Engraved shell-cases, bullet-crucifixes, letter openers and cigarette lighters made of shrapnel and cartridges, miniature aeroplanes and tanks, talismanic jewellery, embroidery, objects carved from stone, bone and wood - all of these things are trench art, the misleading name given to the dazzling array of objects made from the waste of war, in particular the Great War of 1914-1918 and the inter-war years. And they are the subject of Nicholas Saunders's pioneering study which is now republished in a revised edition in paperback. He reveals the lost world of trench art, for every piece relates to the story of the momentous experience of its maker - whether front-line soldier, prisoner of war, or civilian refugee. The objects resonate with the alternating terror and boredom of war, and those created by the prisoners symbolize their struggle for survival in the camps. Many of these items were poignant souvenirs bought by battlefield pilgrims between 1919 and 1939 and kept brightly polished on mantelpieces, often for a lifetime. Nicholas Saunders investigates their origins and how they were made, exploring their personal meaning and cultural significance. He also offers an important categorization of types which will be a useful guide for collectors.

Companion to an exhibition organised by the Museum of Fine Arts in Santa Fe, SoQ presents the work of sixty-four New Mexico artists living and working in towns and villages south of the state's population centre, Albuquerque. The isolation of some of the artists' homes and studios distinguishes them from their 'northern' counterparts in Albuquerque, Santa Fe, and Taos. Freed by the pressures of gallery shows and the stimulation and influences of other artists, many of the artists have opted for the 'freedoms' allowed by living in remote and rural areas of the state. Representing recent works in a variety of mediums -- including painting, sculpture, photography, fibre art, ceramics, videography and earthworks -- this catalogue features a roster of established artists, both prominent and lesser known, including H Joe Waldrum of T or C, Elmer Schooley of Roswell, Luis Jiminez of Hondo, Iva Morris of Belen, Sharon Brush of Gila, and Jose Andres Giron of Reserve.

Through the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction. The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Cézanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century. This fully illustrated catalogue will contain four essays, introductions to each city of ferment and biographies of the artists. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London 25 March–13 August 2023

Still Modernism offers a critique of the modernist imperative to embrace motion, speed, and mobility. In the context of the rise of kinetic technologies and the invention of motion pictures, it claims that stillness is nonetheless an essential tactic of modernist innovation. More specifically, the book looks at the ways in which photographic stillness emerges as a counterpoint to motion and to film, asserting its own clear visibility against the blur of kinesis. Photographic stillness becomes a means to resist the ephemerality of motion and to get at and articulate something real or essential by way of its fixed limits. Combining art history, film studies and literary studies, Louise Hornby reveals how photographers, filmmakers, and writers, even at their most kinetic, did not surrender attention to points of stillness. Rather, the still image, understood through photography, establishes itself as a mode of resistance and provides a formal response to various modernist efforts to see better, to attend more closely, and to remove the fetters of subjectivity and experience. Still Modernism brings together a series of canonical texts, films, and photographs, the selection of which reinforces the central claim that stillness does not lurk at the margins of modernism, but was constitutive of its very foundations. In a series of comparisons drawing from literary and visual objects, Hornby argues that still photography allows film to access its own diffuse images of motion; photography's duplicative form provides a serial structure for modernist efforts to represent the face; its iterative structure articulates the jerky rhythms of experimental narrative as perambulation; and its processes of development allow for the world to emerge independent of the human observer. Casting new light on the relationship between photography and film, Hornby situates the struggle between the still and the kinetic at the center of modernist culture.

