This is the first full-length biography of Dorothy Morland (1906-99), to date the only female director of the Institute of Contemporary Arts (ICA) in London. Based on unpublished letters and other archival sources, as well as interviews and personal recollections, this book traces her busy private and public life from the 1930s up until the 1990s. It tells the story of one of the unacknowledged contributors to the success of the ICA and to the understanding of the international avant garde in post-war Britain. As a female arts administrator, Dorothy Morland's work has been largely overlooked, and this book aims to highlight her significant contribution to the public understanding of modernism. She was part of a network which included the Surrealist Roland Penrose, art critic Herbert Read, architect Jane Drew and wealthy philanthropists, Peter Gregory and Peter Watson. She was also the protector and advocate for the Independent Group. Dorothy Morland always mixed business with pleasure (dancing with Picasso in Antibes while there on ICA business), and tirelessly oversaw the chaotic organisation that was the ICA in Dover Street from 1950 until 1968. After leaving the ICA she worked hard on assembly the organisation's archives and securing their safekeeping at Tate.

Man Ray, surrealist master and exponent of the Dada movement, managed to reinvent not only the photographic language, but also the representation of the body and face, as well as the genres of the nude and the portrait themselves. This book brings together around 200 photographs produced from the 1920s right up to his death in 1976, all featuring female subjects.Through rayographs, solarisations and double exposures, the female body undergoes a continual metamorphosis of forms and meanings, becoming an abstract form, an object of seduction, classical memory or realistic portrait, in endless playful and refined variations. Among the protagonists of his shots are Lee Miller, Berenice Abbott, Dora Maar and Juliet, a lifelong companion, to whom is dedicated the amazing The Fifty Faces of Juliet portfolio (1943-1944). But these women were, in turn, great artists: as evidence is presented here a corpus of works dating back to the time - between the 1930s and '40s - of their most direct association with Man Ray and with the environment of the Dada avant-garde and Parisian surrealism. This volume offers a wide survey of one of the most exuberant periods of the 20th century, with authentic masterpieces of photographic art such as the Electricite portfolios (1931) and the very rare Les mannequins. Resurrection des mannequins (1938). Text in English and Italian.

A revelatory resituation of Van Gogh's familiar works in the company of the surprising variety of nineteenth-century art and literature he most revered Vincent van Gogh's (1853-1890) idiosyncratic style grew out of a deep admiration for and connection to the nineteenth-century art world. This fresh look at Van Gogh's influences explores the artist's relationship to the Barbizon School painters Jean-Francois Millet and Georges Michel-Van Gogh's self-proclaimed mentors-as well as to Realists like Jean-Francois Raffaelli and Leon Lhermitte. New scholarship offers insights into Van Gogh's emulation of Adolphe Monticelli, his absorption of the Hague School through Anton Mauve and Jozef Israels, and his keen interest in the work of the Impressionists. This copiously illustrated volume also discusses Van Gogh's allegiance to the colorism of Eugene Delacroix, as well as his alliance with the Realist literature of Charles Dickens and George Eliot. Although Van Gogh has often been portrayed as an insular and tortured savant, Through Vincent's Eyes provides a fascinating deep dive into the artist's sources of inspiration that reveals his expansive interest in the artistic culture of his time. Published in association with the Santa Barbara Museum of Art Published in association with the Santa Barbara Museum of Art Exhibition Schedule: Columbus Museum of Art (November 12, 2021-February 6, 2022) Santa Barbara Museum of Art (February 27-May 22, 2022)

Andy Warhol (1928-1987) is arguably the most iconic figure in twentieth century art, an enigmatic personality who not only altered the definition of art itself but also in his wake left a vast and staggeringly complex record of his activities. Warhol's archive consists not only of his artworks but also 1,500 cardboard boxes, flat files, and trunks filled with source material, memorabilia, correspondence, and junk mail. When the catalogue raisonne is complete, it will constitute an indisputable record of the artist's paintings, drawings, and sculptures -- some 15,000 works produced by the artist between 1948 and 1987, the year of his death.

