the collections. Uncover the secrets of the Tyrolean at this world-class institution, which showcases the unique stories, events and characters that have helped shape the Tyrol's history.

The follow-up to the very successful exhibition "Younger Than Jesus," "The Ungovernables" is the highly anticipated second New Museum Triennial. The Ungovernables captures the perspectives, preoccupations, and experiences of an inventive and informed generation of international artists who came of age after the independence and revolutionary movements of the 1960s and 1970s. This important volume features thirty-four artists and artist collectives working in painting, sculpture, drawing, performance, video, and other activities. Through explorations of form, objecthood, material, and temporality, these artists negotiate time and their experience of our contemporary moment, often demonstrating a profound mistrust of permanence. Many of the works are provisional, site-specific, and performative, reflecting an attitude of possibility and faith in the contingent nature of our time. The book includes a substantive essay on this international group of artists by curator Eungie Joo and essays and other contributions from many of the artists featured in the exhibition, as well as short profiles on each.

LONG LISTED FOR THE WILLIAM MB BERGER PRIZE FOR BRITISH ART HISTORY 2022. A major survey of Dame Laura Knight, first female Royal Academician and popular British artist of the 20th century. Laura Knight (1877-1970) was one of the most famous and popular English artists of the twentieth century. She was the first woman to have a solo exhibition at the Royal Academy of Arts, in 1965. In the following decades her realist style of painting fell out of fashion and her work become largely overlooked. A new generation has rediscovered her work, finding a contemporary resonance in her depictions of women at work, of people from marginalized communities and her contributions as a war artist. This beautifully illustrated book, which accompanies a major exhibition at MK Gallery, provides an overview of Knight's illustrious career: from her training at Nottingham Art School at the age of 13 and her time in North Yorkshire and Cornwall, to her visits to traveller communities and a segregated American hospital. It also features her circus, ballet and theatre scenes, paintings of women during the war and her late paintings of nature. The selection of over 160 works combines celebrated paintings with less known graphic and design works, including ceramics, jewellery and costumes that reflect the artist's enduring interest in the everyday activities of people from all walks of life.

The myth of Van Gogh today is linked as much to his extraordinary life as it is to his stunning paintings. His biography has often shaped the way that his self-portraits have been (mis)understood. Van Gogh. Self-Portraits reconsiders this aspect of his production and places the artist's self-representation in context to reveal the role it plays in his oeuvre. It also explores the power and profound emotion of these highly personal paintings. Van Gogh. Self-Portraits is the first time this theme has been exclusively addressed. Self-portraits painted during Van Gogh's time in Paris (February 1886 - February 1888) have been the subject of two exhibitions (in 1960 at Marlborough Fine Arts in London and in 1995 at the Kunsthalle in Hamburg) but never has the full chronological range been explored. The exhibition at The Courtauld Gallery, which this volume accompanies, features paintings from both the Parisian and Provencal periods. It brings together half of Van Gogh's thirty-five known self-portraits to examine the ways the artist approached this particular subject-matter. On a practical level, painting himself provided Van Gogh with the cheapest and most patient of models and represented an important conduit for stylistic experimentation. He also used self-portraiture as an homage to his illustrious Dutch predecessor Rembrandt, as well as a way of fashioning his own identity and presenting himself to the outside world. Of particular interest is the striking way the evolution of Van Gogh's self-representation over the short years of his artistic activity can be seen as a microcosm of his development as a painter. In addition to the world-famous Self-Portrait with Bandaged Ear in The Courtauld's collection, the exhibition showcases a group of major masterpieces brought together from international collections, including the Van Gogh Museum in Amsterdam, the Muse d'Orsay in Paris, the Art Institute of Chicago and the National Gallery of Art in Washington, D.C., among others. This beautifully illustrated catalogue includes detailed entries on each work, an appendix illustrating all of Van Gogh's self-portraits and three insightful essays on the theme.