R. Sikoryak is the master of the pop culture pastiche. In Masterpiece Comics, he interpreted classic literature with defining twentieth-century comics. With Terms and Conditions, he made the unreadable contract that everyone signs, and no one reads, readable. He employs his magic yet again to investigate the very framework of the country with Constitution Illustrated. By visually interpreting the complete text of the supreme law of the land with more than a century of American pop culture icons, Sikoryak distills the very essence of the government legalese from the abstract to the tangible, the historical to the contemporary. Among Sikoryak s spot-on unions of government articles and amendments with famous comic-book characters: the Eighteenth Amendment that instituted prohibition is articulated with Homer Simpson running from Chief Wiggum; the Fourteenth Amendment that solidifies citizenship to all people born and naturalized in the United States is personified by Ms. Marvel; and, of course, the Nineteenth Amendment offering women the right to vote is a glorious depiction of Wonder Woman breaking free from her chains. American artists from George Herriman (Krazy Kat) and Charles Schulz (Peanuts) to Raina Telgemeier (Sisters) and Alison Bechdel (Dykes to Watch Out For) are homaged, with their characters reimagined in historical costumes and situations. We the People has never been more apt.

Honorable Mention, 2021 Latinx Studies Section Outstanding Book Award, given by the Latin American Studies Association Winner, 2020 Latino Book Awards in the LGBTQ+ Themed Section Finalist, 2019 Lambda Literary Award in LGBTQ Studies Critically reimagines Chicanx art, unmasking its queer afterlife Emboldened by the boom in art, fashion, music, and retail culture in 1980s Los Angeles, the iconoclasts of queer Aztlán—as Robb Hernández terms the group of artists who emerged from East LA, Orange County, and other parts of Southern California during this period—developed a new vernacular with which to read the city in bloom. Tracing this important but understudied body of work, Archiving an Epidemic catalogs a queer retelling of the Chicana and Chicano art movement, from its origins in the 1960s, to the AIDS crisis and the destruction it wrought in the 1980s, and onto the remnants and legacies of these artists in the current moment. Hernández offers a vocabulary for this multi-modal avant-garde—one that contests the heteromasculinity and ocular surveillance visited upon it by the larger Chicanx community, as well as the formally straight conditions of traditional archive-building, museum institutions, and the art world writ large. With a focus on works by Mundo Meza (1955–85), Teddy Sandoval (1949–1995), and Joey Terrill (1955– ), and with appearances by Laura Aguilar, David Hockney, Robert Mapplethorpe, and even Eddie Murphy, Archiving an Epidemic composes a complex picture of queer Chicanx avant-gardisms. With over sixty images—many of which are published here for the first time—Hernández’s work excavates this archive to question not what Chicanx art is, but what it could have been.

In 1962, Ernst Scheidegger published his first book using his own name as an imprint. This book was the German edition of Jean Genet's essay on Alberto Giacometti. The great artist and close personal friend of Ernst Scheidegger has been subject of a number of books published by Verlag Ernst Scheidegger and Verlag Scheidegger & Spiess since. The most successful of them has been "Traces of a Friendship - Alberto Giacometti", first published in 1990 and reprinted several times. To mark the 50th anniversary of Verlag Ernst Scheidegger / Verlag Scheidegger & Spiess present a new, completely revised and expanded edition of this classic. It includes around 40 previously unpublished colour images which have recently been discovered in Ernst Scheidegger's archive. They add an intimate new chapter to this legendary book. In addition to the more accurate dating of some photographs' the essays and captions have been revised and expanded also. Text in English and German.

Everything can be exhibited: trinkets from the Second French Empire, a collection of photographs, a boudoir from beyond the grave, a heroine famous for her beauty, her extravagance and her pitiful end. Everything can be exposed: a woman for another woman... , the fear of one's own body, a way of entering a scene, the thrill of seduction, abandonment, the reassurance of objects, a ruin. Over the course of four decades, the Countess Virginia Oldoini returned to the same Paris studio to be photographed, posing in different tableaux to mark the moments of her life, real and imagined. A fascination with 'La Castiglione' led Nathalie Leger to weave together this imaginative proto-biography. Mysterious yet over-exposed, adored and despised for her beauty in equal measure, Castiglione was a flamboyant aristocrat, mistress of Napoleon III and a rumoured spy. Examining the myths around icons past and present, Leger meditates on the half-truths of portrait photography, reframing her own family history in the process.