Volume I documents the artist's early paintings and sculpture made between 1961 and 1963 and incorporates newly discovered works as well as some previously thought to be lost. Included are not only projected paintings influenced by popular advertisements, comics and other printed ephemeral but also classic and much-prized Warhols such as the Campbell Soup paintings, serial works representing cultural icons Marilyn, Liz, Elvis, photobooth portraits of Warhol's friends and idols as well as early self-portraits. Accompanying the works and detailed catalogue entries is an amazing array of source material -- from newspaper scraps and movie star publicity stills to photographs of Warhol and his consorts in his studio and at exhibitions.

In consultation with a team of experts, Georg Frei and Neil Printz analyze Warhol's unique techniques and subject matter as well as establish a strict chronology for his stylistic evolution. Their text provides both a compelling overview and unparalleled detail of an endlessly fascinating life and career.

The projectis co-sponsored by the Andy Warhol Foundation for the Visual Arts in New York and Thomas Ammann Fine Art in Zurich.

The Andy Warhol Catalogue Raisonne is the result of more than 25 years of planning and research and will constitute the indisputably definitive reference to Warhol's voluminous artistic production. The editors and advisors of the catalogue raisonne established rigorous standards of authenticity for Warhol's work, unequivocably differentiated individual works within a series, and discovered works that had been unknown or were thought to be lost. All of their findings are documented in this unprecedented project.

The catalogue raisonne project was initiated in 1977 by Thomas Ammann. The editors George Frei and Neil Printz began primary research in 1993, advised by the distinguished curators and art historians Kynaston McShine and Robert Rosenblum. Experts from the Andy Warhol Foundation reviewed archival materials, personally examined nearly each work of art, analyzed works in museums in their conservation facilities and discussed them with conservators, submitted works for review by the Andy Warhol Art Authentication Board, and interviewed Warhol's assistants and colleagues to assemble a customized database of works unparalleled inmWarhol scholarship. Warhol's method of working in serial compositions, silkscreen, and repeating units challenges traditional art connoiseurship and begs the question not only of what is and what is not Warhol, but which Warhol is it? For each work, the catalogue answers, among other things, two central questions: When was it made? and How was it executed?

Volumes in the series are organized on the basis of Warhol's self-identification as apainter. Warhol began to produce his first concentrated body of paintings in 1961 and continued in the same studio on Lexington Avenue in New York until 1964, when he established the Factory, his studio at 231 East Forty-seventh Street. Volume I documents the work Warhol produced in his first studio, from 1961 until 1963. (Subsequent volumes record separately the earliest work in drawing from 1948 to 1961; work from 1964 to 1968, and the paintings and sculpture of the 1970s and the 1980s.)

Each volume of the catalogue raisonne will have a silk-screened cover and gatefolds showcasing Warhol's serial work, and will constitute a unique collectible object whose pop-art sensibility complements the scholarly and curatorial insights contained within. All works are reproduced in color, with 2-color text that makes it easier for readers to find their way through the catalogue entries. These list for each work the standard data (dimensions, date, present owner, inscriptions and special notes), provenance, exhibitions, and literature. Volumes are organized according to catalogue number, with works reproduced in numerical order, followed by the corresponding texts. Supplementary figures to the texts illustrate primary materials Warhol appropriated for his works -- newspaper articles and advertisements, soup cans, publicity stills -- as well as photographs of the works in Warhol's studio and in galleries. Volume I includes 14 appendices, essays that briefly examine particular aspects of Warhol's work such as his materials and his studio; notes to the catalogue texts; a title index; and a comprehensive general index. Indexes cross-reference works with their catalogue numbers and page numbers asthey appear in the book.

Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett has been the foremost international journal on contemporary art for nearly two decades. Issue #63 features collaborations with Tracey Emin (Great Britain), William Kentridge (South Africa), and Gregor Schneider (Germany), three artists whose highly personal works affect viewers in an evocative manner, yet through strikingly different means. Emin bares her soul from the inside out, in her confessional multimedia photographs, drawings, videos, and installations. Kentridge's highly-charged films, drawings, sculptures, and theatrical productions analyze the history of his native South Africa and the implications and legacy of apartheid. And finally, Schneider's inside-out abodes turn the seemingly cozy and reassuring context of home into a haunting maze of opened and closed rooms, claustrophobic corridors and tunnels, and impenetrable windows and doors. Each of these artists draws us into their private worlds, diminishing the boundaries between artist and audience.

