In the first half of the twentieth century, a group of American artists influenced by the painter and teacher Robert Henri aimed to reject the pretenses of academic fine art and polite society. Embracing the democratic inclusiveness of the Progressive movement, these artists turned to making prints, which were relatively inexpensive to produce and easy to distribute. For their subject matter, the artists mined the bustling activity and stark realities of the urban centers in which they lived and worked. Their prints feature sublime towering skyscrapers and stifling city streets, jazzy dance halls and bleak tenement interiors-intimate and anonymous everyday scenes that addressed modern life in America. True Grit examines a rich selection of prints by well-known figures like George Bellows, Edward Hopper, Joseph Pennell, and John Sloan as well as lesser-known artists such as Ida Abelman, Peggy Bacon, Miguel Covarrubias, and Mabel Dwight. Written by three scholars of printmaking and American art, the essays present nuanced discussions of gender, class, literature, and politics, contextualizing the prints in the rapidly changing milieu of the first decades of twentieth-century America.

Luis Eligio Tapia is one of the leading contemporary Hispanic artists in the United States. Tapia's keen interpretations of modern culture and daily life in his native northern New Mexico are unexpected, ironic, colourful windows on his culture.

Now recalled as the infamous lover and patron of legendary photographer Robert Mapplethorpe, Sam Wagstaff here takes center stage as a leading American intellectual and cultural visionary in his own right. Philip Gefter s epochal biography traces Wagstaff s evolution from society bachelor of the 1940s to his emergence as rebellious curator, initially at Hartford s Wadsworth Atheneum, where he mounted the first exhibition of Minimalist art, and then at the Detroit Institute of Arts, where he famously took on the trustees. In 1972, his fateful meeting with twenty-five-year-old, Queens-born Mapplethorpe would lead to his crowning legacy as world-class photography collector and cultural arbiter. Positioning Wagstaff s personal life against the rise of photography as a major art form, the formation of the gay rights movement, and New York just before and during the age of AIDS, Gefter writes of an intensely passionate, romantic odyssey and a celebrated union that would help transform contemporary art history."

The next best thing to having a room key to the Chelsea Hotel during each of its famous--and infamous--decades
The Chelsea Hotel, since its founding by a visionary French architect in 1884, has been an icon of American invention: a cultural dynamo and haven for the counterculture, all in one astonishing building. Sherill Tippins, author of the acclaimed "February House," delivers a masterful and endlessly entertaining history of the Chelsea and of the successive generations of artists who have cohabited and created there, among them John Sloan, Edgar Lee Masters, Thomas Wolfe, Dylan Thomas, Arthur Miller, Allen Ginsberg, Bob Dylan, Janis Joplin, Leonard Cohen, Patti Smith, Robert Mapplethorpe, Andy Warhol, Sam Shepard, Sid Vicious, and Dee Dee Ramone. Now as legendary as the artists it has housed and the countless creative collaborations it has sparked, the Chelsea has always stood as a mystery as well: Why and how did this hotel become the largest and longest-lived artists' community in the known world? "Inside the Dream Palace" is the intimate and definitive story.
Today the Chelsea stands poised in limbo between two futures: Will this symbol of New York's artistic invention be converted to a profit-driven business catering to the top one percent? Or will the Chelsea be given a rebirth through painstaking effort by the community that loves it? Set against these two competing possibilities, "Inside the Dream Palace" could not be more fascinating or timely.

The book presents a portrait of Tirelli with the history of his apprenticeship and his passion not only for the painstaking reproduction of ancient garments and accessories but also for building up a priceless collection of tens of thousands of original items of clothing. A long chapter presents testimonials from faithful customers including the most illustrious Italian and foreign costume designers, winners of countless Oscars, some of whom have been with Tirelli from the outset. The rich array of illustrations - comprising sketches, photographs of finished costumes and scenes from plays and films - spans five decades of inventions and successes, and the work ends with a catalogue raisonne of the company's creations for theater, opera, cinema, and television.

Jackson Pollock, Georgia O'Keeffe, Andy Warhol, Julian Schnabel, and Laurie Anderson are just some of the major American artists of the twentieth century. From the 1893 Chicago World's Fair to the 2000 Whitney Biennial, a rapid succession of art movements and different styles reflected the extreme changes in American culture and society, as well as America's position within the international art world. All the key movements are fully discussed, including early American Modernism, the New Negro movement, Regionalism, Abstract Expressionism, Pop Art, and Neo-Expressionism.

