The Norfolk museum that would one day bear the Chrysler name was always a good museum of its kind, home to a respectable collection serving a smallish city. But when Norfolk native Jean Outland married Walter Chrysler, heir to the automobile manufacturing fortune and an avid art collector, the museum found a person with whom its fortunes would be intertwined, sometimes spectacularly, for decades to come. Walter had already established a Chrysler Museum in Provincetown, Massachusetts, but in 1971--in need of more space and, admittedly, a fresh start--he relocated the operation to Norfolk.

The museum that had once fretted over the possible purchase of a minor Cezanne because it would by itself deplete the entire budget now found itself playing host almost overnight to works by the Old Masters as well as many of the most notable modern artists. Chrysler's was a world-class art collection, containing pieces by, among others, Fragonard, Ingres, Gericault, Tiffany, Matisse, and Braque. The groundwork was laid for Norfolk's place on the cultural map.

In Legacy, Peggy Earle paints a vivid picture of this provincial museum's transformation into one of the finest art museums on the East Coast. She also delivers a captivating portrait of Walter Chrysler, a generous and demanding man who found in art patronage a focus not only for his wealth but also for his tremendous energy. Not content to merely admire the work, Walter had a naturally gregarious side and was apt to deal with artists such as Pablo Picasso directly. And yet he was also intensely private. Earle provides readers with a fascinating view of the politics of the museum world, where even good relationships are never uncomplicated. (The addition of the Chrysler collection's works to the museum was not unanimously applauded by the community; nor was it a foregone conclusion that, upon Chrysler's death, the pieces would even stay with the museum.)

This lively account of the unlikely union between an arts maverick and a city on the cusp of cultural evolution sheds new light on how great art finds a place to call home.

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.

This volume celebrates the 20th anniversary of the founding of the American Art Forum, by presenting 72 treasured works of art selected by the curators of the Smithsonian American Art Museum. In six thematic and chronological sections, the curators cover the huge variety of American art: luminous images of nature from the mid-nineteenth century, such as Martin Johnson Heade's Newburyport Meadows I, and fine landscape masterpieces in the Hudson River tradition, including Sanford Robinson Gifford's The Marshes of the Hudson (1876); light-filled impressionist canvases, such as Mary Cassatt's Reading "Le Figaro" (1878); dazzling Gilded Age glass by Louis Comfort Tiffany and paintings by John Singer Sargent; gritty Ashcan records from a dynamic New York City, such as George Bellows's Noon (1908); vivid aesthetic creations of the modern age; the triumphant abstract expressionism of Willem de Kooning; and resonant contemporary works by Andrew Wyeth and David Hockney. The book also showcases major canvases by Georgia O'Keefe, such as Black Cross with Red Sky (1929), John Marin's Taos Canyon, New Mexico (1929), Cyrus Edwin Dallin's major statue Appeal to the Great Spirit and James Earl Fraser's emotive bronze sculpture End of the Trail (1918).

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

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

Looking Again is as much about photography as it is about the specific photographs reproduced within it. It is designed to provide the reader with a glimpse into both the collection at the New Orleans Museum of Art and into photography's complexity. Through 132 objects and essays, Russell Lord explores the many histories of photography, addressing long-held beliefs and offering new ways of thinking about, and looking at, photographs. As the world moves increasingly toward an image-dependent style of communication, there has never been a better time to seriously examine our belief in or apprehension toward the photographic image. Standing on the threshold of what might be a turning point in humanity's relationship to the photograph, this volume encourages the reader to dig deeply into photography: to look, and then look again. This book is published on the centennial of the first photography exhibition presented at the New Orleans Museum of Art, in 1918.

