This beautiful and poignant biography of Issei artist Kamekichi Tokita uses his paintings and wartime diary to vividly illustrate the experiences, uncertainties, joys, and anxieties of Japanese Americans during the World War II internment and the more optimistic times that preceded it. Tokita emigrated from Japan in the early twentieth century and settled in Seattle's Japanese American immigrant community. By the 1930s, he was established as a prominent member of the Northwest art scene. His art embodied the greatest aspects of American Realism and added a personal inflection that is unique and surprising.

On the day that Pearl Harbor was bombed, Tokita started a diary that he vowed to keep until the war ended. In it he recorded with great vividness and insight the events, fears, rumors, restrictions, and his own emotional turmoil both in the time leading up to the internment and during his incarceration at Minidoka. Tokita's diary is a rare personal account of this time written as events were unfolding and by a person of maturity and stature.

This book contextualizes Tokita's paintings and diary within the art community and Japanese America. It also introduces us to an amazing man who embraced life despite living through challenging and disheartening times.

Barbara Johns is an art historian and curator. Her previous books include, and "Anne Gould Hauberg: Fired by Beauty."

In this collection of critical essays, Barry Schwabsky re-examines the art produced since the 1960s, demonstrating how the achievements of 'high modernism' remain consequential to it, through tensions between representation, abstraction, and pictorial language. Offering close readings of works produced by several generations of European and American artists, he begins with an analysis of the late period of two Abstract Expressionists, Philip Guston and Mark Rothko, who saw their own success as a failure of reception and who came to question radically their own work. With the core of the book focused on Michelangelo Pistoletto and Mel Bochner, major figures of arte povera and conceptual art whose works in a variety of media demonstrate a continuing critical engagement with modernism, Schwabsky also studies the work of artists, such as L. C. Armstrong and Rainer Ganahl, who also continued to examine modernism's legacies.

The Sculpture of Kenneth Armitage, which is being published to coincide with the artist's centenary in 2016, is the first book to feature a fully illustrated inventory of all of Armitage's known sculptures. It will be the only available illustrated reference book on the sculptural work of this important 20th-century artist. Through an inventory of 298 pieces and an accompanying narrative text, the book undertakes an examination of Armitage's significant contribution to sculpture nationally and internationally during the second half of the 20th century, starting with the `geometry of fear' exhibition at the 1952 Venice Biennale and Armitage's solo contribution to the Biennale in 1958. It will be an essential reference resource for researchers, curators, dealers and collectors which will complement the complete sculpture catalogues already produced for Armitage's sculptor contemporaries Lynn Chadwick, Elisabeth Frink, Robert Adams and Reg Butler, enhancing our understanding of post-war British sculpture.

In Facing Facts, David Shi provides the most comprehensive history to date of the rise of realism in American culture. He vividly captures the character and sweep of this all-encompassing movement - ranging from Winslow Homer to the rise of the Ash Can school, from Whitman and Henry James to Theodore Dreiser.

This book brings together thirteen distinguished critics and scholars to explore children's art and its profound but rarely documented influence on the evolution of modern art. It shows that children's art and childhood have inspired major works of art, served as central metaphors for artistic spontaneity and honesty, and provided a window into the fundamental human qualities explored by modern artists.

The volume complements editor Jonathan Fineberg's groundbreaking new book, "The Innocent Eye" (Princeton, 1997), in which he showed how many of the greatest masters of modern art collected and were directly influenced by children's drawings. Contributors here both expand on Fineberg's themes and take the study of children's art in new directions. They examine, for example, the influence of child art on such artists as Kandinsky, Klee, Larionov, and Miro; the diverse styles of children's art; the influence of Romantic ideas on perceptions of children's art; the conception of giftedness versus education in children's drawings; and the relationship between children's art and primitivism. The book offers unique glimpses into the working processes of great modern artists, presenting, for example, Dora Vallier's personal recollections of Miro and his creative process, and new documentation about the works of the Russian avant-garde. The essays draw on art theory, psychology, and the close study of individual works of art and written texts. "Discovering Child Art" will appeal to a wide range of readers, including art historians, psychologists, and art educators.

