A design monograph series on the most remarkable architects, designers, brands and design movements of the twentieth and twenty-first centuries, each book contains a historical-critical essay discussing the life and work of the subject, followed by an illustrated appreciation of groundbreaking work. Frank Gehry transformed contemporary architecture with his innovative use, and range, of materials and forms, from mass-produced items to titanium and 3D computer modelling. Remarkable, surprising, and revealing a sense of flow and movement, his buildings curve, bend and collapse in unexpected ways. From his most famous masterpiece, the Guggenheim Museum Bilbao, to his Dancing House in Prague and the twisting Luma Arles Tower, his experimental shapes inspire awe and wonder.

This publication is the fourth volume of an important catalogue raisonne of the work of Francis Picabia This publication, the fourth volume of an important catalogue raisonne of the work of Francis Picabia (1879-1953), includes paintings and selected drawings dating from 1940 into 1952. During the war years, while still residing in the south of France, Picabia was primarily occupied by figural subjects -multi-figure allegories, female nudes, and glamorous female "portraits" -painted in bold illusionistic relief. Notorious even in his lifetime, most of these works are now known to have adapted photographic illustrations in older "girly" magazines and other popular media. Upon his return to Paris in the post-war period, Picabia renewed his earlier interests in abstract and sometimes non-objective art, still often drawing upon published sources ranging from prehistoric art to Nietzsche, and pursued frequent exhibition of his distinctive, constantly mutating responses to critical currents of the day. These included a series of severely reductive, subtly effective "point" or dot paintings beginning in 1949-three years before ill-health effectively ended Picabia's half-century of artistic provocation. Distributed for Mercatorfonds

Vertigo seeks to document the surge of multimedia art driven by the advent of new technologies, including works produced by great names in art such as Balla, Warhol, Beuys, Anselm Kiefer, Nam June Paik, and Laurie Anderson.

Some Kind of Duty features all new handmade weavings by Chicago-based artist Karolina Gnatowski, known as kg. In monumental and small-scale tapestries, kg, anAmerican artist who was born in Poland incorporates references ranging from Polish immigration, badminton, Jim Morrison, and feminist fiber artists to addiction, mourning, and their pet. The artist's keen attention to the details of life's coincidences and moments of intersection finds a fitting form in their reverence for the history of tapestry weaving, and the evidence of everyday life incorporated into the artist's work makes their weavings an offering to those both living and dead. This catalog accompanies an exhibition at the DePaul Art Museum, and it features full-color plates of the works on view, an interview between the artist and DPAM Director and Chief Curator Julie Rodrigues Widholm, an essay by K. L. H. Wells, assistant professor in the Department of Art History at the University of Wisconsin-Milwaukee, and poems written by the artist to accompany each work.

"A Companion to Contemporary Art" is a major survey covering the major works and movements, the most important theoretical developments, and the historical, social, political, and aesthetic issues in contemporary art since 1945, primarily in the Euro-American context.
Collects 27 original essays by expert scholars describing the current state of scholarship in art history and visual studies, and pointing to future directions in the field.
Contains dual chronological and thematic coverage of the major themes in the art of our time: politics, culture wars, public space, diaspora, the artist, identity politics, the body, and visual culture.
Offers synthetic analysis, as well as new approaches to, debates central to the visual arts since 1945 such as those addressing formalism, the avant-garde, the role of the artist, technology and art, and the society of the spectacle.

"I love this book! Brilliant biography of the...utterly fascinating artist Isabel Rawsthorne" Jennifer Higgie "Every page is gripping, fascinating, forcefully and excitingly written, and sad." Andrew Motion "Isabel Rawsthorne's life reads like a ready-made screenplay... - a poverty stricken upbringing, world wars, espionage, affairs, addiction, politics ... all set to a series of evocative cinematic backdrops. And that's before any mention of her career as one of the most hidden but influential artists of the 20th century." Interiors and Home "Jacobi's bigger project here, seems to be to reimagine what an artist biography... can be." The Art Newspaper "Highlights how talented women have often missed out on the recognition they deserved" Observer Isabel Rawsthorne's painting career at the centre of the Parisian and London avantgardes was eclipsed by the many occasions on which her friends made her the subject of their art, notably Epstein, Derain, Giacometti, Picasso and Bacon. This pioneering painter exhibited from the early 1930s, was influential in the 1940s and well known in the 1960s, but in her later years Giacometti's and Bacon's blockbuster biographies made her famous as a muse. Rawsthorne's work is now in major collections, and this beautifully illustrated book re-writes the pre- and post-war art history of which she was a part: it is traced through the upheavals of the 20th century and her singular relationships with some of its most fascinating figures. A decade of research into the period, Rawsthorne's art and archives, and the memories of friends, has revealed for the first time her role in a rebel group at Liverpool School of Art; success and tragedy in the 1930s when she was studio assistant to Jacob Epstein; her life-long collaborations with Alberto Giacometti; and, after the war, with Francis Bacon and with African Modernism in the 1960s, as well as her exceptional late work. It also tells the full story of her break from art during the second world war, when she worked for the government in black propaganda.

