* Covers a wide range of topics in Latin American/Caribbean/Central American Art History * Concise analysis of Latin American artists, works, and art movements * An interdisciplinary approach to the topics discussed that places art in its contemporary historical perspective * Includes material on art from Central America and the Caribbean, Women's Art, and Popular Art

Examining colonial art through the lens of transculturation, the essays in this collection assess painting, sculpture, photography, illustration and architecture from 1770 to 1930 to map these art works' complex and unresolved meanings illuminated by the concept of transculturation. Authors explore works in which transculturation itself was being defined, formed, negotiated, and represented in the British Empire and in countries subject to British influence (the Congo Free State, Japan, Turkey) through cross-cultural encounters of two kinds: works created in the colonies subject over time to colonial and to postcolonial spectators' receptions, and copies or multiples of works that traveled across space located in several colonies or between a colony and the metropole, thus subject to multiple cultural interpretations.

A comprehensive monograph on the pioneering artist Anthony Caro. Regarded as the greatest British artist of his generation and represented in museum collections all over the world, Anthony Caro revolutionized sculpture in the 1960s, by taking the radical step of removing the plinth and placing his work directly on the ground not only changed our relationship with the artwork, but the direction of sculpture itself. This beautifully designed book includes a comprehensive survey of Caro's work over a period of more than half a century - ranging from his time as Henry Moore's assistant in the early 1950s right up until his death in 2013. More than fifty of his masterworks are each examined in detail through never before published archival installation images and comments by the artist from the time of production or exhibition. Furthermore, a collection of specially commissioned new documentary photographs by Toby Glanville capture the processes behind the sculptor's work, from conception to production to installation and exhibition in major exhibitions and installations. A collection of short texts by leading contemporary artists, including Antony Gormley, Liz Larner, Joel Shapiro, Simon Starling, Frank Stella, Rebecca Warren and Richard Wentworth demonstrate the influence of Caro's work, and a series of key essays by renowned critics and art historians, such as Clement Greenberg and Michael Fried, provide an unparalleled overview of his career and complete this intimate celebration of the artist.

The early surrealists attempted to create art directly from the unconscious, but the resulting art often reveals the stamp of its age. It is generally accepted that a certain macho sensibility prevailed within the movement, excluding queer sensibilities and reducing women to object status. In startling new readings of Breton, Bataille, Cocteau, Artaud, Crevel and others, Justin Vicari examines the intersections between surrealism and mental illness, deploying an interdisciplinary approach, which includes aesthetic theory, radical politics, and psychoanalysis. Of particular interest is the representation of the ideal woman as not only sexually available but mentally ill, a hysteric muse representing a kind of "authenticity" lost in modern life.

Focusing on his evocative and profound references to children and their stories, Children's Stories and 'Child-Time' in the Works of Joseph Cornell and the Transatlantic Avant-Garde studies the relationship between the artist's work on childhood and his search for a transfigured concept of time. This study also situates Cornell and his art in the broader context of the transatlantic avant-garde of the 1930s and 40s. Analisa Leppanen-Guerra explores the children's stories that Cornell perceived as fundamental in order to unpack the dense network of associations in his under-studied multimedia works. Moving away from the usual focus on his box constructions, the author directs her attention to Cornell's film and theater scenarios, 'explorations', 'dossiers', and book-objects. One highlight of this study is a work that may well be the first artist's book of its kind, and has only been exhibited twice: Untitled (Journal d'Agriculture Pratique), presented as Cornell's enigmatic tribute to Lewis Carroll's Alice books.

What does it mean for a sculpture to be described as 'organic' or a diagram of 'morphological forces'? These were questions that preoccupied Modernist sculptors and critics in Britain as they wrestled with the artistic implications of biological discovery during the 1930s. In this lucid and thought-provoking book, Edward Juler provides the first detailed critical history of British Modernist sculpture's interaction with modern biology. Discussing the significant influence of biologists and scientific philosophers such as D'Arcy Wentworth Thompson, Julian Huxley, J. S. Haldane and Alfred North Whitehead on interwar Modernist practice, this book provides radical new interpretations of the work of key British Modernist artists and critics, including Henry Moore, Barbara Hepworth, Paul Nash and Herbert Read. Innovative and interdisciplinary, this pioneering book will appeal to students of art history and the history of science as well as anyone interested in the complex, interweaving histories of art and science in the twentieth century. -- .