Contributors to the book are Troels Andersen, Rudolf Arnheim, John Carlin, Marcel Franciscono, Ernst Gombrich, Christopher Green, Josef Helfenstein, Werner Hofmann, Yuri Molok, G. G. Pospelov, Richard Shiff, Dora Vallier, and Barbara Wurwag."

The ecstatic face of a disco dancer in Berlin; a rural panorama in Derry, where a country road has been made into a Pollock-like canvas of red, white and blue; an ashtray, framed by a lacy spray of blood in a Barcelona toilet. Paul Graham uses and abuses classic genres of photography - the portrait, the landscape, the still life - to map a cultural topography. His jewel-like colours and unsettling compositions reveal how social relations and political trauma are inscribed in the everyday. This book brings together for the first time all of Graham's successive series, from his journey along the A1 in Britain to intimate studies of Japan. Graham's work has been celebrated in exhibitions around the world, including The Museum of Modern Art, New York, and Tate Britain, London. Art historian Andrew Wilson has written extensively on contemporary European art and is the author of Gustav Metzger: Damaged Nature, Auto-Destructive Art. He charts the development of Graham's most significant series as defined by the journeys the artist has taken, weaving relations between an emerging aesthetic and the specifics of time and place. In the Interview, Paul Graham speaks with British artist Gillian Wearing, internationally renowned for her photographs and videos that explore the imaginary worlds of ordinary people. Focusing on a triptych from the New Europe series is the celebrated American writer Carol Squiers, Senior Editor at American Photo magazine and editor of The Critical Image: Essays on Contemporary Photography. In juxtaposition with this work, Graham has chosen texts by Japanese authors Kazuo Ishiguro and Haruki Murakami. A series of notes by the artist and an interview with Lewis Baltz provide further insight.

Antarctica, that icy wasteland and extreme environment at the ends of the earth, was - at the beginning of the 20th century - the last frontier of Victorian imperialism, a territory subjected to heroic and sometimes desperate exploration. Now, at the start of the 21st century, Antarctica is the vulnerable landscape behind iconic images of climate change. In this genre-crossing narrative Gould takes us on a journey to the South Pole, through art and archive. Through the life and tragic death of Edward Wilson, polar explorer, doctor, scientist and artist, and his watercolours, and through the work of a pioneer of modern anthropology and opponent of scientific racism, Franz Boas, Gould exposes the legacies of colonialism and racial and gendered identities of the time. Antarctica, the White Continent, far from being a blank - and white - canvas, is revealed to be full of colour. Gould argues that the medium matters and that the practices of observation in art, anthropology and science determine how we see and what we know. Stories of exploration and open-air watercolour painting, of weather experiments and ethnographic collecting, of evolution and extinction, are interwoven to raise important questions for our times. Revisiting Antarctica through the archive becomes the urgent endeavour to imagine an inhabitable planetary future.

Bakhtin and the Visual Arts assesses the relevance of Mikhail Bakhtin's ideas as they relate to painting and sculpture. First published in the 1960s, Bakhtin's writings introduced the concepts of carnival and dialogue or dialogism, which have had significant impact in such diverse fields as literature and literary theory, philosophy, theology, biology and psychology. In his four early aesthetic essays, written between 1919 and 1926, and before he began to focus on linguistic and literary categories, Bakhtin worked on a larger philosophy of creativity, which was never completed. Deborah Haynes's in-depth 1995 study of his aesthetics, especially his theory of creativity, analyses its applicability to contemporary art theory and criticism. The author argues that Bakhtin, with such categories as answerability, outsideness and unfinalizability, offers a conceptual basis for interpreting the moral dimensions of creative activity.

How can we create a model of politics that reaches beyond the nation-state, and beyond settler-colonialism, authoritarianism, and neoliberalism? In Beyond the Pink Tide, Macarena Gomez-Barris explores the alternatives of recent sonic, artistic, activist, visual, and embodied cultural production. By focusing on radical spaces of potential, including queer, youth, trans-feminist, Indigenous, and anticapitalist movements and artistic praxis, Gomez-Barris offers a timely call for a decolonial, transnational American Studies. She reveals the broad possibilities that emerge by refusing national borders in the Americas and by seeing and thinking beyond the frame of state-centered politics. Concrete social justice and transformation begin at the level of artistic, affective, and submerged political imaginaries-in Latin America and the United States, across South-South solidarities, and beyond.

