This is the third volume in the ongoing series documenting Ruschas entire corpus of paintings. As in the previous two volumes, each painting is given a double-page spread with exhibition and bibliographic history, and is reproduced in colour. The artists notebook sketches for paintings are reproduced in facsimile.This volume contains 165 paintings and, in addition, includes a major public commission for the Philip Johnson-designed Miami-Dade Public Library, which was a watershed mark for Ruscha. Paintings done immediately prior to this commission can be seen as a summation of the artists earlier preoccupations and techniques, while those done after the commission show a major shift in Ruschas direction occasioned by the artists use of airbrush techniques to produce dark, atmospheric canvases that correspond to film noir and such Los Angeles writers as Raymond Chandler. The book includes an introductory essay by the editor, Robert Dean, and a personal tribute by artist Lawrence Weiner. It contains a chronology to 1987, as well as a comprehensive bibliography and list of exhibitions.

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.

This important and welcome volume is the first English-language anthology of writings on Latin American modern art of the twentieth century. The book includes some fifty seminal essays and documents - including statements, interviews, and manifestoes by artists - that encompass the broad diversity of this emerging field. Many of these materials are difficult to access and some are translated here for the first time. Together the selections explore the breadth and depth of Latin American modern art as well as its distinctive evolution apart from American and European art history. Included in this collection are fascinating ideas and insights on the impact of the avant-garde in the 1920s, the Mexican mural movement, Surrealism and other fantasy-based styles, modern architecture, geometric and optical art, concrete and neo-concrete art, and political conceptualism. For students and scholars of Latin American art, the volume offers an invaluable collection of primary and secondary sources.

Gwen John has long been regarded as one of the foremost female painters of the twentieth century. She was just one of a group of outstandingly talented women at the Slade School of Art, a group which also included Edna Clarke Hall, Ida Nettleship and Gwen Smith.

This biography tells the story of these four women's lives, from their shared student days at the Slade through the subsequent development of their careers. It has often been assumed that marriage and immersion in domestic responsibilities terminated the promising careers of these women. But Thomas shows that, despite these complications, they continued in serious artistic endeavor throughout their lives, producing work of a highly original and individual character. In striving to reconcile the demands of family and domestic ties with their desire to continue painting, the Slade women struggled with a dilemma which continues to face many women in the late twentieth century.

Well illustrated and engagingly written, "Portraits of Women "reconstructs a neglected chapter in the development of twentieth-century art.

Deyan Sudjic's The Edifice Complex: The Architecture of Power is a fascinating exploration of the language of architecture as an insight into the psychology of power, from tyrants to billionaires. Why do presidents and prime ministers, tycoons and tyrants share such a fascination with grand designs? Is it to impress or terrify, to wield state power, make a bid for immortality or just satisfy their egos? From Hitler's vast Chancellery to Saddam Hussein's Mother of all Battles mosque, from Olympic stadiums to Donald Trump's excesses, Deyan Sudjic examines the murky relationship between buildings, money and politics, revealing the power of architecture - and the architecture of power. 'A thrilling and passionately indignant trawl through vanity's most polluted depths' The Times 'An often frightening, sometimes hilarious set of stories of brutality, absurdity and occasionally beauty' Evening Standar 'Punchily written ... deftly amusing ... a closely argued, brilliantly marshalled, important book' Daily Mail 'Informed, lively and intelligent ... an asylum of power-mad politicians and Croesus-rich patrons' New Statesman 'By turns funny, acidic, penetrating and provocative ... as compelling a read as a popular novel' Norman Foster Director of the Design Museum, Deyan Sudjic was born in London of Yugoslav parents. He is a former architecture critic for the Observer, and a visiting professor at the Royal College of Art. Sudjic was Director of the Venice Architecture Biennale in 2002 and is author of The Edifice Complex, the much-praised 100-Miles City, the best-selling Architecture Pack, The Language of Things and monographs on John Pawson, Ron Arad and Richard Rogers.

How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there.

A TLS Book of the Year 2017 In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country's most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region's contemporary art, culture and and theory. With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.

