A critical reconsideration of the history of photography that explores how commerce and conflict fueled its practice in nineteenth-century China Photography's development as a new form of art and technology coincided with profound changes in the way China engaged with the world in the nineteenth century. The medium evolved in response to war, trade, travel, and a desire for knowledge about an unfamiliar place. Power and Perspective provides a rich account of the exchanges among photographers, artists, patrons, and subjects in the treaty port cities that connected China and the West. Drawing primarily from the Peabody Essex Museum's historic and largely unpublished collection of photographs, this generously illustrated volume examines the confrontations and collaborations that shaped the adoption and practice of photography in China. Offering an original reassessment of the colonial legacy of the medium, Power and Perspective addresses photography's representations of racial hierarchy and its entanglement with histories of European imperialism in nineteenth-century China. Distributed for the Peabody Essex Museum Exhibition Schedule: Peabody Essex Museum, Salem, MA (September 24, 2022-April 2, 2023)

Extensively illustrated, this is the first accessible publication on the history of tapestry in over two decades. Woven with dazzling images from history, mythology and the natural world, and breath-taking in their craftsmanship, tapestries were among the most valuable and high-status works of art available in Europe from the medieval period to the end of the eighteenth century. Over 600 historic examples hang in National Trust properties in England and Wales - the largest collection in the UK. This beautifully illustrated study by tapestry expert Helen Wyld, in association with the National Trust, offers new insights into these works, from the complex themes embedded in their imagery, to long-forgotten practices of sacred significance and ritual use. The range of historical, mythological and pastoral themes that recur across the centuries is explored, while the importance of the 'revival' of tapestry from the late nineteenth century is considered in detail for the first time. Although focussed on the National Trust's collection, this book offers a fresh perspective on the history of tapestry across Europe. Both the tapestry specialist and the keen art-history enthusiast can find a wealth of information here about woven wall hangings and furnishings, including methods of production, purchase and distribution, evolving techniques and technologies, the changing trends of subject matter across time, and how tapestries have been collected, used and displayed in British country houses across the centuries.

The artist should not only paint what he sees before him, claimed Caspar David Friedrich, but also what he sees in himself . He should have a dialogue with Nature . Friedrich s words encapsulate two central elements of the Romantic conception of landscape: close observation of the natural world and the importance of the imagination. Exploring aspects of Romantic landscape drawing in Britain and Germany from its origins in the 1760s to its final flowering in the 1840s, this exhibition catalogue considers 26 major drawings, watercolors and oil sketches from The Courtauld Gallery, London, and the Morgan Library and Museum, New York, by artists such as J.M.W. Turner, Samuel Palmer, Caspar David Friedrich and Karl Friedrich Lessing. It draws upon the complementary strengths of both collections: the Morgan s exceptional group of German drawings and The Courtauld s wide-ranging holdings of British works. A Dialogue with Nature offers the opportunity to consider points of commonality as well as divergence between two distinctive schools. The legacy of Claude Lorrain s idealizing vision is visible in Jakob Hackert s magisterial view of ruins at Tivoli, near Rome, as well as in a more intimate but purely imaginary rural scene by Thomas Gainsborough, while cloud and tree studies by John Constable and Johann Georg von Dillis demonstrate the importance of drawing from life and the observation of natural phenomena. The important visionary strand of Romanticism is brought to the fore in a group of works centered on Friedrich s evocative Moonlit Landscape and Samuel Palmer s Oak Tree and Beech, Lullingstone Park. Both are exemplary of their creators intensely spiritual vision of nature as well as their strikingly different techniques, Friedrich s painstakingly fine detail contrasting with the dynamic freedom of Palmer s penwork. The most expansive and painterly works include Turner s St Goarshausen and Katz Castle, the luminous simplicity of Francis Towne s watercolor view of a wooded valley in Wales, and Friedrich s subtle wash drawing of a coastal meadow on the remote Baltic island of Rugen. Three small-scale drawings reveal a more introspective and intimate facet of the Romantic approach to landscape: Theodor Rehbenitz s fantastical medievalising scene, Palmer s meditative Haunted Stream, and lastly, Turner s Cologne, made as an illustration for The Life and Works of Lord Byron (1833).