Oftentimes exhibitions tack on access once the artwork has already been executed and ready to be installed in the museum or gallery. But what if the artists were to ponder access as an integral and critical part of their artwork? Can access be creative and experimental? And furthermore, can the curator also fold access into their practice, while working collaboratively with artists, considering it as a theoretical and practical generative force that seeks to make an exhibition more engaging for a wider diversity of audiences? This volume includes essays by a growing number of artists, curators, and scholars who ponder these ideas of ad-hoc, experimental and underground approaches within exhibition-making and artistic practices. It considers how, through these nascent exhibition models and art practices, enhanced experiences of access in the museum can be a shared responsibility amongst museum workers, curators, and artists, in tandem with the public, so that access becomes a zone of intellectual and creative "accommodation," rather than strictly a discourse on policy. The book provides innovative case studies which provide a template for how access might be implemented by individuals, artists, curators, museum administrators and educators given the growing need to offer as many modalities of access as possible within cultural institutions. This book shows that anyone can be a curator of access and demonstrates how to approach access in a way that goes beyond protocol and policy. It will thus be of interest to students and scholars engaged in the study of museums, art history and visual culture, disability, culture, and communication.

A groundbreaking and essential survey of the art of Lynette Yiadom-Boakye, offering an in-depth discussion of the development of the artist and positioning her work within a wider history of portraiture. Lynette Yiadom-Boakye: Fly In League With The Night celebrates the work of one of the most significant and acclaimed figurative painters of her generation. Fact and fiction fuse in Yiadom-Boakye's paintings: they appear to be portraits, yet the people she depicts are not real but invented. Created from a composite of found images and her own imagination, her characters seem to exist outside of a specific time or place: they feel at once familiar yet mysterious. This ambiguity resonates again in the enigmatic titles she gives to her artworks. The artist is also a writer of poetry and prose, and for her, the two forms of creativity complement each other: 'The things I can't paint, I write, and the things I can't write, I paint.' This perceptive and engaging publication provides a comprehensive account of Yiadom-Boakye's practice over the past two decades. With contributions by the celebrated poet Elizabeth Alexander and curators Andrea Schlieker and Isabella Maidment, alongside new writing by Yiadom-Boakye, Fly In League With The Night reflects the dual aspects of the artist's career as both a painter and a writer and offers an intimate insight into her creative process.

During the Renaissance, artists and illustrators developed the representation of truthful three-dimensional forms into a highly skilled art. As reliable illustrations of three-dimensional subjects became more prevalent, they also influenced the way in which disciplines developed: architecture could be communicated much more clearly, mathematical concepts and astronomical observations could be quickly relayed, observations of the natural world moved towards a more realistic method of depiction. Through essays on some of the world's greatest artists and thinkers (Leonardo da Vinci, Euclid, Andreas Vesalius, William Hunter, Johannes Kepler, Andrea Palladio, Galileo Galilei, among many others), this book tells the story of the development of the techniques used to communicate three-dimensional forms on the two-dimensional page and contemporary media. It features Leonardo da Vinci's groundbreaking drawings in his notebooks and other manuscripts, extraordinary anatomical illustrations, early paper engineering including volvelles and tabs, beautiful architectural plans and even views of the moon. With in-depth analysis of over forty manuscripts and books, 'Thinking 3D' also reveals the impact that developing techniques had on artists and draughtsmen throughout time and across space.

Published to coincide with a career-defining retrospective at Hastings Museum and Gallery in January 2022, In Sussex: Bob Mazzer is a far-reaching collection showing Mazzer doing what he does best in the town he came to call home. Hastings, St Leonards-on-Sea and the stunning surrounding countryside are all on show in this carefully curated selection of images. With a foreword by Eamonn McCabe.

The Centennial decade was an era of ambivalence, the United States still unresolved about the incomprehensible damage it had wrought over four years of Civil War, and why. Philadelphia's 1876 Centennial Exhibition -- a spectacular international event celebrating one hundred years of American strength, unity, and freedom -- took place in the immediate wake of this trauma of war and the failures of Reconstruction as a means to restore power and patriotism in the nation's struggle to rebuild itself. The Unfinished Exhibition, the first comprehensive examination of American art at the Centennial, explains the critical role of visual culture in negotiating memories of the nation's past that conflicted with the optimism that Exhibition officials promoted. Supporting novel iconographical interpretations with myriad primary source material, author Susanna W. Gold demonstrates how the art galleries and the audiences who visited them addressed the lingering traumas of battle, the uneasy re-unification of North and South, and the persisting racial tensions in the post-Emancipation era. This careful consideration of the visual record exposes the complexities of the war's impact on Americans and clarifies how the Centennial art exhibition affected a nation still finding its direction at a critical moment in its history.