Georgia O'Keeffe (1887-1986) was a major figure in modern American art for some seven decades. Importantly, her fame was not associated with shifting art styles and trends, but rather with her own unique vision, based on finding essential and abstract forms in nature. O'Keeffe's primary subjects were landscapes, flowers, and bones, each explored in successive series over several years. Certain works went on for decades, producing 12 or more variations of an original image. Among these, O'Keeffe's magnified pictures of calla lilies and irises are her most famous. Enlarging the tiniest petals to fill an entire canvas, O'Keeffe created a proto-abstract vocabulary of shapes and lines, earning her the moniker "mother of American modernism." In 1946, O'Keeffe became the first female artist to be given a solo show at the MoMA in New York. This introductory book from TASCHEN Basic Art 2.0 traces O'Keeffe's long and luminous career through key paintings, contemporary photographs, and portraits taken by Alfred Stieglitz, to whom O'Keeffe was married. We follow the artist through her pioneering innovations, major breakthroughs, and her travels and inspirations in Southeast Asia, India, the Middle East, and, above all, New Mexico, where she was particularly inspired by the majestic landscapes, vivid colors and exotic vegetation. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

A new look at the art of one of the most charming and idiosyncratic personalities of early 20th-century New York Florine Stettheimer (1871-1944) was a New York original: a society lady who hosted an avant-garde salon in her Manhattan home, a bohemian and a flapper, a poet, a theater designer, and above all an influential painter with a sharp satirical wit. Stettheimer collaborated with Gertrude Stein and Virgil Thomson, befriended (and took French lessons from) Marcel Duchamp, and was a member of Alfred Stieglitz and Georgia O'Keeffe's artistic and intellectual circle. Beautifully illustrated with 150 color images, including the majority of the artist's extant paintings, as well as drawings, theater designs, and ephemera, this volume also highlights Stettheimer's poetry and gives her a long overdue critical reassessment. The essays published here-as well as a roundtable discussion by seven leading contemporary female artists-overturn the traditional perception of Stettheimer as an artist of mere novelties. Her work is linked not only to American modernism and the New York bohemian scene before World War II but also to a range of art practices active today. Flamboyant and epicurean, she was an astute documenter of New York and parodist of her social milieu; her highly decorative scenes borrowed from Surrealism and contributed to the beginnings of a feminist aesthetic. Published in association with the Jewish Museum, New York, and the Art Gallery of Ontario Exhibition Schedule: The Jewish Museum, New York (05/05/17-09/24/17) Art Gallery of Ontario (10/21/17-01/28/18)

Das Werk bietet aktuelle Diskurse der Medienkunst im internationalen Kontext und ist gleichzeitig das Buch zur Onlineplattform www.medienkunstnetz.de. Thematische Schwerpunkte lokalisieren die Schnittstellen zwischen den Medien und KA1/4nsten. Essays und Texte von Inke Arns, Dieter Daniels, Steve Dietz, Rudolf Frieling, Susanne Holschbach, Verena Kuni, Gregor Stemmrich und Yvonne Volkart als vertiefende ErgAnzung zu Band 1: Medienkunst im Aoeberblick. Beide BAnde werden online durch multimediale und audiovisuelle Werkdarstellungen ergAnzt. Themenschwerpunkte u. a.: Essays zu Bild-Ton-Relationen, Cyborg Bodies, Foto/Byte, Generative Tools, Mapping und Text, Public Sphere_s.

The Making of the Modern Indian Artist-Craftsman is intended to be a biographical and critical insight into the work of the potter, painter and photographer Devi Prasad. Apart from the making of his personal history and his times, it leads us to why the act of making (art) itself takes on such a fundamental philosophical significance in his life. This, the author explains, derives directly from his absorption of Gandhi's philosophy that looked at the act of making or doing as an ethical ideal, and further back to the impact of the Arts and Crafts Movement on the ideology of 'Swadeshi' and on the milieu of Santiniketan. This book examines his art along with his role in political activism which, although garnered on Indian soil made him crisscross national borders and assume an important role in the international arena of war resistance. Devi Prasad graduated from Tagore's Santiniketan in 1944 when he joined the Hindustani Talimi Sangh (which promulgated Nayee Taleem) at Gandhi's ashram Sevagram as Art 'Teacher'. His political consciousness saw him participate actively in the Quit India Movement in 1942, in Vinoba Bhave's Bhoodan and later from 1962 onward as Secretary General (later Chairman) of the War Resisters' International, the oldest world pacifist organisation based in London. From there he was able to extend his Gandhian values internationally. All of this, while continuing with his life as a prolific artist. Rather than view them as separate worlds or professions, Devi harmonises them within an ethical and conscionable whole. He has written widely on the inextricable link between peace and creativity, on child /basic education, Gandhi and Tagore, on politics and art, in English, Hindi and Bangla. In 2007 he was awarded the Lalit Kala Akademi Ratna and in 2008, the Desikottama by Visva Bharati University, Santiniketan.