From Hogarth to Reynolds, from Gainsborough to Turner, the great protagonists of English painting between the eighteenth and nineteenth centuries. This is the first comprehensive overview of the extraordinary development of British painting during the eighteenth century, which anticipated themes, styles, and techniques that later became paradigms of modernity. This volume focuses on the English context at a time when the growth of artistic standing was accompanied by the country's conquest of hegemony on a historical, political, and economic plane. The volume is arranged chronologically in seven sections, which include a selection of over 100 masterpieces by the most significant English painters. The main objective is to enable readers to rediscover the genres of portrait and landscape, which have always characterized British art. Readers can admire the work of artists like William Hogarth, Henry Fuseli (Johann Heinrich Fussli), Sir Joshua Reynolds, Thomas Gainsborough, Joseph Wright of Derby, George Stubbs, John Constable, and William Turner, who offer a completely original cross section of eighteenth- and early nineteenth-century painting in Great Britain.

A stunning volume celebrating the work of Agostino Bonalumi during the 1960s and 1970s and its connection with other artists of the Azimut group. A selection of Bonalumi's paintings from the 1960s and 1970s--including some unpublished and never before exhibited--form the core of this volume and confirm the important role played by this internationally lesser known artist in the development of modern art in Italy.

How do artist archives survive and stay authentic in radically changed contexts? The volume addresses the challenge of continuity, sustainability, and institutionalization of archives established by Eastern European artists. At its center stands the 40th anniversary of the Artpool Art Research Center founded in 1979 in Budapest as an underground institution based on György Galántai's "Active Archive" concept. Ten internationally renowned scholars propose contemporary interpretations of this concept and frame artist archives not as mere sources of art history but as models of self-historicization. The contributions give knowledgeable insights into the transition of Cold War art networks and institutional landscapes.

-- "The space within the building is the reality of that building." So says Frank Lloyd Wright in "The Destruction of the Box, " an address in which he recalls for his audience the origins of hib break with previous architectural thought. According to Satler, Wright's approach, "organic architecture, " reveals space as a lived and living entity, one that achieves its full meaning only when it becomes inscribed with the actual practices of those who inhabit it.

This sociological analysis of Wright's architecture examines the interaction between people and the spaces they create. Satler shows how Wright explored a new architectural dimension, the space in which we live.

Focusing on the Larkin Building (1904) and Unity Temple (1907), works that Wright considered important but that have received little attention, Satler delineates the social nature of space. She provides an analytic framework through which to understand Wright's building and his writings, revealing how the history of such works and cultural landscapes offers a basis for making social, political, and spatial choices about the future.

Wright's specific architectural works provide a framework for constructing social histories of places and people because his design represent a natural way to build and to live within a larger social landscape. This original study will appeal to sociologists, architects, urban and architectural historians, urban planners and anthropologists, and those interested in the work of Frank Lloyd Wright.

The author was one of the major Expressionist painters of the first half of the 20th century, and also wrote a number of plays, poems, and stories. These autobiographical writings, first written for his wife, are an intense evocation of incidents and moments which reveal his spiritual development. Translated from 'Das schriftliche Werk'.

Henry Moore has influenced the history of twentieth - century sculpture more decisively than anyone else. He was one of the first contemporary sculptors to realise his ideas in the public space throughout the world. His oeuvre was a lasting source of inspiration for an entire generation of artists - from Hans Arp, Alberto Giacometti and Pablo Picasso to the younger generation of German sculptors. Henry Moore (1898 - 1 986), known as the "Picasso of Sculpture", is regarded as one of the most important sculptors of the twentieth century and the epitome of the modern artist. Typical of his work is the interrelationship between nature and abstraction. He discovered the "voi ds", so - called openings and holes which heighten the sculptural, three - dimensional effect of his works. With this new approach Moore exercised a strong influence on younger sculptors, who gained decisive impulses from his sculptures. This volume presents M oore as the dominant personality of modern sculpture in collaboration with the members of the younger generation of artists.

Arthur J. Elsley was the most popular 'chocolate box' artist of the late Victorian and Edwardian period; over 150 of his works were reproduced as prints. Long dismissed by art historians, this genre now demands reappraisal as an important aspect of Victorian art. Its appealing qualities are extremely accessible, presenting a comfortable, idealized world of clean, smiling children that has brought pleasure to millions.

Terry Parker has interviewed Elsley's only child and principal model, whose reminiscences and anecdotes bring his work to life. Her archive of photographs of Elsley's studio and models, together with his address book, provide rare insight into the workings of this artist.