The Royal Castle in Warsaw is one of the most important museums-residences in Poland. Its history and the provenance of its collections are extremely complex and symbolise the turbulent history of the country. The last king of Poland, Stanislaw August, created a great collection of works of art and commissioned the interior design in a classicist style. With the loss of independence by Poland, works of art and furnishings were transported to Russia, then later returned under the Treaty of Riga in 1921. Looted by the Germans during World War II, the Castle was blown up in 1944. The castle finished being rebuilt in 1984 and today is a museum of interiors and a UNESCO World Heritage Site. The highlights of the Castle's collections include paintings by Rembrandt and Canaletto as well as valuable objects of decorative arts and historical memorabilia, showcased in this latest Director's Choice with the expertise of Director Wojciech Falkowski.

A collaboration between the Firtash Foundation of the Ukraine and Saatchi Gallery, UK/ RAINE presents an overview of emerging artists from both countries, chosen by a panel of eminent international experts. Including some of the most imaginative new talent from the UK and Ukraine's contemporary art scenes. The selected 30 young artists reveal shared concerns and challenges despite the very different socio-political and artistic environments in which they work.

In December 2020, spirits were low. The first tentative visitors had only just made it back through the doors of the Ashmolean after months of isolation, only for another lockdown to come crashing into view. The galleries went dark for a second time in a year. There's something uncanny about standing in the Museum when it's empty of visitors. You can sense a million human stories all around you, clamouring to be told to... no-one. So, we had to change tack. If we couldn't get people into the building, we could get the stories out. I started calling around curators, asking for their most uplifting tales in the collections. From bedrooms and garden sheds and kitchen tables, the Ashmolean team started recording themselves, sharing stories of joy and resilience to help keep us all going through the dark winter months of quarantine. The result was a podcast, Museum Secrets, which you can find on the Ashmolean's website. This book contains the highlights. These are stories you won't find on the labels. These are stories of the human experiences hidden in the Museum's cases and frames. They are stories that cheered us up when we needed it most, and I hope will continue to do so.

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 stunning and powerfully relevant book tells the history of Antarctica through 100 varied and fascinating objects drawn from collections around the world. Retracing the history of Antarctica through 100 varied and fascinating objects drawn from collections across the world, this beautiful and absorbing book is published to coincide with the 250th anniversary of the first crossing into the Antarctic Circle by James Cook aboard Resolution, on 17th January 1773. It presents a gloriously visual history of Antarctica, from Terra Incognita to the legendary expeditions of Shackleton and Scott, to the frontline of climate change. One of the wildest and most beautiful places on the planet, Antarctica has no indigenous population or proprietor. Its awe-inspiring landscapes - unknown until just two centuries ago - have been the backdrop to feats of human endurance and tragedy, scientific discovery, and environmental research. Sourced from polar institutions and collections around the world, the objects that tell the story of this remarkable continent range from the iconic to the exotic, from the refreshingly mundane to the indispensable: - snow goggles adopted from Inuit technology by Amundsen - the lifeboat used by Shackleton and his crew - a bust of Lenin installed by the 3rd Soviet Antarctic Expedition - the Polar Star aircraft used in the first trans-Antarctic flight - a sealing club made from the penis bone of an elephant seal - the frozen beard as a symbol of Antarctic heroism and masculinity - ice cores containing up to 800,000 years of climate history This stunning book is both endlessly fascinating and a powerful demonstration of the extent to which Antarctic history is human history, and human future too.