Exploring how artists at midcentury addressed the social issues of their day-from Jacob Lawrence to Elizabeth Catlett, Rose Piper to Charles White This timely book surveys the varied ways in which Black American artists responded to the political, social, and economic climate of the United States from the time of the Great Depression through the landmark Brown v. Board of Education of Topeka decision. Featuring paintings, sculptures, and works on paper by artists including Jacob Lawrence, Horace Pippin, Augusta Savage, Charles White, Elizabeth Catlett, Norman Lewis, Walter Augustus Simon, Lois Mailou Jones, and more, the book recognizes the contributions Black artists made to Social Realism and abstraction as they debated the role of art in society and community. Black artists played a vital part in midcentury art movements, and the inclusive policies of government programs like the Works Progress Administration brought more of these artists into mainstream circles. In three chapters, Earnestine Jenkins discusses the work of Black artists during this period; the perspective of Black women artists with a focus on the sculpture of Augusta Savage; and the pedagogy of Black American art through the art and teaching of Walter Augustus Simon. Published in association with the Dixon Gallery and Gardens Exhibition Schedule: Dixon Gallery and Gardens, Memphis (October 17, 2021-January 2, 2022)

Plants and gardens play a central role in life on Earth. They have provided food, clothing, shelter, medicines, employment, leisure and enjoyment throughout history. Both also have many symbolic uses in art, mythology and literature, making plants and gardens the perfect theme for the Designer Bookbinders fourth International Competition held at the Bodleian Library in 2022. The chosen theme also celebrates 400 years since the founding of Oxford Botanic Garden. This beautiful catalogue features richly illustrated texts and finely printed volumes which are bound with skill and creativity using varied materials by binders from all over the world. The fourth in a series following on from 'Bound for Success' in 2009, 'Prize Volumes' in 2013 and 'Heroic Works' in 2017, 'A Gathering of Leaves' is a celebration of the stunningly inventive winning bindings featured alongside all the competition entries.

Rewrites our understanding of the last 50 years of Chicana/o cultural production. Chicana/o Remix casts new light not only on artists-such as Sandra de la Loza, Judy Baca, and David Botello, among others-but on the exhibitions that feature their work, and the collectors, curators, critics, and advocates who engage it. Combining feminist theory, critical ethnic studies, art historical analysis, and extensive archival and field research, Karen Mary Davalos argues that narrow notions of identity, politics, and aesthetics limit our ability to understand the full capacities of Chicana/o art. She employs fresh vernacular concepts such as the "errata exhibit," or the staging of exhibits that critically question mainstream art museums, and the "remix," or the act of bringing new narratives and forgotten histories from the background and into the foreground. These concepts, which emerge out of art practice itself, drive her analysis and reinforce the rejection of familiar narratives that evaluate Chicana/o art in simplistic, traditional terms, such as political versus commercial, or realist versus conceptual. Throughout Chicana/o Remix, Davalos explores undocumented or previously ignored information about artists, their cultural production, and the exhibitions and collections that feature their work. Each chapter exposes and challenges conventions in art history and Chicana/o studies, documenting how Chicana artists were the first to critically challenge exhibitions of Chicana/o art, tracing the origins of the first Chicano arts organizations, and highlighting the influence of Europe and Asia on Chicana/o artists who traveled abroad. As a leading scholar in the study of Chicana/o artists, art spaces, and exhibition practices, Davalos presents her most ambitious project to date in this re-examination of fifty years of Chicana/o art production.

Born in Cotonou, Benin in 1961, Meschac Gaba moved to the Netherlands in 1996 to take up a residency at the Rijksakademie. It was there that he conceived The Museum of Contemporary African Art 1997-2002, an ambitious work, which took him five years to complete and which cemented his reputation as one of the most important African artists working today. Consisting of twelve sections - Draft Room, Architecture, Museum Shop, Summer Collection, Games Room, Art and Religion, Museum Restaurant, Music Room, Marriage Room, Library, Salon and Humanist Space - this work challenges preconceived notions of what African art is and provides a new discursive space for social and cultural interaction, critiquing the museum's value both as an institution, and as a symbol of cultural capital. The importance of this work, in the history of African art and in the lineage of critical reflections on the museum by artists such as Marcel Duchamp and Marcel Broodthaers, has been widely acknowledged in important exhibitions ranging from Documenta XI, Kassel in 2002 to Intense Proximity: La Triennale, Paris in 2012. Tate has now acquired this work. This book will be published on the occasion of the first presentation of Gaba's Museum of Contemporary African Art in its entirety in the UK. Contributions by leading scholars will place this important work in the context of the artist's oeuvre, art history and museology.