Franklin Furnace is a renowned New York-based arts""organization whose mission is to preserve, document, and present works of avant-garde art by emerging artists--particularly those whose works may be vulnerable due to institutional neglect or politically unpopular content. Over more than thirty years, Franklin Furnace has exhibited works by hundreds of avant-garde artists, some of whom--Laurie Anderson, Vito Acconci, Karen Finley, Guillermo G"omez""-"Pena, Jenny Holzer, and the Blue Man Group, to name a few--are now established names in contemporary art.

Here, for the first time, is a comprehensive history of this remarkable organization from its conception to the present. Organized around the major art genres that emerged in the second half of the twentieth century, this book intersperses first-person narratives with readings by artists and scholars on issues critical to the organization's success as well as Franklin Furnace's many contributions to avant-garde art.

Georgia O'Keeffe, one of the most original painters America has ever produced, left behind a remarkable legacy when she died at the age of ninety-eight. Her vivid visual vocabulary -- sensuous flowers, bleached bones against red sky and earth -- had a stunning, profound, and lasting influence on American art in this century.

O'Keeffe's personal mystique is as intriguing and enduring as her bold, brilliant canvases. Here is the first full account of her exceptional life -- from her girlhood and early days as a controversial art teacher...to her discovery by the pioneering photographer of the New York avant-garde, Alfred Stieglitz...to her seclusion in the New Mexico desert, where she lived until her death.

And here is the story of a great romance -- between the extraordinary painter and her much older mentor, lover, and husband, Alfred Stieglitz.

Renowned for her fierce independence, iron determination, and unique artistic vision, Georgia O'Keeffe is a twentieth-century legend. Her dazzling career spans virtually the entire history modern art in America.

Sisters Vanessa Bell and Virginia Woolf have long been celebrated for their central roles in the development of modernism in art and literature. Vanessa's experimental work places her at the vanguard of early twentieth-century art, as does her role in helping introduce many key names - Cezanne, Matisse, Picasso - to an unsuspecting public in 1910. Virginia took these artistic innovations and applied them to literature, pushing the boundaries of form, narrative and language to find a voice uniquely her own. Yet their private lives were just as experimental. Vanessa's marriage to art critic Clive Bell was shaken early on by his flirtation with her sister, and Virginia's marriage to Leonard Woolf placed him more in the role of carer than husband as he tried to meet the needs of his wife's fragile mental health. However, forming the core of the Bloomsbury Group, they welcomed into their London and Sussex homes a host of their talented peers, and caused speculation and scandal by following their hearts, not society's norms, in their continued pursuit of love. In Living in Squares, Loving in Triangles, Amy Licence explores the brave, passionate and innovative lives these remarkable women lived, and discovers where their strength and talent came from.

This book represents the first study dedicated to Twentieth Century German Art, the 1938 London exhibition that was the largest international response to the cultural policies of National Socialist Germany and the infamous Munich exhibition Degenerate Art. Provenance research into the catalogued exhibits has enabled a full reconstruction of the show for the first time: its contents and form, its contributors and their motivations, and its impact both in Britain and internationally. Presenting the research via six case-study exhibits, the book sheds new light on the exhibition and reveals it as one of the largest emigre projects of the period, which drew contributions from scores of German emigre collectors, dealers, art critics, and from the 'degenerate' artists themselves. The book explores the show's potency as an anti-Nazi statement, which prompted a direct reaction from Hitler himself.

The book contains writings by Seamus Heaney, Frances Ruane, Carlos Garcia-Monzon, Eva Bourke, Frankie Gavin, Rosemarie Noone, James McKenna, Desmond Egan, Patrick Murphy & Frank McGuinness. It is lavishly illustrated & surveys the entire career of this distinguished artist.