The first major survey of the occult collection of artworks, letters, objects and ephemera in the Tate Archive and collection. Revealing over 150 esoteric and mystical pieces, some never before seen, this book gives a new understanding to the artists in the Tate collection and the history and practice of the occult. A lavishly illustrated magical volume acts a potent talisman connecting the two worlds of Tate - the seen public collection and the unseen secrets lurking in the archive. The pages of this book explore the hidden artworks and ephemera left behind by artists, and shed new light on our understanding of the art historical canon. It offers an in-depth exploration of the occult and its relationship to art and culture including witchcraft, alchemy, secret societies, folklore and pagan rituals, demonology, spells and magic, psychic energies, astrology and tarot. Expect to find the unexpected in the works and lives of artists such as Ithell Colquhoun, Paul Nash, Barbara Hepworth, Cecil Collins, John William Waterhouse, Alan Davie, Joe Tilson, Henry Moore, Eileen Agar, William Blake, Leonora Carrington and Pamela Colman Smith. For the first time, the clandestine, magical works of the Tate archive are revealed with archivist Victoria Jenkins exploring relationships between art and the occult, and how both can act as a form of resistance to challenging environments. This book challenges perceptions and illuminates the surprising breadth and extraordinary ways in which artists interpret not just the physical world around them but also the supernatural, to make the unseen, seen. If you think you know Tate artists, it's time to think again.

Many important and valuable rare books, manuscripts and artefacts related to Korea have been acquired by donations throughout the long history of the Bodleian Libraries and the museums of the University of Oxford. However, due to an early lack of specialist knowledge in this area, many of these Korean items were largely neglected. Following on from the publication of the first volume of these forgotten treasures, this book collects together further important and often unique objects. Notable items include the only surviving Korean example of an eighteenth-century world map, hand-drawn, with a set of twelve globe gores on a single sheet; rare Korean coins and charms including excellent examples of the 1423 Choson t'ongbo ; official correspondence from the archives of the United Society for the Propagation of the Gospel, shining a light on the history of Christian missions from the opening of Korea in the 1880s until after the Korean War; photographs from the end of the nineteenth century up to the 1960s showing village and street scenes; a rare silk coat with inner armour plates of lacquered hide; a massive iron padlock inlaid with silver character inscriptions, bronze shoes and Nightingale robe; spectacles with dark crystal lenses and frames of horn; an elaborately decorated bow, arrows and quiver and many other rare artefacts.

'Of all the episodes within Peter Coker's long career,' writes Frances Spalding, 'none is more surprising than the recent explosion of creativity following a difficult time of illness.' Born in 1926, Peter Coker was elected RA in 1972; his substantial output of acknowledged work was recently commemorated in a catalogue raisonne. Since a stroke in 1990 his work has been severely impaired, but the chance discovery of some earlier drawings sparked this 'explosion of creativity', consisting of mixed media works, large oil paintings, lithographs and a series of etchings, The Parisian Suite. All the work is based on views from a particular spot by the Pont au Change to the Ile St-Louis in central Paris. It conveys, in Coker's vigorous, decisive handling, sensations of energy, speed, rush, chaos and interruption in the city. Strong blues and occasional purples dominate many compositions; the brushmarks 'eddy together like driftwood'. The oils are beautifully complemented by the elegant, varied and sprightly etchings.