Auction houses have witnessed an astronomical rise in the popularity of Elsley's oil paintings in the last ten years: one piece sold for $220,000.00 in 1996. Modern greeting card, calendar and print companies remain eager to reproduce his images, which are still found on a wide variety of products.

Reviewing the work of Bonnard, one of the best-loved artists of the modern period, this book draws insights into his personality from his paintings. It is published on the occasion of a retrospective exhibition at the Tate Gallery, London, in February 1998. Bonnard's association with the Nabis, especially Vuillard, inspired him to develop Impressionist notions, by treating light and colour in an entirely fresh way. Influenced by Japanese prints, Bonnard's style evolved into decorative intimate evocations of interiors; in his mature work, the rich and sometimes near-abstract compositions of the 1930s and 1940s recall Matisse's monumental treatments. His best-known figure paintings, the many intimate portraits of his wife Marthe, express profoundly human concerns, characteristic of all Bonnard's painting.

Now in a completely new and updated edition, this introduction to the development of modern (and postmodern) design is ideal for undergraduate students. Divided into four parts, the book covers the major periods in design culture since the start of the twentieth century, beginning by examining the formative years 1900-1914. Two sections on design and modernity explore the periods 1915-1939 and 1939-1969, and a completely new section, design and postmodernity, covers 1970 to the present.

New to this edition are:

• key discussions on postmodernism and design
• the alliance between technology and design
• the relationship between identity and design.

Drawing on a wealth of mass-produced artifacts, images and environments including sewing machines, cars, televisions, clothes, electronic and branded goods and exhibitions, Sparke shows how design has helped to shape and reflect our social and cultural development.

Over a long, turbulent life, Picasso continually discovered new ways of seeing the world and translating it into art. A restless genius, he went through a blue period, a rose period, and a Cubist phase. He made collages, sculptures out of everyday objects, and beautiful ceramic plates. True Kelley's engaging biography is a wonderful introduction to modern art.

Attention is fundamental to how we experience reality, and yet this notion has been understood and practised in very different ways across history. This interdisciplinary study explores the dynamic relationship between attention and its supposed opposite, distraction, as it unfolds from the eighteenth century to the present day. Its primary focus is on twentieth-century Germany and Austria, where matters of (in)attention gained a unique urgency during a period of social change and political crisis. Building on Enlightenment practices of self-observation, nineteenth-century Germany was the birthplace of experimental psychology, a discipline which sought to measure and potentially enhance human attention. This approach was also adopted outside the psychological laboratory-for instance in the First World War, when psychological testing was used to select soldiers for particular strategic positions. After the war these techniques filtered through into everyday life. Weimar Germany was unique in the western world in rolling out the methods of 'psychotechnics' across civilian society-in fields such as work and education, advertising and mass entertainment. This state-sponsored programme aimed to reshape people's minds and behaviour in order to build a more efficient, streamlined society. But as this study shows, this initiative also had profound repercussions in the fields of thought, literature, and culture. New readings of leading writers and intellectuals of the period-Kafka, Musil, Kracauer, Benjamin, and Adorno-are interspersed with broader cultural-historical chapters dedicated to the history of psychology and psychiatry, to Weimar self-help literature, portrait photography, and musical culture.

Andy Warhol was queer in more ways than one. A fabulous queen, a fan of prurience and pornography, a great admirer of the male body, he was well known as such to the gay audiences who enjoyed his films, the police who censored them, the gallery owners who refused to show his male nudes, and the artists who shied from his swishiness, not to mention all the characters who populated the Factory. Yet even though Warhol became the star of postmodernism, avant-garde, and pop culture, this collection of essays is the first to explore, analyze, appreciate, and celebrate the role of Warhol’s queerness in the making and reception of his film and art. Ranging widely in approach and discipline, Pop Out demonstrates that to ignore Warhol’s queerness is to miss what is most valuable, interesting, sexy, and political about his life and work. Written from the perspectives of art history, critical race theory, psychoanalysis, feminist theory, cinema studies, and social and literary theory, these essays consider Warhol in various contexts and within the history of the communities in which he figured. The homoerotic subjects, gay audiences, and queer contexts that fuel a certain fascination with Warhol are discussed, as well as Batman, Basquiat, and Valerie Solanas. Taken together, the essays in this collection depict Warhol’s career as a practical social reflection on a wide range of institutions and discourses, including those, from the art world to mass culture, that have almost succeeded in sanitizing his work and his image. Contributors. Jennifer Doyle, Jonathan Flatley, Marcie Frank, David E. James, Mandy Merck, Michael Moon, José Esteban Muñoz, Eve Kosofsky Sedgwick, Brian Selsky, Sasha Torres, Simon Watney, Thomas Waugh