Keith Haring (1958 -1990) is widely recognised for his colourful paintings, drawings, sculptures and murals. Haring exploded onto the early 1980s New York art scene with his vivid graffiti-inspired drawings, many of which found exposure in the public realm, such as the Times Square billboard broadcast of his famous Radiant Child in 1982. Haring's instantly recognisable `cartoon-like' imagery not only drew on the iconography of contemporary pop and club culture but also looked back to the patterns and rhythms of Islamic and Japanese art, and primitive wall-paintings,. Furthermore his work also reflected a profound commitment to social justice and activism, and raised numerous issues that remain relevant today, including the AIDS crisis, the Cold War and fear of nuclear attack, racism, the excesses of capitalism and environmental degradation. Featuring around fifty works supported by rarely seen photography, film and archival documents from the Keith Haring Foundation, this accessible book will not only introduce Haring to a new audience but also throw fresh light on an artist whose work remains symptomatic of the subcultural and creative energy of 1980s New York. Three short texts exploring various aspects of Haring's practice will be interspersed with illustrations of his works and a rolling time-line featuring key social and political events of the 1980s (from the election of Reagan in 1980 and the explosion of hip hop from underground movement to global phenomenon to the fall of the Berlin Wall in 1989) and Haring's responses to them. The publication also aims to include select and unpublished reminiscences from those who collaborated and interacted with Haring, including performers such as Madonna and Grace Jones and artists Jenny Holzer and Yoko Ono.

In 1646, on a panel fewer than nine inches wide, Rembrandt van Rijn (1606-1669) produced one of his most captivating images. In private hands and publicly exhibited only a handful of times, this extraordinary painting, Abraham Entertaining the Angels, is among the artist's lesser-known masterpieces and it is the inspiration for Divine Encounter. Rembrandt took an unusual and dramatic approach to Biblical subjects. He made use of the viewer's knowledge of the subject whilst finding ways to bring the familiar to life, a challenge he took on throughout his career. Abraham and the Angels is presented alongside a selection of Rembrandt's treatments of other biblical episodes in which Abraham encounters God and his angels. These are examined as a group, compared with versions by Rembrandt's contemporaries, and considered in relation to theological, philosophical and artistic debates of the period.

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.

Derek Jarman's Sketchbooks - Deluxe Edition. Edited by Stephen Farthing and Ed Webb-Ingall. With a preface by Tilda Swinton. Featuring contributions from Keith Collins, Christopher Hobbs, Andrew Logan, James Mackay, Jon Savage, Howard Sooley, Neil Tennant and Toyah Willcox. DELUXE SLIPCASED EDITION. INCLUDES THREE PRINTS. Containing poetry, drawings, pressed flowers, photographs, excerpts from scripts and notes, Derek Jarman's sketchbooks are part autobiography and part social history, bursting with the energy and creativity of this groundbreaking artist. This publication collates the best of Jarman's sketchbooks to reveal the detailed planning and emotional engagement behind each of his films in more depth than ever before. This deluxe edition is limited to 500 copies, each presented in a cloth-covered slipcase. Each numbered copy is accompanied by three prints reproduced from the sketchbooks, housed in an envelope tipped into the book. The book, which is covered in real blue cloth with gold foil blocking on the spine and in a debossed recess on the frontboard, is c.15% larger than the standard edition. 196 illustrations, 187 in colour, 31.0 x 24.0cm, 256pp, ISBN 978 0 500 517185 . GBP150.00 slipcased hardback + 3 prints

Oxford has a special place in the history of Pre-Raphaelitism. Thomas Combe (superintendent of the Clarendon Press) encouraged John Everett Millais and William Holman Hunt at a crucial early stage of their careers, and his collection became the nucleus of the Ashmolean collection of works by the Brotherhood and their associates. Two young undergraduates, William Morris and Edward Burne-Jones, saw the Combe collection and became enthusiastic converts to the movement. With Dante Gabriel Rossetti, in 1857 they undertook the decoration of the debating chamber (now the Old Library) of the Oxford Union. The group's champion John Ruskin also studied in Oxford, where he oversaw the design of the University Museum of Natural History and established the Ruskin School of Drawing. Jane Burden, future wife of Morris and muse (probably also lover) of Rossetti, was a local girl, first spotted at the theatre in Oxford. Oxford's key role in the movement has made it a magnet for important bequests and acquisitions, most recently of Burne-Jones's illustrated letters and paintbrushes. The collection of watercolours and drawings includes a wide variety of appealing works, from Hunt's first drawing on the back of a tiny envelope for The Light of the World (Keble College), to large, elaborate chalk drawings of Jane Morris by Rossetti. It is especially rich in portraits, which throw an intimate light on the friendships and love affairs of the artists, and in landscapes which reflect Ruskin's advice to 'go to nature'. More than just an exhibition catalogue, this book is a showcase of the Ashmolean's incredible collection, and demonstrates the enormous range of Pre-Raphaelite drawing techniques and media, including pencil, pen and ink, chalk, watercolour, bodycolour and metallic paints. It will include designs for stained glass and furniture, as well as preparatory drawings for some of the well-known paintings in the collection.