?????? One of Britain's leading contemporary photographers, Nick Waplington is known for photographing British social scenery and his life and close circle of friends and family in East London, where he lives and works. ?????? Double Dactyl accompanies his solo exhibition of the same name at The Whitechapel Gallery, London. ?????? Waplington first came to public notice with Living Room (1991), a photographic portrait based on the everyday lives of two close-knit families in Nottingham, England. ?????? Since then he has often worked in book form. Double Dactyl expands on previous work, now referencing the grand traditions of history painting, classical mythology and landscape photography. ?????? This new work also explores notions of photographic "reality," by working with constructed and manipulated images taken from his own large format photographs. ?????? Double Dactyl features 56 colour reproductions of this new body of work, its surreal and often subtle use of manipulation confirming Waplington's idiosynchratic approach to contemporary photographic practice. Nick Waplington has exhibited internationally including at Deitch Projects, New York, The Philadelphia Mudeum of Modern Art and the 2001 Venice Biennale. He lives and works in London. Also Published by Trolley You Love Life (2005) Learn How To Die The Easy Way (2001)

This book represents the first study dedicated to Twentieth Century German Art, the 1938 London exhibition that was the largest international response to the cultural policies of National Socialist Germany and the infamous Munich exhibition Degenerate Art. Provenance research into the catalogued exhibits has enabled a full reconstruction of the show for the first time: its contents and form, its contributors and their motivations, and its impact both in Britain and internationally. Presenting the research via six case-study exhibits, the book sheds new light on the exhibition and reveals it as one of the largest emigre projects of the period, which drew contributions from scores of German emigre collectors, dealers, art critics, and from the 'degenerate' artists themselves. The book explores the show's potency as an anti-Nazi statement, which prompted a direct reaction from Hitler himself.

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.

This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history. * A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art * Combines original research with a survey of existing scholarship and the state of the field * Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500 * Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study * Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art s relationship to Modernity, nationhood and nationality, and the institutions of the British art world

Presented in a beautiful gift format and filled with a wealth of new photography, this engaging book aims to introduce to a general audience the National Trust's vast collections - a treasure chest of history. Arranged chronologically, starting with Roman sculpture and ending with 20th-century design, it focuses on museum-quality objects as well as important examples of decorative arts, furniture, textiles, books and items with fascinating stories behind them. Selected by the National Trust's curators from more than 1.5 million objects in its collections, the featured highlights include an ancient-Egyptian obelisk; Cardinal Wolsey's purse; the first English globe; one of the earliest surviving sofas; an incredible 18th-century dolls' house; an elephant automaton; a tent made for a sultan; a dress made of beetle-wing cases; hand-written manuscripts by Beatrix Potter and Virginia Woolf; Rodin's bust of George Bernard Shaw; rare, early colour photographs of the Sutton Hoo discovery; a sculpture by Barbara Hepworth and paintings by Holbein, Rubens, van Dyck, Rembrandt, Velazquez, Reynolds, Stubbs, Burne-Jones, Monet and Sargent. Each featured object is accompanied by an illuminating, easy-to-read caption, a timeline of key moments in the Trust's history and a list of properties housing important collections items appear at the end.

In the late 19th century, numerous Russian artists found inspiration in the style of French Impressionist painters. Often, a journey to Paris acted as a catalyst for their burgeoning interest in the movement. They developed a preference for working en plein air and aimed to capture transitory effects through a spontaneous and free handling of the brush. Many leading painters of the later Russian avant-garde arrived at their individual styles due to studying the Impressionist use of light. This lavishly illustrated volume explores the many-layered ways French Impressionism influenced the evolution of Russian art from the 1880s to the 1920s, including the work of painters as diverse as Ilya Repin, Valentin Serov, Konstantin Korovin, Natalia Goncharova, and Kazimir Malevich. Essays by many of the leading scholars in the field provide rich new insights into one of the most intriguing chapters of Russian modernism.

The task of the present publication is to show how the Museu d'Art Contemporani de Barcelona (MACBA) has sought to initiate new narratives and histories of art through a wide selection of acquisitions during 2002-07 of the MACBA Collection. The book includes essays by Manuel J. Borja-Villel, Kaira M. Cabanas and Jorge Ribalta.