This beautiful publication presents for the first time the Eveillard Gift of drawings to The Frick Collection, the most important gift of drawings and pastels in its history. It accompanies an exhibition at the Frick and includes a catalogue of the works and commentaries by noted scholars. Twenty-six works of art promised to The Frick Collection by Elizabeth and Jean-Marie Eveillard dramatically advance the museum's commitment to the research and display of European drawings. Included in this transformative gift from two longtime supporters of the Frick are exquisite drawings, pastels, prints, and one oil sketch by Francois Boucher, Gustave Caillebotte, Edgar Degas, Eugene Delacroix, Jean-Honore Fragonard, Thomas Lawrence, Francisco de Goya y Lucientes, John Singer Sargent, Elisabeth Vigee Le Brun, and Jean-Antoine Watteau, among others. The works include figurative sketches, independent studies, portraits, and landscape scenes, each either deepening the museum's celebrated holdings or bringing the work of an artist who is not face=Calibri>- but should be - represented in the collection. This lavishly illustrated publication, which accompanies an exhibition at the Frick, includes a catalogue of the works, as well as comprehensive commentaries on each of promised gifts written by noted scholars in their field.

Ireland and the Irish identity have been shaped by migration. People left and still leave the island for many reasons, some pushed by circumstances at home, others pulled by opportunities abroad. No two stories are the same, but many emigrants are linked by common motivations and shared experiences. Today these emigrants and their descendants number over 70 million people. They can be found in all four corners of the globe. Published with EPIC The Irish Emigration Museum, this book tells their stories.

A killer of paupers, princes and presidents, typhoid was an invisible threat in Victorian times and remains dangerous in many areas today. In this exploration of the past, present and future of typhoid control, Dr Claas Kirchhelle uses the stories of both literary characters and real-life figures to trace typhoid's transformation from a mysterious scourge into a controllable microbial threat. Drawing on the award-winning Typhoidland exhibitions, the author dispels the myth of typhoid as an eradicated disease and shows how cutting-edge vaccines and collective international action offer new hope amidst surging drug resistance - a subject that has gained new relevance in a post-COVID world.

A complete catalog of the Atlanta History Center's permanent folk art exhibition, this richly illustrated volume defines and documents the folk arts of the lower southeastern United States. The objects, crafting processes, and performances represented here illustrate the unique qualities of the community-learned traditional arts of the South. John A. Burrison examines a multitude of traditional art forms, many of which still thrive today. Intricately constructed miniatures of covered wagons, sorghum-syrup mills, and pottery workshops speak of a life of subsistence farming. Decorated baskets represent the cultural exchanges of Native Americans, European Americans, and African Americans. Intricate wrought-iron gates, musical instruments, quilts, and such curiosities as face jugs combine beauty and utility -- the dual nature of most folk art -- with southern flair.

An illuminating introduction by Burrison, the curator of the exhibit and an expert folk art collector, presents highlights of his thirty years of research and collecting experience, offering a behind-the-scenes glimpse of the exhibition. A concluding section looks at the adaptations and innovations shaping the future of southern folk arts.

Isabella Stewart Gardner was a force to be reckoned with. She routinely went toe-to-toe with major museums and titans of industry to purchase masterpieces, created a museum unlike any other, and was famous for consistently flouting the social conventions that governed women of her time. However, this book shows another side of Isabella that readers may not expect: her love of dogs. Richly illustrated with images from the collection and museum archives, this volume allows readers to meet Isabella's favorite dogs (Kitty Wink and Patty Boy), see the litters of puppies she bred, and discover how her dogs were a comfort toward the end of her life. Usually stern in photographs, Isabella - like many people - could not help grinning when posing for photos with puppies. This enthusiasm for dogs is also evident in her correspondence. As she wrote excitedly to her art advisor Bernard Berenson: "Part of my morning's work has been to try to induce two 9 days old fox terrier pups to open their eyes again. They did once; and then clapped them to, with a vim that seemed to say that the box they found themselves in was not the ideal they had come to this world to see!" Even the dogs of celebrities - both celebrities she knew personally, and others she admired from afar - drew her attention. This book also features some of the many photographs she collected of notable people and their dogs, like the painter Anders Zorn and his adorable pup Mouche and Caesar, the regal and loyal terrier who belonged to King Edward VII and even marched in the monarch's funeral parade. From gathering Renaissance masterpieces to raising Fox Terriers, this book shows that Isabella approached all her tasks with enthusiasm and dedication. By learning about her love of her canine companions, this book presents a more human side of Isabella than typically on display.