A fascinating journey through Western art from the 1910s to the 1960s, charting how artists wrestled with the headlong changes of a turbulent and conflict-ridden world From the chaos of the First World War to the ravages of the Second, from the Great Depression to the rise of consumer culture, artists we call "modern" faced the challenge of responding imaginatively to utterly new circumstances of life. Original thought, startling artistic techniques, and new attitudes to experimentation were required to produce exceptional and timely work. Make It Modern guides the reader through the art of the modern world. Works of celebrated artists, from Pablo Picasso and Wassily Kandinsky to Frida Kahlo, Jackson Pollock, and Yayoi Kusama, alongside a panoply of undervalued or less-known figures, populate this decade-by-decade narrative. Make It Modern tells an unforgettable story of how art was changed forever.

It was a dappled and daubed harbor scene that gave Impressionism its name. When Impression, Sunrise by Claude Monet was exhibited in April 1874, critics seized upon the work's title and its loose stylistic rendering of light and motion upon water to deride this new, impressionistic tendency in art. As with many seminal art movements, the critics got their comeuppance. Today, Impressionism is close contender for the world's favorite period of painting. With blockbuster exhibitions, record-breaking auction prices, and packed museums, the works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas. Despite its popularity and a whole host of publications, many areas and artists of Impressionism remain inadequately researched. This TASCHEN book fills the gap, raising the profile of unjustly neglected pioneers such as Berthe Morisot, Lucien Pissarro, and Gustave Caillebotte, while exploring the characteristics of Impressionism, from painting en plein air to vivid color contrasts, not only in the movement's native France but also across the rest of Europe and North America. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

After years of neglect, the variety, technical quality and imaginative content of Gilbert Bayes's work is receiving the appreciation it deserves. This is the first full study and catalogue raisonne of this 2Oth-century figurativist.

The career of Bayes spanned the Arts and Crafts movement, Art Nouveau, Art Deco and Modernism. While figures were his specialty, Bayes also designed presentation cups, caskets, mirrors, stained glass and more. His best known works are the large scale low relief panels designed for architectural settings, some of which include the Saville Theatre and the Victoria & Albert Museum.

A thought-provoking volume on Edvard Munch’s often neglected pictures of nature, exploring the Norwegian artist’s landscapes, seascapes, and existential environments in light of his own time and ours This richly illustrated catalogue provides a multifaceted perspective on the pictures of nature and landscape by Norwegian artist Edvard Munch (1863–1944). This important topic has been neglected in scholarship on Munch, despite the fact that it is a major motif in his oeuvre. This volume is the first to explore the theme in its full breadth throughout Munch’s corpus, including his paintings, lithographs, watercolors, and woodcuts. His depictions of forests, farmland, and the seashore, as well as paintings of sea storms, snow, and other extreme weather, present us with undulating forms that animate nature. They likewise provide an example of Munch’s preference for liminal spaces where transformations take place, often celebrating human interaction with nature in its many manifestations. The book also considers Munch’s less conventional landscapes, and particularly those where his famous Scream motif occurs. These environments depict nature in an existential way, suggesting that the artist held a deep concern for nature’s destruction by humans—a concern no less relevant today. A complementary look at his writings as primary sources alongside his images shows how Munch mixed a scientific perspective on nature with metaphysical and spiritual notions of rebirth that permeate other parts of his corpus. The book also includes a engaging short story by award-winning author Ali Smith that was inspired by Munch's work. Distributed for MUNCH  Exhibition Schedule: Clark Art Institute, Williamstown, MA (June 10–October 15, 2023) Museum Barberini, Potsdam (November 18, 2023–April 1, 2024) Munch Museum, Oslo (April 27–August 24, 2024)

This book opens an exciting and extensive archive of fashion illustration by Francis Marshall (1901-1980), held at the Victoria and Albert Museum, London. Marshall's career coincided with the golden age of fashion illustration and commercial art. Active from the 1920s until the 1960s, his work was published widely, from Vogue magazine to the more accessible and widely read pages of the Daily Mail. Marshall also worked extensively in advertising, for companies such as Jaeger and Elizabeth Arden, and released several books - ranging from manuals on drawing fashion and ballet, to the nostalgic records of fashionable society London West and An Englishman in New York. Francis Marshall: Drawing Fashion shines a light on a sometimes-forgotten master, at a time when fashion illustration is very much in style.