This richly illustrated volume introduces one of America's finest university art museums - one whose directors, curators, donors, and patrons have left a remarkable legacy, a museum collection that encourages us all to "look close, think far." The selection of over 280 highlights is presented with brief commentaries and an essay that traces the growth of the Ackland Art Museum's outstanding collection. The Ackland Art Museum at the University of North Carolina at Chapel Hill is one of the United States' most distinguished public university art museums. Founded in 1958, it now houses over 20,000 works of art, covering some 5,000 years of cultures from around the globe. Look Close, Think Far is the tagline of the Ackland, informing everything from the dynamic and varied program of special exhibitions to ambitious interpretation, education, and outreach activities. It applies especially strongly to the museum's extensive permanent collection. Although an integral part of the oldest public university in the United States, the Ackland is a relatively young institution. Now approaching its sixty-fifth year, it has become the proud steward of over 20,000 works of art from an impressively broad range of world cultures and time periods. The Museum is known for its special strengths in art of the European tradition, with very strong holdings in prints and drawings; the arts of Asia, and especially China, Japan, and India; a small but fine collection of classical art from Africa; and recent and contemporary art. This publication showcases a cross-section though the diverse collection, with 283 works, giving an impression of the Ackland's permanent collection that is true to its character, representative of its breadth, and indicative of its quality. The essay gives special attention to the early stages and the less obvious, more idiosyncratic moments that have contributed to the Ackland's personality and individuality. The approach taken by the editor Peter Nisbet, deputy director for curatorial affairs at the Ackland, differs from most conventional volumes of museum collection highlights in several refreshing ways. Instead of separating works along the lines of curatorial departments, the arrangement emphasizes the unity of the collection by merging works from different cultures. These are presented in a largely chronological sequence, but one that surprises by starting with the present and extending back in time. Within this order, works of art are deliberately paired across individual page openings, to stimulate visual attention, reflective thinking, and sometimes maybe just a smile.

As an underground art star, Andy Warhol (1928-1987) was the antidote to the prevalent abstract expressionist style of 1950s America. He introduced popular everyday subjects into his practice and openly acknowledged the wide-ranging influences on his work. Throughout his career, his forays into advertising, fashion, film, TV and music videos, marked a fascination with mainstream popular culture. This book will position Warhol at the vanguard of artistic experimentation. Looking at his background as an immigrant, ideas of death and religion, and his queer perspective, it will explore his limitless ambition to push the traditional boundaries of painting, sculpture, film and music, and reveal Warhol as an artist who both succeeded and failed in equal measure; an artist who embraced the establishment while cavorting with the underground. It will further highlight Warhol's knowing flirtation with the commercial world of celebrity alongside his socially engaged collaborations and advocacy of alternative lifestyles. Including his iconic depictions alongide lesser-known works, as well as an installation of his Silver Clouds, this fascinating book returns Warhol to his conceptual ambition and positions him within the shifting creative and political landscape in which he worked, permitting a broad view of how Warhol, and his work, marked a period of cultural transformation.

The Louvre Museum houses many of the world's most celebrated and important art of all time -- from da Vinci's Mona Lisa to Vermeer's The Lacemaker -- making it also the most visited art museum in the world. The Louvre: All the Paintings allows you to experience every painting currently on display in the permanent collection in Paris, without ever having to step on a plane. Divided and organized into the four main painting collections of the museum -- the Italian School, the Northern School, the Spanish School, and the French School -- the paintings are then presented chronologically by the artists' date of birth. Four hundred of the most iconic and significant paintings are illuminated with 300-word discussions by art historians Anja Grebe and Vincent Pomarede on the key attributes of the work, what to look for when viewing, the artist's inspirations and techniques, biographical information on the artist, the artist's overall impact on history, and more. Immerse yourself in the wonder and dazzling display of the Louvre without ever having to leave the comfort of your own home. Learn more about each artist and painting, and tour the realms of sensational masterpieces with this new paperback edition.

This book analyzes practices of collecting in European art museums from 1989 to the present, arguing that museums actualize absence both consciously and unconsciously, while misrepresentation is an outcome of the absent perspectives and voices of minority community members which are rarely considered in relation to contemporary art. Difficult knowledge is proposed as a way of dealing with absence productively. Drawing on social art history, museology, postcolonial theory, and memory studies, Margaret Tali analyzes the collections of four modern and contemporary art museums across Europe: the Hamburger Bahnhof in Berlin, the Ludwig Museum of Contemporary Art in Budapest, the Kiasma Museum in Helsinki, and the Kumu Museum in Tallinn.

This book is an ethnographic study of the travelling art exhibition Indian Highway that presented Indian contemporary art in Europe and China between 2008 and 2012, a significant period for the art world that saw the rise and fall of the national exhibition format. It analyses art exhibition as a mobile "object" and promotes the idea of art as a transcultural product by using participant observation, in-depth interviews, and multi-media studies as research method. This work encompasses voices of curators, artists, audiences, and art critics spread over different cities, sites, and art institutions to bridge the distance between Europe and India based on vignettes along the Indian Highway. The discussion in the book focuses on power relations, the contested politics of representation, and dissonances and processes of negotiation in the field of global art. It also argues for rethinking analytical categories in anthropology to identify the social role of contemporary art practices in different cultural contexts and also examines urban art and the way national or cultural values are reinterpreted in response to ideas of difference and pluralism. Rich in empirical data, this book will be useful to scholars and researchers of modern and contemporary art, Indian art, art and visual culture, anthropology, art history, mobility, and transcultural studies.