For the first time, explore John Singer Sargent's fascination with Spain as seen in stunning landscapes, architectural views, figure studies, and scenes of everyday life American artist John Singer Sargent (1856-1925) experienced Spain, including the picturesque island of Majorca, as a source of rejuvenation and inspiration. Sargent and Spain features scores of the artist's dazzling watercolors, oil paintings, and drawings, from landscapes and seascapes to architectural studies, scenes of everyday life, and sympathetic portraits of the Roma and other local people he encountered. Immersing himself in the country's rich culture, he studied Spanish masters old and new, lavishing particular attention on works by Diego Velazquez in the Prado. He rendered the distinctive architecture of the Alhambra as well as other palaces and churches, and he captured lively scenes of ports and villages. Intrigued by Spanish dance and music, Sargent created dynamic views of flamenco and the famous dancer La Carmencita. A map and an illustrated chronology document the artist's seven trips to and travels through Spain. This handsome book showcases, for the first time, Sargent's captivation with Spain and the remarkable works of art now associated with it. Published in association with the National Gallery of Art, Washington Exhibition Schedule: National Gallery of Art, Washington (October 2, 2022-January 2, 2023) Fine Arts Museums of San Francisco, Legion of Honor (February 11-May 14, 2023)

When it was granted by King John in 1215, Magna Carta was a practical solution to a political crisis. In the centuries since, it has become a potent symbol of liberty and the rule of law. This catalogue accompanies a once-in-a-lifetime exhibition at the British Library commemorating the 800th anniversary of Magna Carta. It takes us on a journey from the charter's medieval origins through to what it means to people around the world today. Drawing on the rich historical collections of the British Library - including two original copies of Magna Carta from 1215 - the catalogue brings to life the history and contemporary resonance of this globally important document. It features treasured artefacts inspired by the rich legacy of Magna Carta, including Thomas Jefferson's handwritten draft of the Declaration of Independence and an original copy of the Bill of Rights.

The legacy of the art and cultural scientist Aby Warburg offers many subjects for reassessment. Almost unknown until now are the artifacts he collected on a journey through the southwest of the US in 1895/96 and donated to the Museum fur Voelkerkunde in Hamburg (today Museum am Rothenbaum). The results first unfolded in Warburg's famous lecture on the "snake ritual" of the Hopi (1923). Following Warburg's transdisciplinary approach, this publication examines his guiding principles in assembling his collection as well as his reading of Pueblo art and culture. It pays tribute to the works and their artistic significance and sheds light on the circumstances of acquisition in the sociopolitical environment of the Pueblo communities of the time. The contemporary fascination with the snake ritual is also a topic. Set against this are the previously neglected perspectives and strategies of Pueblo leaders to regain interpretive sovereignty over culturally sensitive content and imagery.

Amor Mundi: The Collection of Marguerite Steed Hoffman delves deep into this remarkable singular collection. Over two volumes, Amor Mundi presents an edited selection of over 400 works of modern and contemporary art from the Collection of Marguerite Steed Hoffman, from the pieces brought together by Marguerite Steed and her late husband Robert Hoffman (1947-2006) to more recent outstanding acquisitions. Over 30 authors - artists and art historians - explore this fascinating collection, addressing specific artworks as well as the motivations behind the collection's creation and ongoing evolution. Created over the course of a two-year period, great care has been taken to reflect the collection's key artists, canonical works, and the issues and debates that have helped shape its direction for more than a quarter of a century. By highlighting the art and artists as well as the ideological principles underlying the collection, it is hoped that Amor Mundi will shed some light on how to interpret this extraordinary collection of modern and contemporary art as well as communicating something about the personality of the woman who assembled it. Texts by Martin Jay, Renee Green, Susan L. Aberth, Sarah Celeste Bancroft, Renate Bertlmann, Anna Katherine Brodbeck, Susan Davidson, Gavin Delahunty, TR Ericsson, Tamar Garb, Robert Gober, Rachel Haidu, Merlin James, Wyatt Kahn, Ragnar Kjartansson, Anna Lovatt, Leora Maltz-Leca, Nic Nicosia, Charles Ray, Mark Rosenthal, Dana Schutz, Barry Schwabsky, Richard Shiff, Raphaela Simon, Michelle Stuart, Kirsten Swenson, Mary Weatherford, Terry Winters. Interviews by Martin Jay and Marguerite Steed Hoffman, Gavin Delahunty and Isabelle Graw