A lively and multi-faceted account of Evelyn and William De Morgan, exploring a unique artistic partnership that spanned several cultural circles including the Pre-Raphaelites and Arts and Crafts movement With a partnership spanning two centuries, the Pre-Raphaelite painter Evelyn (1855-1919) and Arts and Crafts potter and author William De Morgan (1839-1917) influenced several significant art movements in nineteenth-century Britain. Despite this, their impact has been relatively overlooked in comparison with their better-known contemporaries. Evelyn & William De Morgan is the first major publication devoted to the work of either artist and their unique relationship. It draws out each artist's individuality while providing a comprehensive view of the expanded cultural milieu in which they functioned, not least with regard to new attitudes towards Victorian marriage as a working partnership. The fully illustrated publication features numerous contributions which explore the reach of the De Morgans' partnership, their political and spiritual interests, and their immersion within several influential cultural circles of the day, including Pre-Raphaelite, Arts and Crafts, and Aesthetic Movement groups. The book presents a lively and multifaceted account of the De Morgans and their creative partnership. Published in association with Delaware Art Museum Exhibition Schedule: Delaware Art Museum, Wilmington October 22, 2022-January 29, 2023 Crocker Art Museum, Sacramento, CA September 17, 2023- January 7, 2024 Museum of Fine Arts, St. Petersburg, FL January 27, 2024-May 2024

How to write the history of a cultural mode that, for all its abiding fascination with the past, has challenged and complicated received notions of history from the very start? The Cambridge History of the Gothic rises to this challenge, charting the history of the Gothic even as it reflects continuously upon the mode's tendency to question, subvert and render incomplete all linear historical narratives. Taken together, the three chronologically sequenced volumes in the series provide a rigorous account of the origins, efflorescence and proliferation of the Gothic imagination, from its earliest manifestations in European history through to the present day. Written by an international cast of contributors, the chapters bring fresh scholarly attention to bear upon established Gothic themes while also drawing attention to new critical concerns. As such, they are of relevance to the general reader, the student and the established scholar alike.

The first book highlighting the historical roots and contemporary implications of the silhouette as an American art form Before the advent of photography in 1839, Americans were consumed by the fashion for silhouette portraits. Economical in every sense, the small, stark profiles cost far less than oil paintings and could be made in minutes. Black Out, the first major publication to focus on the development of silhouettes, gathers leading experts to shed light on the surprisingly complex historical, political, and social underpinnings of this ostensibly simple art form. In its examination of portraits by acclaimed silhouettists, such as Auguste Edouart and William Bache, this richly illustrated volume explores likenesses of everyone from presidents and celebrities to everyday citizens and enslaved people. Ultimately, the book reveals how silhouettes registered the paradoxes of the unstable young nation, roiling with tensions over slavery and political independence. Primarily tracing the rise of the silhouette in the decades leading up to the Civil War, Black Out also considers the ubiquity of the genre today, particularly in contemporary art. Using silhouettes to address such themes as race, identity, and the notion of the digital self, the four featured living artists--Kara Walker, Kristi Malakoff, Kumi Yamashita, and Camille Utterback-all take the silhouette to unique and fascinating new heights. Presenting the distinctly American story behind silhouettes, Black Out vividly delves into the historical roots and contemporary interpretations of this evocative, ever popular form of portraiture. Published in association with the Smithsonian's National Portrait Gallery, Washington, DC

The contributions in this volume are based on a conference that was held at the University of the South in Tennessee (USA) in 2008. The papers investigate the impact Berlin's cityscape had on its artistic representation. In the first part, the impact of Berlin's city planning with its monumental Wilhelmine symbolism is explored in flaneur characters, e. g. in Georg Hermann's work. The main focus of the volume is on the second part with an investigation of the impact city planning had on Weimar Berlin's art and literature. In this section, a number of contributions show the interaction between space and art, e. g. in Walter Ruttmann, Hans Fallada and Alfred Doblin. The volume concludes with essays about the continuation of Weimar's modernism in contemporary culture.