Modern Art takes the reader through individual movements from Impressionism to Conceptual Art, situating these within five broader chronological themes. Starting with Impressionism in 1860, Dempsey proceeds through the essentials of Modernism, the post-war New Disorder and beyond. The material is arranged with great care to lead the reader through over seventy essential topics of modern art in a practical and easy-to-navigate structure. Each boldly designed feature includes a clear definition of the theme, a list of key artists, features, media and collections, and expertly curated illustrations with explanatory captions. A reference section includes a useful glossary of modern art terms, an easy-to-navigate timeline and suggestions for further reading.

The first book-length feminist analysis of Eileen Gray's work, Eileen Gray and the Design of Sapphic Modernity: Staying In argues that Gray's unusual architecture and design - as well as its history of abuse and neglect - emerged from her involvement with cultures of sapphic modernism. Bringing together a range of theoretical and historical sources, from architecture and design, communication and media, to gender and sexuality studies, Jasmine Rault shows that Gray shared with many of her female contemporaries a commitment to designing spaces for sexually dissident modernity. This volume examines Gray's early lacquer work and Romaine Brooks' earliest nude paintings; Gray's first built house, E.1027, in relation to Radclyffe Hall and her novel The Well of Loneliness; and Gray's private house, Tempe A Pailla, with Djuna Barnes' Nightwood. While both female sexual dissidence and modernist architecture were reduced to rigid identities through mass media, women such as Gray, Brooks, Hall and Barnes resisted the clarity of such identities with opaque, non-communicative aesthetics. Rault demonstrates that by defying the modern imperative to publicity, clarity and identity, Gray helped design a sapphic modernity that cultivated the dynamism of uncertain bodies and unfixed pleasures, which depended on staying in rather than coming out.

Immerse yourself in a world of abstract equilibrium with 57 tiles inspired by the Modernist master Piet Mondrian. Arrange the tiles to create table-top compositions of perfect balance, large or small. Beautifully presented and with millions of possible arrangements, Make Your Own Mondrian will delight would-be Modernists of all ages.

This study looks at the artists, designers and writers who formed the Independent Group in the early 1950s including such influential figures as Richard Hamilton, Eduardo Paolozzi, Nigel Henderson, William Turnball, Rayner Banham and Alison and Peter Smithson. As a group they aimed to raise the status of popular objects and icons within modern visual culture. The development of the Independent Group is mapped out against the changing nature of modernism during the Cold War era, as well as the impact of mass consumption on post-war British society. In this book, Massey examines the cultural context of the formation of the Group, covering the founding of the Institute of Contemporary Arts in London, the meanings of modernism, and the creation of a national identity. Key exhibitions such as "Parallel of Life and Art" and "This Is Tomorrow" are also examined.

A survey of modern art from the Impressionists to the present, with a new chapter on the art of the seventies and eighties, and corrections and revisions in the text.

This is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the arts and globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense. -- .

The extraordinarily productive life of curator, artist, and activist Margaret Burroughs was largely rooted in her work to establish and sustain two significant institutions in Chicago: the South Side Community Art Center (SSCAC), founded in 1940, and the DuSable Museum of African American History, founded in her living room in 1961. As Mary Ann Cain's South Side Venus: The Legacy of Margaret Burroughs reveals, the primary motivations for these efforts were love and hope. Burroughs was spurred by her love for Chicago's African American community-largely ill served by mainstream arts organizations-and by her hope that these new, black-run cultural centers would welcome many generations of aspiring artists and art lovers. This first, long-awaited biography of Burroughs draws on interviews with peers, colleagues, friends, and family, and extensive archival research at the DuSable Museum, the Art Institute of Chicago, and the Chicago Public Library. Cain traces Burroughs's multifaceted career, details her work and residency on Chicago's South Side, and highlights her relationships with other artists and culture makers. Here, we see Burroughs as teacher and mentor as well as institution builder. Anchored by the author's talks with Burroughs as they stroll through her beloved Bronzeville, and featuring portraits of Burroughs with family and friends, South Side Venus will enlighten anyone interested in Chicago, African American history, social justice, and the arts.