The definitive six-volume catalogue raisonne of the drawings of one of the most important artists working today Six decades of both iconic and intimate works by Jasper Johns (b. 1930), who is still producing at the age of 88, are given their full due in this magnificent multi-volume publication. Featuring exquisite full-page illustrations of all 813 known drawings by Johns, more than 200 of which have not been published or exhibited, the volumes demonstrate how Johns has been instrumental in elevating and establishing drawing as a major medium in contemporary art, and his drawings chart his artistic interests and aesthetic evolution. Five volumes are dedicated to the drawings, documenting materials and listing exhibition and publication histories, and the large-scale reproductions feature special production details. These include the use of special inks, such as a combination with silver for graphite works and custom mixes to represent particular colors, ensuring that the reproductions are as faithful as possible with state-of-the-art printing technology. The sixth volume includes an exhibition chronology and bibliography focused on drawings, as well as indexes to the set. This landmark publication is a must-have for contemporary art collectors, drawings connoisseurs, art reference libraries, and university art departments. Distributed for The Menil Collection

A definitive overview of one of the most celebrated figures of the Italian Renaissance Among the great figures of the Italian Renaissance, Raphael (1483-1520) is unarguably the artist who has been most widely and consistently admired across the centuries. He had an extraordinary and perhaps unrivaled capacity for self-reinvention-as he progressed from Umbria to Florence and Rome-and an ability to draw strength from the other great artists around him, seemingly growing in stature the more daunting the competition became. This insightful, impeccably researched, and comprehensive volume chronicles the progress of his career in all its richness and complexity. Sumptuous production values and generous illustrations go hand in hand with its rigorous and wide-ranging scholarship. The essays explore Raphael's paintings and drawings, his frescoes in the Vatican Stanze, his designs for tapestries, sculptures and prints, and his engagement with architecture. Detailed and authoritative catalogue entries examine many of Raphael's finest works. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London April 9-July 31, 2022

For as long as humans have been making art, they have turned to the sun as the source of light, warmth and life itself. It appears as a symbol of limitless power, as the personification of gods and of Christ, and as a harbinger of change. Artists have also used the sun as a means of exploring light and color and as an entrée into discussions about climate. The first of its kind, this catalog investigates visual representations of the sun from antiquity to the present day. It is divided into seven roughly chronological sections that look at both epoch-spanning and period specific examples, including symbolic, allegorical representations, the iconography of mythological subjects, and mimetic qualities such as typology, phenomenology, and emotional effect. It includes more than two hundred stunning reproductions of well- and lesser-known works. Incisive and enlightening texts explore how solar symbolism figured in pre-Christian objects through 17th-century depictions of the “Sun King” Louix XIV; how artists such as Rubens and Monet employed the sun in their narrative paintings; how the Impressionists first investigated the sun’s effects on a landscape; how Neo-Impressionist such as Seurat experimented with color based on the Newtonian analysis of the solar spectrum; and how 20th-century artists incorporated a broad array of abstract, surrealistic, and transformative modes of solar representation into a variety of media.

In the Spirit of the Ancestors celebrates the vitality of contemporary Pacific Northwest Coast art by showcasing a selection of objects from the Burke Museum's collection of more than 2,400 late-twentieth- and early-twenty-first-century Native American works. Essays focus on contemporary art while exploring the important historical precedents on which so many artists rely for training and inspiration. Margaret Blackman reflects on building one of the largest collections of Northwest Coast serigraphs, and Joe David reminisces about his artistic journey through mask-making. Shaun Peterson, Lisa Telford, and Evelyn Vanderhoop discuss the historical precedents for working in styles that were kept alive only by a few critical artists and are now making a comeback. Robin K. Wright explores the history of box drums and their revival. Emily Moore discusses the repatriation of two stolen house posts and proposes a new concept of "propatriation" to describe the resulting commissioning of contemporary posts to take their place. Kathryn Bunn-Marcuse explores the power of adornment and how clothing, jewelry, and personal adornments like tattooing express tribal and personal identity in ways both connected to the past and grounded in the present. The diversity of approaches presented by these contributors speaks to artists, collectors, academics, tribal communities, and all those interested in Pacific Northwest Coast art. Splendid color photographs of works never before published will delight everyone. Watch the trailer: http://www.youtube.com/watch?v=E15hbqvHo4w&list=UUge4MONgLFncQ1w1C_BnHcw&index=7&feature=plcp