*One of The Times Best Art Books of the Year* 'Looking to Sea is a remarkable and compelling book... I loved it.' Edmund de Waal 'In her first, transporting book, Lily Le Brun sweeps the beaches of the past century of British art, collecting treasures from sea, shingle and shore... A book to pack in your picnic basket for shivering dips, heatwave day trips and ice-cream Sundays' The Times An alternative history of modern Britain, Looking to Sea is an exquisite work of cultural, artistic and philosophical storytelling. Looking to Sea considers ten pivotal artworks, from Vanessa Bell's Studland Beach, one of the first modernist paintings in Britain, to Paul Nash's work bearing the scars of his experience in the trenches and Martin Parr's photographs of seaside resorts in the 1980s, which raised controversial questions of class. Each of the startlingly different pieces, created between 1912 and 2015, opens a window onto big ideas, from modernism and the sublime, the impact of the world wars and colonialism, to issues crucial to our world today like the environment and nationhood. In this astonishingly perceptive portrait of the twentieth century, art critic Lily Le Brun brings a fresh eye to a vast idea, offering readers an imaginative new way of seeing our island nation. 'Le Brun's writing is at once bold and delicate, far-reaching and fine-tuned. Her book explores the inexhaustible variety of human perception.' Alexandra Harris 'A smart and clear-eyed set of meditations on marine gaze, made with a painterly touch worthy of the chosen artists. Empathy and intelligence lift memoir into cultural history.' Iain Sinclair

One of the legendary classics among German photography books, August Sander's Face of Our Time, is now available again. Compiled by August Sander himself, the book was first published in 1929, with a foreword by German writer Alfred D????blin. On its first publication, it was advertised as follows: "The sixty shots of twentieth-century Germans which the author includes in his Face of Our Time represent only a small selection drawn from August Sander's major work, which he began in 1910 and which he has spent twenty years producing and adding fresh nuances to. The author has not approached this immense self-imposed task from an academic standpoint, nor with scientific aids, and has received advice neither from racial theorists nor from social researchers. He has approached his task as a photographer from his own immediate observations of human nature and human appearances, of the human environment, and with an infallible instinct for what is genuine and essential.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction.The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today.In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-Francois Lyotard.To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.Rosalind Krauss is Professor of Art History at Columbia University and an editor of the journal October."

Widely regarded as the best British painter since Turner, very little is known about Francis Bacon's life. In this, the first-ever book to be written about him, Daniel Farson, friend and confidant to Bacon for over forty years, gives a highly personal, first-hand account of the man as he knew him. From his sexual adventures to his rise from obscurity to international fame, Farson gives us unique insight into Bacon's genius.

Fahrelnissa Zeid (1901-1991) was one of the most influential Turkish artists, best known for her large-scale abstract paintings. Marrying influences from Islamic, Byzantine and Eastern art with the bold colour of the Fauvists, the geometrical dissonance of the Cubists and the precise lines of Mondrian, Zeid developed an abstract vocabulary that was a synthesis of East and West and was uniquely her own. Born in Istanbul in 1901 into a family of highly creative intellectuals, Zeid's artistic career began in the 1920s in Paris and took her to Istanbul, Berlin and Budapest, before she returned to Paris again in 1946. There she joined the Nouvelle Ecole de Paris, a melting pot movement of international artists that championed a new abstract aesthetic. In the mid-1970s Zeid moved permanently to Amman, Jordan, where she established the Royal Fahrelnissa Zeid Institute. She worked and taught there for the rest of her life; her work was exhibited widely and internationally throughout her career. This new book traces her development from the first works she made in Turkey, through her engagement with the D-Group, her later experiments with abstraction and, finally, her return to figuration. It also examines the pivotal role she played in the cross-pollination of artistic ideas in the twentieth century through her involvement with key groups and movements in diverse regions and communities. Documentary photography from the period gives new insight into the historical and art historical events that formed the backdrop to her ever evolving style. Featuring over 100 reproductions of Zeid's bold and colourful paintings, from her earlier geometric, calligraphic style to the later, more expressive portraits, the catalogue showcases the depth and range of her work. Zeid's works have recently been the subject of renewed attention, with prominent displays at the Sharjah Biennial and the fourteenth Istanbul Biennale in 2015. Accompanying an exhibition at Tate Modern, Fahrelnissa Zeid will be the only book available on the life and work of this pioneering artist and will bring her unique sensibility to the wider audience she deserves.