The first in a series of four thematic volumes devoted to the world-class Kramlich Collection, the largest and most significant private collection of modern and contemporary media art. How does art respond to contemporary social questions? How, especially, does moving-image art address the themes that move us most? Drawn on works from the Kramlich Collection of time-based media art, The Human Condition comments on a range of complex political issues such as civil war, psychological isolation, human rights, gender relations, nuclear catastrophe and planetary degradation. Along the way, the featured artists innovate in their hybrid use of sound, image, performance, sculpture and screen technology. Since their first acquisition in 1987, pioneering collectors Pamela and Richard Kramlich have established one of the foremost international collections of media, video, film, slide, photography and performance art. In the first of four volumes devoted to the collection, The Human Condition presents signature works by internationally recognized artists such as Marina Abramovic, Doug Aitken, Dara Birnbaum, James Coleman, Pierre Huyghe, William Kentridge, Christian Marclay, Steve McQueen, Richard Mosse, Bruce Nauman, Shirin Neshat and Nam June Paik. The Human Condition also features newly commissioned essays from leading curators and scholars specializing in time-based media art, including Erika Balsom, Bill Brown, Adrienne Edwards, Chrissie Iles, Isaac Julien, Barbara London, Mark Nash, Catherine Wood and others. This book engages both newcomers and experts in the field with captivating imagery and rigorous reflection on some of the most influential contemporary art practices of the 20th and 21st centuries.

This book is a comparative legal study of the private and public art collections in various states of the world, covering the most important issues that usually arise and focusing on the differences and the similarities of the national laws in the treatment of those issues.

Creativity has no boundaries, geographic or otherwise, which is what the 15 international artists of The Line Art Challenge, set out to prove when they embarked on an artistic feat to each produce 100 sketches in 100 days. Based in 11 different countries, the artists used modern communication methods to share their work and motivate and inspire each other across continents to reach their collective goal of 1,000 traditional sketches. While the final drawing tally was 850, the resulting artwork from this challenge is remarkable in its diversity and complexity: fantastic warriors, menacing space beasts, Gigeresque villains, and whimsical everyday heroes are among the characters you ll meet in this unique collection."

This book explores the relationship between collecting Chinese ceramics, interior design and display in Britain through the eyes of collectors, designers and tastemakers during the years leading to, during and following the Second World War. The Ionides Collection of European style Chinese export porcelain forms the nucleus of this study - defined by its design hybridity - offering insights into the agency of Chinese porcelain in diverse contexts, from seventeenth-century Batavia to twentieth-century Britain, raising questions about notions of Chineseness, Britishness, and identity politics across time and space. Through the biographies of the collectors, this book highlights the role of collecting Chinese art objects, particularly porcelain, in the construction of individual and group identities. Social networks linking the Ionides to agents and dealers, auctioneers, and museum specialists bring into focus the dynamics of collecting during this period, the taste of the Ionides and their self-fashioning as collectors. The book will be of interest to scholars working in the fields of art history, history of collections, interior design, Chinese studies, and material culture studies.

In the east end of the inner city of Johannesburg, a former textiles factory undergoes a dramatic transformation to become, over the next several years, one of the city’s foremost artists’ studios. When the sale of the building seems imminent, not only must the artists face the daunting prospect of relocation, but a remarkable chapter in the complex narrative of contemporary South African art seems about to close. Sensing the importance of this moment, Kim Gurney, herself a former tenant of the atelier, follows the stories of several of the August House denizens through some of the artworks that came to life in their studios. The result is a fascinating study of the role of the atelier and its artists in South Africa’s fractious art world, and a consideration of the relationship between art and the ever-changing city of Johannesburg.