Geoffrey Garnier was the only Newlyn artist to devote himself entirely to the art of print-making. After a spell in Canada he studied at the Bushey School of Art and in 1913 at the Forbes School of Art at Newlyn in Cornwall. Friends there included Lamorna Birch, Laura and Harold Knight, Charles and Ruth Simpson, Harold Harvey, his wife Gertrude and her sister Sophie Bodinnar, Frank Dobson the sculptor, Dod and Ernest Procter and A J Munnings and wife Florence. Geoffrey and Jill, coinciding at the Forbes School, married in 1917 while he was serving in the Navy, and after the war settled in Newlyn, where they remained for the rest of their lives. They bought Orchard Cottage, high above the harbour with glorious views across the bay to St Michael's Mount, building studios in the sloping garden. Geoffrey's prints gained international recognition. He worked in dry-point, line engraving, etching, mezzotint and particularly aquatint, developing new processes and rediscovering old methods. Favourite subjects were the sailing ships of the great era of British sea power, Cornish landscapes and sporting scenes, charming studies of children at play and colourful oriental prints. Jill continued to paint despite the demands of domesticity, and produced portraits of her children and friends, landscapes and still lifes, making a record of her times. Geoffrey's versatility extended to calligraphy, bookbinding and fiction writing. Despite his nostalgia for old Cornish life, he had a love of fast cars, owning such exotic makes as Benz, Delage and Austro-Daimler.

In this third volume of the series Junctures: Case Studies in Women's Leadership, Judith K. Brodsky and Ferris Olin profile female leaders in music, theater, dance, and visual art. The diverse women included in Junctures in Women's Leadership: The Arts have made their mark by serving as executives or founders of art organizations, by working as activists to support the arts, or by challenging stereotypes about women in the arts. The contributors explore several important themes, such as the role of feminist leadership in changing cultural values regarding inclusivity and gender parity, as well as the feminization of the arts and the power of the arts as cultural institutions.

In The Rhetoric of Purity, Mark Cheetham explores the historical and theoretical relations between early abstract painting in Europe and the notion of purity. For Gauguin, Serusier, Mondrian and Kandinsky - the pioneering abstractionists whose written and visual works Cheetham discusses in detail - purity is the crucial quality that painting must possess. Purity, however, was itself only a password for what Cheetham defines as an 'essentialist' philosophy inaugurated by Plato's vision of a perfect, non-mimetic art form and practised by the founders of abstraction. The essentialism of late nineteenth-century French discussion of 'abstraction', Cheetham argues, also infects the work of Mondrian and Kandinsky. These visions of abstraction are central to the development of Modernism and are closely tied to the philosophical traditions of Plato, Hegel and Schopenhauer. As a conclusion, Cheetham provides a postmodern reading of Klee's rejection of the rhetoric of purity and claims that Klee's refusal speaks to contemporary concerns in visual theory and culture. By acting as an antidote to the seductive appeal of purity in art and society, Cheetham's final critique of the trope of purity seeks to preserve the possibility of visual discourse itself.

The Cult of the Avant-Garde Artist examines the philosophical, psychological and aesthetic premises for avant-garde art and its subsequent evolution and corruption in the late twentieth century. Arguing that modernist art is essentially therapeutic in intention, both towards self and society, Donald Kuspit further posits that neo-avant-garde, or post-modern art, at once mocks and denies the possibility of therapeutic change. As such, it accommodates the status quo of capitalist society, in which fame and fortune are valued above anything else. Stripping avant-garde art of its missionary, therapeutic intention, neo-avant-garde art instead converts it into a cliche of creative novelty or ironical value for its fashionable look. Moreover, it destroys the precarious balance of artistic narcissism and social empathy that characterizes modern art, tilting it cynically towards the former. Incorporating psychoanalytic ideas, particularly those concerned with narcissism, The Cult of the Avant-Garde Artist offers a reinterpretation of modern art history. Donald Kuspit, one of America's foremost art critics, is a contributing editor to Artforum and the author of many books.