The Times Art Book of the Year 2021 FINALIST FOR THE PLUTARCH AWARD 2022 'Must surely be the definitive life of Francis Bacon ... A biography that no Bacon fan - or indeed foe - can afford to overlook ... Mesmerising' THE TIMES 'A magnificent triumph ... I was captivated by every line' OBSERVER A decade in the making, based upon hundreds of interviews and extensive new material, Pulitzer Prize winners Mark Stevens and Annalyn Swan have written a startlingly original portrait - rich, complex, and subtle - of a commanding modern figure. Bacon concealed many important aspects of his life. He described himself as an asthmatic child in Ireland with foxhunting parents and a tyrannical father, but he was also rescued by a series of formidable women - women who in this biography emerge in their own right. He was never just a dissolute young man but was also a passionate reader, largely self-taught. Early on, influenced by Eileen Gray, he became a hard-working and ambitious designer, a brief career explored here in detail for the first time. He dreamed of remaking the modern room. Bacon worked no less hard or ambitiously as a painter, at first with little success. Throughout the 1930s and early '40s he suffered ongoing failures, growing isolated and often ill. His health issues throughout his life were far more significant than he revealed. Then came his astonishing breakthrough in 1944, with Three Studies for Figures at the Base of a Crucifixion. In the following decades, he emerged as one of the great iconoclasts and bon vivants of his time, a Wildean figure whom one friend called 'a terrific grandee.' Bacon was typically celebrated as a sexual adventurer who liked rough trade, but he never stopped longing for a serious committed relationship, however painful. He continued to make disturbing images of the strangeness within, but developed into a more varied artist than has been recognised, creating in particular an extraordinary series of self-portraits. He was an artist who believed in chance and paradox: the iconoclast eventually became an icon. This is a story, deeply researched and masterfully told, of a sickly boy who became one of the great figures of his time. The twentieth century does not know itself without Bacon.

Based on hitherto overlooked archival material, this book reveals Nell Walden's significant impact on the Sturm organisation through a feminist reading of supportive labour that highlights the centrality of collaborative work within the modern art world. This book introduces Walden as an ardent collector of modern and indigenous art and critically contextualises her own art production in relation to expressionist concepts of art and to gendered ideas on abstraction and decoration. Visual analyses highlight how she collaborated with professional and experimental women photographers during the Weimar era and how the circulation of these photographs served as a means to intervene in the public sphere of culture in interwar Germany. Finally, the book provides an analysis of Walden's continuing work for Der Sturm after her voluntary exile from Germany to Switzerland in 1933 and highlights the importance of women's supportive labour for the canonisation and institutionalisation of modern art in museums and archives. The book will be of interest to scholars working in art history, visual studies, and gender studies.

Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reconfiguring the political, ethical and social landscape of our time. Understanding art as a vital form of articulation, Meskimmon argues that artworks do more than simply reflect and represent the processes of transnational and transcultural exchange typical of the global economy. Rather, art can change the way we imagine, understand and engage with the world and with others very different than ourselves. In this sense, art participates in a critical dialogue between cosmopolitan imagination, embodied ethics and locational identity.

The development of a cosmopolitan imagination is crucial to engendering a global sense of ethical and political responsibility. By materialising concepts and meanings beyond the limits of a narrow individualism, art plays an important role in this development, enabling us to encounter difference, imagine change and make possible the new. This book asks what it means to inhabit a globalized world how we might literally and figuratively make ourselves cosmopolitans, at home everywhere. Contemporary art provides a space for this enquiry.

Contemporary Art and the Cosmopolitan Imagination is structured and written through four architectonic figurations foundation, threshold, passage and landing which simultaneously reference the built environment and the transformative structure of knowledge-systems. It offers a challenging new direction in the current literature on cosmopolitanism, globalisation and art.

Contemporary Art and the Cosmopolitan Imagination explores the role of art in conceiving and reconfiguring the political, ethical and social landscape of our time. Understanding art as a vital form of articulation, Meskimmon argues that artworks do more than simply reflect and represent the processes of transnational and transcultural exchange typical of the global economy. Rather, art can change the way we imagine, understand and engage with the world and with others very different than ourselves. In this sense, art participates in a critical dialogue between cosmopolitan imagination, embodied ethics and locational identity.