With the eye of an urbanist, artist and resident, Kim Gurney [constructs] a compelling assemblage of individual, visual and urban narratives brilliantly illuminates the complex life of a building, August House, located in inner city Johannesburg. Her cast of characters—artists, workers, neighbours, August House and the city—lend poignant contours to the ebbs and flows of daily life,the pressures of gentrification, the ruthlessness of poverty, the radicality of the imagination and the ghosts of history.

The Crocker Art Museum has one of the finest and earliest German drawings collections in the United States. Featuring artists such as Johann Wolfgang Baumgartner, Anton Raphael Mengs and Johann Heinrich Wilhelm Tischbein, The Splendor of Germany examines the major developments in German draughtsmanship over the course of the eighteenth century. Published to coincide with the collection's 150th anniversary. In the 21st century, the collecting and study of 18th-century German drawings has become a major focus for American museums. One of the finest collections of them, however, has been in California for 150 years. The superb drawings at the Crocker Art Museum, from a Baroque altarpiece design by Johann Georg Bergmuller to a Neoclassical mythology by Johann Heinrich Wilhelm Tischbein, provide a panorama of German draughtsmen and draughtsmanship throughout the century. Many of the drawings are remarkable for their modernity. A self-portrait by Johann Gottlieb Prestel bypasses convention to achieve a direct, unmediated likeness. Well-placed slashes with brush and black ink define the features below his peruke outlined in black chalk. Other drawings encapsulate specific developments and styles, such as Johann Wolfgang Baumgartner's Lazarus and the Rich Man, which shows the florid dynamism of the Augsburg Rococo. A full range of eighteenth-century German artists are represented here, from the satirizing moralists Johann Elias Ridinger and Daniel Chodowiecki to the Classicist and friend of the art theorist Johann Joachim Winkelmann, Anton Raphael Mengs. Landscape artists are especially well represented, such as the key figure Johann Georg Wille, printmaker to the French king Louis XV, and generations of artists he taught and influenced all the way to the early Romantic landscapists. The exhibition and catalogue gather together a variety of dynamic and sensitive portraits, charming scenes of daily life, and often humorous moralizing subjects, as well as narratives, both religious and mythological, from the late Baroque to Neoclassicism. In the realm of landscape, the depth of the collection allows the exhibition to trace schools and influences-in addition to Wille's mentioned above-even in families such as that of Prestel, whose wife and daughter were both landscapists. It also allows it to demonstrate the great variety of works by single artists such as Christoph Nathe, represented by four landscapes in four different genres including a splendid scene near Goerlitz. Some artists, in fact, work in several genres as in the case of Johann Christian Klengel, whose works include the scene of a family by candlelight, a farmstead landscape, and a sketchbook that he carried through the countryside to record picturesque views. This is a rare opportunity for the public and for drawings enthusiasts. Two-thirds of the drawings in the exhibition have not been shown before; most of the exceptions have not been seen since 1989. Because of the drawings' 150-year history of limited exposure, the state of preservation of the collection is exceptional, as is the condition of the new acquisitions included in the exhibition.

Sheds light on the reflections that led to the creation of EXIT, the 360° video installation created for the exhibition spaces of the Fondation Cartier pour l’art contemporain in Paris

Based on an idea by French philosopher and urbanist, Paul Virilio, the 360° video installation EXIT was created in 2008 by the New York-based studio of artists and architects Diller Scofidio + Renfro for the exhibition spaces of the Fondation Cartier pour l’art contemporain in Paris. Composed of a series of animated maps generated by data, this immersive installation investigates human migrations today and their leading causes, including the impact of climate change. Through six scenarios – Population Shifts: Cities; Remittances: Sending Money Home; Political Refugees and Forced Migration; Rising Seas, Sinking Cities; Natural Disasters; and Speechless and Deforestation – it provides the rare opportunity to understand visually the complex relationships between the various economic, political and environmental factors underpinning contemporary human migrations. The work was updated entirely in 2015, reflecting the alarming evolution of the data since it was first presented in 2008. Through various texts, descriptions of the animated maps, and numerous illustrations, this book sheds light on the reflections that led to the creation of EXIT, and proposes to delve deeper into the very notions and questions that it raises and that are more relevant today than ever.