Puget Sound's rich abundance of life - from mammals to birds - can be attributed to the fact that the region is far more than just a body of water. Edged by an extraordinary range of habitats, this region is visited and occupied year-round by species that are finely tuned to exploit the resources here that are necessary for their survival. Birds are among the most obvious occupants of these communities, and witnessing their dynamic lives has been a source of inspiration for artist and naturalist Tony Angell. For nearly fifty years Angell has used Puget Sound's natural diversity as his artist's palette. In this book, he describes the living systems within the Sound and shares his observations and encounters with the species that make up the complex communities of the Sound's rivers, tidal flats, islands, and beaches: the fledging flight of a young peregrine, an otter playfully herding a small red rockfish, the grasp of a curious octopus. Angell goes on to explain the methods he uses in his art. The shapes, movements, patterns, and even temperatures and smells that he experiences in the field are all brought to bear on his work. His drawings bring clarity to his visual and emotional memories, and his sculptures allow him to approach a memory from many directions and retain that memory in his hands. In all of his work, he lets the passion and excitement of his discoveries drive his artistic expression. Angell augments his descriptions of the wildlife of the Puget Sound region and his working methods with two appendices listing guides and references to this and other regions by other artists and naturalists. These resources not only put wildlife viewers in touch with the times and places to view particular species, but also speak to the patience and willingness to be delighted that are necessary to increasing the understanding of our wild neighbors. See Tony Angell on YouTube: http://www.youtube.com/watch?v=jCemt7hVK_4

Korean artists are a permanent fixture on today's international art scene, as interest in modern and contemporary art from South as well as North Korea has grown in strength. Museums and individual collectors eager to tap into this rising market are acquiring many more Korean artworks. But how are we to understand Korean art and its cultural significance? What has led to the formation of Korea's cultural scene as we know it today, and what role have artists played in this process? These are some of the questions that frame the narrative in this richly illustrated history of Korean art from the late nineteenth century to the present day - a period which coincided with enormous and rapid political, social and economic change. From artists' first encounters with oil paintings in the late nineteenth century to the varied and vibrant creative outputs of the 2000s, the book covers a critical and, from a cultural perspective, revolutionary period, signified by the breakdown of earlier artistic conventions and the rise of new art forms. Within this historical trajectory, Charlotte Horlyck explores artists' interpretations of new and traditional art forms ranging from oil and ink paintings to video art, multi-media installations, ready-mades and performance, and their questions about the role of art and the artist's position within society. This book will appeal equally to general and specialist readers wanting to explore this rich and fascinating epoch in Korea's cultural history.

A Shepherd's Life centres on Jenny Armstrong, born in 1903 at the farm of Fairliehope, who spent her life working as a shepherdess in the Pentland Hills. In a series of remarkable paintings made over twenty years and based on close observation, Victoria Crowe, one of Scotland's foremost painters, pays tribute to the life and work of this exceptional woman. In spite of their different ages and backgrounds, the two women came to value each other's company and it was through the shepherdess that the artist learned how to interpret the surrounding landscape. At the same time the paintings depict an ancient way of living that has been long in the decline and which, at the start of a new millennium, may be finally disappearing.

An exploration of the fascinating parallels and differences between Picasso's Woman with a Book and Ingres's Madame Moitessier This publication examines, in detail, two extraordinary interrelated works: Picasso's Woman with a Book (1932) and Ingres's Madame Moitessier (1844-56). Each painting is explored in depth, illuminating the parallels and differences between the artists' techniques and creative ambitions. The first essay tells the story of the twelve-year gestation of Ingres's Madame Moitessier, focusing on the role of drawings in the elaboration of the composition, and of the sitter herself in determining how she was to be presented. The second essay traces the development of Picasso's Woman with a Book, among the most celebrated likenesses of the artist's young lover, Marie-Therese Walter. In contrast to Ingres's work, it was painted in just a day or two. The final essay explores, through these two works, the artists' shared interest in the relationship between nude and clothed bodies, revealing the depth of Picasso's engagement with Madame Moitessier, which motivates and animates Woman with a Book. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London June 3-October 9, 2022 Norton Simon Museum October 21, 2022-January 30, 2023