Fragmentation of the Photographic Image in the Digital Age challenges orthodoxies of photographic theory and practice. Beyond understanding the image as a static representation of reality, it shows photography as a linchpin of dynamic developments in augmented intelligence, neuroscience, critical theory, and cybernetic cultures. Through essays by leading philosophers, political theorists, software artists, media researchers, curators, and experimental programmers, photography emerges not as a mimetic or a recording device but simultaneously as a new type of critical discipline and a new art form that stands at the crossroads of visual art, contemporary philosophy, and digital technologies.

Immerse yourself in the colourful world of Frida Kahlo with this search and find book which details key aspects of her life - from her eccentric teenaged years and infatuation with Diego Rivera, to her dynamic arrival as an international artist, her incredible studio and house in Mexico and her deep love of Mexican culture.

With twelve intricately drawn scenes, you can find Frida, among other places, at home with Diego Rivera, among a bustling Day of the Dead scene and at her Paris gallery opening. Find Frida not only features the iconic and flamboyant artist but is populated with a huge cast of over 200 extras for you to spot - including artists, filmmakers, writers and photographers - allowing the book to tell the complete story of Kahlo's life and her huge cultural influence.

"Catherine Cusset's book caught a lot of me. I recognised myself" DAVID HOCKNEY "A perfect short expose of Hockney's life as seen through the eyes of an admiring novelist" Kirkus Reviews "Hers is an affirming vision of a restless talent propelled by optimism and chance" New York Times With clear, vivid prose, this meticulously researched novel draws an intimate, moving portrait of the most famous living English painter. Born in Bradford in 1937, David Hockney had to fight to become an artist. After leaving home for the Royal College of Art in London his career flourished, but he continued to struggle with a sense of not belonging, because of his homosexuality, which had yet to be decriminalised, and because of his inclination for a figurative style of art, which was not sufficiently "contemporary" to be valued. Trips to New York and California - where he would live for many years and paint his iconic swimming pools - introduced him to new scenes and new loves, beginning a journey that would take him through the fraught years of the AIDS epidemic. A compelling hybrid of novel and biography, David Hockney: A Life offers an insightful overview of a painter whose art is as accessible as it is compelling, and whose passion to create has never been deterred by heartbreak or illness or loss. Translated from the French by Teresa Lavender Fagan

The definitive and sumptuous biography of the one of the world's most collectible illustrators contains a richly detailed account of his life along with beautifully enchanting pictures Examining the work of the illustrator Arthur Rackham, this monograph traces his achievements throughout his illustrious career. Rackham's illustrations for such works as "Alice in Wonderland," "A Midsummer Night's Dream," "Peter Pan in Kensington Gardens," and "Rip Van Winkle" have attained the classic status of the writings themselves--and indeed, in some cases, they have become synonymous with them. His works were also included in numerous exhibitions in his lifetime, including one at the Louvre in Paris in 1914. Rackham himself, however, has previously remained a shadowy figure. As well as featuring exquisite illustrations and sketches, extracts from Rackham's correspondence and insightful commentary shed new light on this much-collected illustrator.

Jane Ellen Panton (1847-1923) was the second daughter of the artist William Powell Frith, and an expert on domestic issues. First published in 1911, this is a further collection of her memoirs, following her earlier autobiography Leaves from a Life (also reissued in this series). The focus of this book is her close friend Basil Hodges and his great influence on her life. She describes Hodges, an artist she met in her childhood, as an 'underdog' whom she set out to help, and went on to support him through difficulties in his marriage and career, accompanying him on his travels. Her friendship with Hodges led her to travel abroad and meet a range of colourful characters, all recounted here in vivid and often humorous detail. Offering reflections on life in England and France in the later nineteenth and early twentieth centuries, this book has much to offer social historians.