A beautifully illustrated look at the vogue for night landscapes amid the social, political, and technological changes of modern America The turn of the 20th century witnessed a surge in the creation and popularity of nocturnes and night landscapes in American art. In this original and thought-provoking book, Helene Valance investigates why artists and viewers of the era were so captivated by the night. Nocturne examines works by artists such as James McNeill Whistler, Childe Hassam, Winslow Homer, Frederic Remington, Edward Steichen, and Henry Ossawa Tanner through the lens of the scientific developments and social issues that dominated the period. Valance argues that the success of the genre is connected to the resonance between the night and the many forces that affected the era, including technological advances that expanded the realm of the visible, such as electric lighting and photography; Jim Crow-era race relations; America's closing frontier and imperialism abroad; and growing anxiety about identity and social values amid rapid urbanization. This absorbing study features 150 illustrations encompassing paintings, photographs, prints, scientific illustration, advertising, and popular media to explore the predilection for night imagery as a sign of the times.

An accessible introduction to American painter Winslow Homer, examining his work through the lens of conflict A fresh exploration of the work of iconic American painter Winslow Homer (1836-1910) through the lens of conflict, a recurring theme in his prolific career. A persistent fascination with struggle permeates Homer's art -from emblematic images of the Civil War and Reconstruction to dazzling tropical works and monumental marines -and reveals his lifelong engagement with the charged subjects of race, nature, and the environment. This publication illuminates Homer's preoccupation with the complex social and political issues of his era-war, slavery, imperialism-as well as his broader concerns with the fragility of human life and dominance of nature. These powerful themes are present in his earliest Civil War and Reconstruction paintings, which explore the effect of the conflict on the landscape, soldiers, and the formerly enslaved. They continue through his later images of rural life, dramatic rescues, and hunting -paintings that grapple with the often uneasy relationship between humans and the natural world. Toward the end of his life, human figures were reduced to tiny, irrelevant presences, while the ocean acquired a pivotal role. This richly illustrated volume will be published to accompany a retrospective at the National Gallery, organized in collaboration with the Metropolitan Museum of Art, New York. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London September 10, 2022-January 8, 2023

Jose Clemente Orozco's 1930 mural, Prometheus, created for the Pomona College campus, is a dramatic and gripping examination of heroism. This thoughtful exhibition catalogue examines the multiple ways Orozco's vision resonates with four artists working in Mexico today. Isa Carrillo, Adela Goldbard, Rita Ponce de Leo n, and Naomi Rinco n-Gallardo share Orozco's interest in history, justice, social protest, storytelling, and power, yet approach these topics from their own twenty-first- century sensibilities. These artists activate Orozco's mural by reinvigorating Prometheus for a contemporary audience.This gorgeous volume presents substantial new scholarship connecting Mexican muralism with contemporary art practices. Three new essays address different aspects of Orozco, Prometheus, and the connections between Los Angeles and Mexico. The contributors take on a broad range of topics, from murals as public art to how Orozco's work fits into contemporary frameworks of aesthetic theory. The book also includes a chronology, vibrant reproductions, and critical essays focused on the contemporary artists.

Since the publication of Eliza May Butler's "Tyranny of Greece over Germany" in 1935, the obsession of the German educated elite with the ancient Greeks has become an accepted, if severely underanalyzed, cliche. In "Down from Olympus," Suzanne Marchand attempts to come to grips with German Graecophilia, not as a private passion but as an institutionally generated and preserved cultural trope. The book argues that nineteenth-century philhellenes inherited both an elitist, normative aesthetics and an ascetic, scholarly ethos from their Romantic predecessors; German "neohumanists" promised to reconcile these intellectual commitments, and by so doing, to revitalize education and the arts. Focusing on the history of classical archaeology, Marchand shows how the injunction to imitate Greek art was made the basis for new, state-funded cultural institutions. Tracing interactions between scholars and policymakers that made possible grand-scale cultural feats like the acquisition of the Pergamum Altar, she underscores both the gains in specialized knowledge and the failures in social responsibility that were the distinctive products of German neohumanism.

This book discusses intellectual and institutional aspects of archaeology and philhellenism, giving extensive treatment to the history of prehistorical archaeology and German "orientalism." Marchand traces the history of the study, excavation, and exhibition of Greek art as a means to confront the social, cultural, and political consequences of the specialization of scholarship in the last two centuries."

Fire and Other Images comprises a selection of prose pieces by Paritosh Sen, originally written and published in Bengali and rendered into English here, in an attempt to make them available to a wider audience. The pencil sketches that illustrate the narratives were done by the artist for this book. In these vignettes of his past Paritosh Sen evokes a world that we have lost, a memory of what has been and gone; yet the very act of evocation creates a powerful presence. His family was large enough for him, as a child, to lose himself in his own vision of the world: a vision that has remained with him and is recalled in moments of reflection. This vision comes through in the pieces that bring to life memories of his boyhood in Dhaka; of his relationship with his father which, though distant, is deeply imprinted in him; of the fire at his father's cremation; of the death of his mother which he poignantly juxtaposes with the anguish of a mother mongoose separated from her captured babies. Sen responds to the landscape, trees, plants, birds and people that surround him. For him the magnificent Arjuna tree, the 'tree in his village', for instance is like a high-rise building - with a hierarchy among the birds that nestle separately in the various branches of the tree, and between them on the snakes and iguanas in its roots. Paritosh Sen the artist comes through forcefully in the pieces where he recalls his meetings with Brancusi and Picasso. In his narration of his encounter with Picasso we are made aware of the initial awe that is gradually replaced by a recognition of the immense human qualities that go into the best creativity. The artist in Sen also surfaces in his stunning description of travelling across the waters at Abu Simbel at dawn. The creativity inspired by a recollection of a past world and of the attempt to comprehend the present, is preserved in both his paintings and writings. Both his painting and his writing are statements that endorse freedom as necessary to creativity and as central to the human experience.