'Inspired, innovative, remarkable' Independent 'Spurling has done better than anyone else at uncovering intimate information about Matisse' Guardian The abridged, one-volume edition of Hilary Spurling's critically acclaimed biography of Henri Matisse, one of the greatest artistic geniuses of the twentieth century Henri Matisse was one of the most important and beloved artists of the twentieth century, rivalled only by his friend and competitor Pablo Picasso. Hilary Spurling's The Unknown Matisse and Matisse the Master were together heralded as the definitive biography of the artist, and Matisse the Master went on to win the Whitbread Book of the Year award in 2005. This essential abridged edition of the Life reveals the origins of Matisse's astonishing talent, provides a unique insight into his life and work, and, by documenting the difficult path he took alone, clearly places him at the front rank of those who made art modern.

Published in 1922 in Russian, Aleksei Gan's "Constructivism "was the first theoretical treatise of postrevolutionary Russia's emergent Constructivist movement. Fired with revolutionary zeal, it was unquestionably a declaration of war on traditional bourgeois art.
"Constructivism" recasts artists and architects as Constructors, turning away from aesthetic or speculative problems in art and instead focusing on the fusion of art with everyday life in order to create a functional system of design, one in keeping with the great task of building the new communist society. This edition replicates Gan's original layout, which was one of the first experiments in Constructivist typography and graphic design, and it also presents a substantial introductory essay by art historian Christina Lodder that examines Gan's own odd, mercurial character and the tracks he left across avant-garde Russian graphics, architecture, film, and theater.
Nearly a century later, "Constructivism" remains a powerful manifesto, and this new translation will help scholars trace its enduring influence on twentieth-century art and design.

The German art historian and critic Carl Einstein (1885-1940) was at the forefront of the modernist movement that defined the twentieth century. One of the most prolific and brilliant early commentators on cubism, he was also among the first authors to assess African sculpture as art. Yet his writings remain relatively little known in the Anglophone world. With A Mythology of Forms, the first representative collection of Einstein's art theory and criticism to appear in English translation, Charles W. Haxthausen fills this gap. Spanning three decades, it assembles the most important of Einstein's writings on the art that was central to his critical project--on cubism, surrealism, Pablo Picasso, Georges Braque, and Paul Klee, and includes the full texts of his two path-breaking books on African art, Negro Sculpture (1915) and African Sculpture (1921). With fourteen texts by Einstein, each presented with extensive commentary, A Mythology of Forms will bring a pivotal voice in the history of modern art into English.

Abstract Expressionism was the dominant movement in experimental American painting from the 1940s through the early 1960s. This book is a collection of articles, reviews, and essays that chronicle the critical history of the movement from its inception to the present. Drawing on a range of sources, including newspapers, magazines, and exhibition catalogues, the original debates about the validity of "action painting" are dramatically illustrated. The articles selected for the volume include classic statements from the most influential and prolific critics, including Clement Greenberg, Harold Rosenberg, and Hilton Kramer. The editors have also included contributions of iconoclasts from the 1950s and 1960s such as Leon Golub and John Canaday to suggest the full range of critical discussion. Six representative artists are the subject of extended sections that include biographical chronologies, reviews, and the artists' own comments: Willem de Kooning, Adolph Gottlieb, Franz Kline, Barnett Newman, Jackson Pollock, and Mark Rothko.

Liberation Begins in the Imagination is a vital new anthology exploring the contribution of the Caribbean to the story of Britain and British art today. Bringing together existing writings and previously unpublished texts from the post-war period to the present, as well as revelatory new essays from the world's most influential voices on the subject, Liberation Begins in the Imagination is an essential guide to Caribbean-British art. Contributors include: Rasheed Araeen, Coco Fusco, Paul Gilroy, Stuart Hall, Roshini Kempadoo, George Lamming, Errol Lloyd, John Lyons, Amna Malik, Courtney J. Martin, Michael McMillan, Kobena Mercer, Richard J. Powell, Elizabeth Robles, Lou Smith, Helen Sumpter, Claire Tancons, Gilane Tawadros, Jessica Taylor and Yvonne Weekes.

This book explores the achievements of a group of young women artists who learned about the New Art through an extraordinary faculty of innovators at Douglass College. New Art rejected the dominance of Abstract Expressionism, advocating that art should be based on everyday life and that "anything can be art."