Jane Ellen Panton (1847-1923) was the second daughter of the artist William Powell Frith, and an expert on domestic issues. Published in 1909, this is a further collection of Panton's memoirs, following her earlier autobiography Leaves from a Life (also reissued in this series). It looks back on life in mid-nineteenth-century England and the changes that had taken place since then, beginning by asking the question of how much the present generation knew about their country's past. Over fifteen chapters, Panton explores developments in the nature and structure of institutions such as the family, the community, the church, the electorate and the military, deeming certain changes as negative, such as the decline of county families and the gentry, while welcoming others, such as increased opportunities for women. Providing revealing insight into English middle-class concerns in the nineteenth and early twentieth centuries, this book remains of interest to social historians.

As beautiful and rigorous as an Escher work itself, this book is the classic study of a great maverick who so memorably linked the world of imagemaking with geometry and paradox. Escher's works, from the great master prints to numerous drawings, are brilliantly arranged to form a cinematic journey of discovery that reveals the magical world of the artist's mind, an uncharted realm lush with exotic conceptions and inventions.

The first in-depth study of a monumental wall hanging—rediscovered after many years—by renowned Bauhaus artist Anni Albers. Albers was influential in elevating textiles from craft to fine art. Her exquisite wall hanging Camino Real—seen for the first time outside of Mexico City at David Zwirner, New York, in 2019, and the subject of this book—is a superb example of this modern master’s work. In 1967, noted architects Ricardo Legorreta and Luis Barragán commissioned Albers to create a work for the newly built Hotel Camino Real in Mexico City. Completed in 1968, her striking wall hanging Camino Real is heavily influenced by Latin American art and culture. Showcasing Albers’s approach to working with textiles as a “many-sided practice,� it is accompanied in this book by works Albers made following her move to the United States in 1933, including innovative wall hangings, weavings, and a range of works on paper. Together, these works reflect Albers’s brilliant embrace of different materials and techniques and her ability to work at varied scales. The works in this publication offer additional context and motifs, demonstrating the artist’s pioneering investment in textiles as an art form and her parallel interest in mass-produced designs. Published on the occasion of the Anni Albers exhibition presented at David Zwirner, New York, in 2019, this catalogue features new scholarship from the show’s curator, Brenda Danilowitz, art historian and chief curator of The Josef and Anni Albers Foundation, and T’ai Smith, an expert on Bauhaus craft and weaving.

After the Crisis offers a platform for discussions between some of today's leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time.

More than any other decade, the Sixties captures our collective cultural imagination. And while many Americans can immediately imagine the sound of Martin Luther King, Jr. declaring, "I Have A Dream," or envision hippies placing flowers in gun barrels while staring down the National Guard, the revolutionary Sixties resonate around the world: China's communist government inaugurated a new cultural era, African nations won independence from colonial rule, and students across Europe took to the streets calling for an end to capitalism, imperialism, and the brutality of the Vietnam War. In this highly original work, James Meyer turns to art criticism, theory, memoir, and fiction to examine the fascination with the long Sixties and contemporary expressions of these cultural memories across the globe. Meyer draws on a diverse range of cultural objects that reimagine this revolutionary era stretching from the 1950s to the 1970s, including reenactments of civil rights, antiwar, and feminist marches, Cai Guo-Qiang's reconstructions of an iconic Cultural Revolution-era sculpture, and the television series Mad Men, to name only a few. Many of these works were created by artists and writers born during the long Sixties, who are driven to understand a monumental era that they missed. These cases show us that the past becomes significant only in relation to our present, and our remembered history, whether dark or glowingly nostalgic, never perfectly replicates time passed. This, Meyer argues, is precisely what makes our contemporary attachment to the past so important: it provides us with a critical opportunity to examine our own relationship to history, memory, and nostalgia.

This book explores the collaborations, during the mid-20th century, between the Metropolitan Museum of Art and the Book-of-the-Month Club. Between 1948 and 1962 the two institutions collaborated on three book projects-The Metropolitan Museum of Art Miniatures (1948-1957), The Metropolitan Seminars in Art (1958-60), and a print reproduction of Rembrandt's Aristotle Contemplating the Bust of Homer (1962)-bringing art from the Met's collections right into the homes of subscribers. The Met and the Masses places these commercial enterprises in a variety of contemporary and historical contexts, including the relation of cultural education to democracy in America, the history of the Met as an educational institution, the rise of art education in postwar America, and the concurrent transformation of the home into a space that mediated familial privacy and the public sphere. Using never before published archival material, the book demonstrates how the Met sought to bring art to the masses in postwar America, whilst upholding its reputation as an institution of high culture. It is essential reading for scholars, researchers and curators interested in the history of modern art, museum and curatorial studies, arts and cultural management, heritage studies, as well as the history of art publications.