The first major publication on the art of the New Guinea Highlands, this extraordinary volume is destined to become the definitive resource on this little-known region. The Jolika Collection of New Guinea Art of the Fine Arts Museums of San Francisco consists of thousands of objects and represents hundreds of clans and villages throughout New Guinea. The first book in a projected ten-volume series, this lavishly illustrated volume focuses on the Highlands-a region of rugged mountains, fertile valleys, and a civilization that dates back more than forty thousand years. Here, in more than six hundred pages of rich color, are beautifully crafted masks, shields, headdresses, and ceremonial and personal objects, the majority of which have never before been published or exhibited. Archival and reference photographs, maps of key locations, and authoritative essays by more than a dozen preeminent scholars covering a wide range of subjects, from prehistoric agriculture to body art, make this book a collector's dream.

'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.

Hannah Gluckstein (who called herself Gluck; 1895-1976) was a distinctive, original voice in the early evolution of modern art in Britain. This handsome book presents a major reassessment of Gluck's life and work, examining, among other things, the artist's numerous personal relationships and contemporary notions of gender and social history. Gluck's paintings comprise a full range of artistic genres-still life, landscape, portraiture-as well as images of popular entertainers. Financially independent and somewhat freed from social convention, Gluck highlighted her sexual identity, cutting her hair short and dressing as a man, and the artist is known for a powerful series of self-portraits that played with conventions of masculinity and femininity. Richly illustrated, this volume is a timely and significant contribution to gender studies and to the understanding of a complex and important modern painter. Published in association with the Brighton Museum & Art Gallery and London College of Fashion Exhibition Schedule: Brighton Museum & Art Gallery, England (11/18/17-03/11/18)

83 moving works: The Weavers, Peasant War, War, Death, and others. "To see the beautiful examples of her work reproduced in this well-printed, reasonably priced volume is to sit at the feet of a great modern master..."-School Arts.

Conceptual art consisted of a loose collection of related practices that emerged worldwide during the 1960s and 1970s. This collection of essays offers readers a wealth of new research on the earliest international exhibitions of Conceptual art; new interpretations of some of its most important practitioners; and a reconsideration of the relationship between Conceptual art and the intellectual and social context of the 1960s and 1970s. Of special note are the contributions that focus on the explicitly social and political aspirations of this influential avant-garde artistic practice.

An essential new look at the diverse work and artistic methods of beloved American realist painters Andrew and Jamie Wyeth Father and son artists Andrew Wyeth (1917-2009) and Jamie Wyeth (b. 1946) are among the most celebrated American realist painters of the 20th century. Despite their similar habits of mind, studio practice, and rural Pennsylvania upbringing, the two artists produced strikingly different work. However, they also employed a wide range of processes in works that parallel and complement each other. This artistic conversation is evident when considering the artists' vast output of preliminary work-much of which has remained unpublished until now-alongside their iconic paintings. This groundbreaking publication takes a novel approach in exploring the Wyeths' working methods and processes. Author Timothy J. Standring also provides the reader with a rare personal glimpse into the artists' world by chronicling his visits to their studios in the Brandywine Valley and Midcoast Maine over the course of four years. With over 200 color illustrations showing works in a variety of media-including pen and ink, graphite, chalk, watercolor, dry brush, tempera, and oil-this handsome book situates each artist's oeuvre in the context of their shared biographies, place, and artistic practices. Published in association with the Denver Art Museum Exhibition Schedule: Denver Art Museum (11/08/15-02/07/16) Thyssen-Bornemisza Museum, Madrid (03/01/16-06/19/16)

This study examines the origins, development and explosion of biographical literature on artists in Britain between 1870 and 1910. It analyzes a variety of narrative modes, including gossip, anecdotes, and serialization, as well as the differences among genres (autobiographies, family biographies, biographical histories and dictionaries.) Julie Codell discerns the multiple, often conflicting identities that were ascribed to artists collectively, and as individuals. Her book serves as a timely sociological and cultural overview of the art world in Britain in the decades before World War I.