The development of a cosmopolitan imagination is crucial to engendering a global sense of ethical and political responsibility. By materialising concepts and meanings beyond the limits of a narrow individualism, art plays an important role in this development, enabling us to encounter difference, imagine change and make possible the new. This book asks what it means to inhabit a globalized world ? how we might literally and figuratively make ourselves cosmopolitans, ?at home? everywhere. Contemporary art provides a space for this enquiry.

Contemporary Art and the Cosmopolitan Imagination is structured and written through four ?architectonic figurations? ? foundation, threshold, passage and landing ? which simultaneously reference the built environment and the transformative structure of knowledge-systems. It offers a challenging new direction in the current literature on cosmopolitanism, globalisation and art.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture - sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all - art history - examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century - which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Woelfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

The Books That Shaped Art History provides an invaluable roadmap of the field by reassessing the impact of the most important texts of art history published during the 20th century. Each of the sixteen incisive chapters, focusing on a single book, is written by a leading art historian, curator or one of the promising scholars of today. In bringing these cross-generational contributions together, the book presents a varied and invaluable overview of the history of art, told through its most enduring literature. Each essay - with writers including John Elderfield, Boris Groys, Susie Nash and Richard Verdi - analyses a single major work, mapping the intellectual development of its author, setting out the premises and argument of the book, discussing its position within the field of art history, and looking at its significance in the context both of its initial reception and its legacy. Enlivening debates and questioning the very status of art history itself, this is a concise and brilliant study of the discipline and an invaluable resource for anyone interested in visual culture and its histories.

Play and the Artist's Creative Process explores a continuity between childhood play and adult creativity. The volume examines how an understanding of play can shed new light on processes that recur in the work of Philip Guston and Eduardo Paolozzi. Both artists' distinctive engagement with popular culture is seen as connected to the play materials available in the landscapes of their individual childhoods. Animating or toying with material to produce the unforeseen outcome is explored as the central force at work in the artists' processes. By engaging with a range of play theories, the book shows how the artists' studio methods can be understood in terms of game strategies.

Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain critically analyses the role that visual culture played in the early development of Mass-Observation, the innovative British anthropological research group founded in 1937. The group's production and use of painting, collage, photography, and other media illustrates not only the broad scope of Mass-Observation's efforts to document everyday life, but also, more specifically, the centrality of visual elements to its efforts at understanding national identity in the 1930s. Although much interest has previously focused on Mass-Observation's use of written reports and opinion surveys, as well as diaries that were kept by hundreds of volunteer observers, this book is the first full-length study of the group's engagement with visual culture. Exploring the paintings of Graham Bell and William Coldstream; the photographs of Humphrey Spender; the paintings, collages, and photographs of Julian Trevelyan; and Humphrey Spender's photographs and widely recognized 'Mass-Observation film', Spare Time, among other sources, Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain positions these works as key sources of information with regard to illuminating the complex character of British identity during the Depression era.

Originally published in 1998, The Handbook of Modern British Painting and Printmaking 1900-1990 has been designed for people who enjoy, study and buy British art. The only portable dictionary-style guide to the life and work of modern British painters and printmakers, the book provides information on some 2,000 artists, as well as entries on schools of art, on museums, galleries and collections, on societies and groups, and critics and patrons who have influenced the development of modern art in Britain. Compiled by scholars, the entries are cross-referenced and each concise biographical outline provides the relevant facts about the artist's life, a brief characterisation of the artist's work, and major bibliographic references. Wherever possible, one or two suggestions for further reading are cited.

Based on original archival research, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. It investigates how the unique geopolitical positioning of the Balkan space and its multiculturality influenced and shaped visual culture and cinema. Countering Eurocentric modernity paradigms and reframing hierarchical relations between centres and peripheries, this book adopts an alternative methodology for interstitial spaces. By deploying the notion of the haptic, it establishes new connections between moving image artefacts and print media, early film practitioners, the socio-political context and cultural responses to the new visual medium.

This book is the only record of federally-funded art projects in Virginia during the Great Depression. It provides an historical overview of each city or town that is home to the artwork, information on federal structures housing the artwork, a photograph and description of the artwork itself, and a biographical sketch of the artist. More than 180 photographs are featured in this title.