The first book to study Vincent van Gogh’s fascination with cypresses, the “tall and dark trees� that feature in some of his most iconic pictures Vincent van Gogh (1853–1890) immortalized the cypress tree in signature images that have become synonymous with his fiercely original power of expression. This richly illustrated publication illuminates the backstory of his invention for the first time, from his initial investigations of the motif in benchmark drawings from Arles to his realization of their full evocative potential in such iconic canvases as The Starry Night and Wheat Field with Cypresses, painted at the asylum in Saint-Rémy. Susan Alyson Stein retraces the Dutch artist’s inspired response to the flamelike evergreens as they gained ground in his works and artistic thinking over the course of his sojourn in the South of France. The volume provides further insight into Van Gogh’s creative process through a technical study focused on two celebrated works from the artist’s epic painting campaign of June 1889. The visual and literary heritage of the cypresses is featured in a compilation of images and excerpts from nineteenth-century poetry, novels, and travel writing—many translated into English for the first time. Published by The Metropolitan Museum of Art/Distributed by Yale University Press   Exhibition Schedule: The Metropolitan Museum of Art, New York (May 22–August 27, 2023)

From Seurat’s A Sunday on La Grand Jatte to Hopper’s Nighthawks, one of the world's greatest collections of paintings in the palm of your hand.

The Art Institute of Chicago houses some of the most celebrated paintings from the nineteenth century to the present. Included in this collection are numerous masterpieces of realism, Impressionism, Post-Impressionism, Surrealism, Cubism, Abstract Expressionism, and contemporary art. Today a number of these paintings are revered as icons of modern culture, emblems of the inspired experimentation that has taken place on both sides of the Atlantic, and around the world.

For the last century, the Art Institute has supported the achievements of the most distinguished artists from Europe and America, acquiring and exhibiting now-beloved works of Edgar Degas, Henri Matisse, Georgia O'Keeffe, Jackson Pollock, and others. This folio is presented as both an introduction to this collection and as a survey of the styles, subjects, and themes of Western art of the last two centuries, from the linear classicism of Jean-Auguste-Dominique Ingres through the optical studies of Claude Monet and the Impressionists; from the lyrical, colorful abstractions of Vasily Kandinsky to the fractured picture planes of Pablo Picasso and the Cubists; from the enigmatic compositions of Salvador Dali and the Surrealists to the media-appropriated Pop-art portraits of Andy Warhol. These magnificent paintings eloquently narrate the discussions of the nature of art, quality, innovation, style, and form that have defined the modern era in art history.

One of the most influential choreographers of the twentieth century, Merce Cunningham is known for introducing chance to dance. Far too often, however, accounts of Cunningham's work have neglected its full scope, focusing on his collaborations with the visionary composer John Cage or insisting that randomness was the singular goal of his choreography. In this book, the first dedicated to the complete arc of Cunningham's career, Carrie Noland brings new insight to this transformative artist's philosophy and career, providing a fresh perspective on his artistic process while exploring aspects of his choreographic practice never studied before. Examining a rich and previously unseen archive that includes photographs, film footage, and unpublished writing by Cunningham, Noland counters prior understandings of Cunningham's influential embrace of the unintended, demonstrating that Cunningham in fact set limits on the role chance played in his dances. Drawing on Cunningham's written and performed work, Noland reveals that Cunningham introduced variables before the chance procedure was applied and later shaped and modified the chance results. Chapters explore his relation not only to Cage, but also Marcel Duchamp, Robert Rauschenberg, James Joyce, and Bill T. Jones. Ultimately, Noland shows that Cunningham approached movement as more than "movement in itself," and that his work in fact enacted archetypal human dramas. This remarkable book will forever change our appreciation of the choreographer's work and legacy.

Renowned American artist Anne Truitt kept this illuminating and inspiring journal over a period of seven years, determined to come to terms with the forces that shaped her art and life. Within its beautifully written pages, you will come to know a woman whose range of sensitivity-moral, intellectual, sensual, emotional, and spiritual-is remarkably broad. She recalls her childhood on the eastern shore of Maryland, her career change from psychology to art, and her path to making sculptures so finely painted that they would "set colour free in three dimensions." She reflects on the generous advice of other artists, watches her own daughter's journey into motherhood, meditates on criticism and solitude, and struggles to express her vision. Resonant and true, encouraging and revelatory, Anne Truitt guides herself-and us-through a life in which domestic activities and the needs of children and friends are constantly juxtaposed against the world of colour and abstract geometry to which she is drawn in her art. A rare window on the workings of a creative mind, Daybookshowcases an extraordinary artist whose insights generously and succinctly illuminate the artistic process.