In the era of the Anthropocene, artists and scientists are facing a new paradigm in their attempts to represent nature. Seven chapters, which focus on art from 1780 to the present that engages with Nordic landscapes, argue that a number of artists in this period work in the intersection between art, science, and media technologies to examine the human impact on these landscapes and question the blurred boundaries between nature and the human. Canadian artists such as Lawren Harris and Geronimo Inutiq are considered alongside artists from Scandinavia and Iceland such as J.C. Dahl, Eija-Liisa Ahtila, Toril Johannessen, and Bjoerk.

This collection provides a transnational, interdisciplinary perspective on artistic responses to war from 1914 to the present, analysing a broad selection of the rich, complex body of work which has emerged in response to conflicts since the Great War. Many of the creators examined here embody the human experience of war: first-hand witnesses who developed a unique visual language in direct response to their role as victim, soldier, refugee, resister, prisoner and embedded or official artist. Contributors address specific issues relating to propaganda, wartime femininity and masculinity, women as war artists, trauma, the role of art in soldiery, memory, art as resistance, identity and the memorialisation of war.

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.

August Strindberg and Visual Culture addresses the multiplicity of Strindberg's artistic and literary output. The book charts the vital intersections between theatre, aesthetic theory, and visual elements in his work that have been left largely unexplored. Rather than following traditional genre-bound critical approaches, this book focuses on the intermediality of individual works, the corpus as a whole, and their connections to a wide array of historical and contemporary artists, writers, photographers, film, theatre and museum practitioners. The book is beautifully illustrated, with many never-before-seen images from Strindberg's work, and includes contributions from actress Liv Ullmann, director Robert Wilson, and curator and museum director Daniel Birnbaum.

Lee Miller (1907-1977) moved to London in the late 1930s, just as a rich strand of Surrealist practice was burgeoning in Britain. Miller was central to its development and prolonged life after World War II, exhibiting alongside British Surrealists such as Eileen Agar and Henry Moore in often overlooked London exhibitions. This book is the first to present Lee Miller's photographs of, and collaborations with key British Surrealists alongside their artworks, to tell the story of this exciting cultural moment. Miller's photographs of noted continental Surrealists such as Max Ernst and E.L.T Mesens, taken while they were working and exhibiting in Britain, also feature alongside their works, documenting their enduring friendships with Miller and her husband, the artist Roland Penrose. Miller's interdisciplinary photographic practice acted as a conduit for the dispersal of Surrealist images out of the realm of fine art and into the worlds of fashion, commercial photography and journalism. A vital study for all students and enthusiasts of Surrealism and those enthralled by the enigmatic Lee Miller, this book reveals the social and cultural networks in which she was embedded, offering a holistic view of her work and the life of the Surrealist movement in Britain.

In June 2016, a French policeman was stabbed to death in a Paris suburb. His assailant gained access to the victim's flat, where he murdered the policeman's partner in front of their three-year-old son. While negotiating with members of the special forces, the murderer posted live footage of himself and his victims on Facebook. Acting in the name of the so-called Islamic State, the perpetrator, who would later be shot and killed, single-handedly applied one of the fundamental tenets of modern terrorism: it is not the act of violence itself that counts, but the images of it that are brought into circulation. Once released, nothing and no one can eradicate these images and the visual battle that ensues knows no winners or ceasefire. With the expert eye of an art historian, Charlotte Klonk documents the visual machinery of terrorism from the late nineteenth century to the present day. She shows that the propaganda videos form the IS are nothing new. On the contrary, perpetrators of terror acts have always made use of images to spread their cause through the media - as have their enemy, the state. This is an indispensable book for understanding the background and dynamic of terror today. -- .

Discover some of the major 20th century artists in intimate settings. Paris Match magazine has followed, photographed and interviewed them exclusively over a period of more than 60 years. Paris Matchs exceptional archives are opened to us. They reveal rare moments at the heart of artistic creation: artists at work, in the intimacy of their studios and their secret gardens, surrounded by their families and friends. Take a unique look at Chagalls opera ceiling, Dalis awakened dreams, miros suns. Francis Bacons studies: beyond these incredible works, the editor penetrates to provide with an inside view of the lives of these geniuses. It contains never seen photo sequences of the following artists: Francis Bacon; Balthus; Georg Baselitz; Fernando Botero; Georges Braque; Bernard Buffet; Jean Carzon; Marc Chagall; Jean Cocteau; Salvador Dali; Paul Delvaux; Kees van Dongen; Raoul Dufy; Alberto Giacometti; David Hockney; Moise Kisling; Jean Lurcat; Rene Magritte; Georges Mathieu; Henri Matisse; Jean Miro; Pablo Picasso; Serge Poliakoff; Robert Rauschenberg; Herve di Rosa; Georges Rouault; Pierre Soulage; Antoni Tapies; Maurice Utrillo; Jacques Villon; Maurice de Vlaminck.

This work tells the story of the spectacular artistic and engineering project of carving the American presidents' portraits on Mount Rushmore. It describes how it was conceived and carried out. The author was brought up in sight of Mount Rushmore and witnessed the work in progress.

In The Power of the Avant-Garde, contemporary artists from different art disciplines enter into dialogue with their colleagues from the historical avant-garde movement. Luc Tuymans talks about 'Le Grand Cheval' of Raymond Duchamp-Villon; Marlene Dumas describes her passion for Edvard Munch; John Baldessari discusses the genius Marcel Broodthaers,...This book makes surprising links, shedding new light on the power and influence of art before, during and after World War I.

Davor Konjikusic offers an in-depth presentation and contextualization of the photographs created by Yugoslav partisans between 1941 and 1945. The book goes beyond an aesthetic depiction of the photographs; it also deals with the history of their use and function within one of the biggest anti-fascist movements in Europe during the Second World War. The photographs are used to trace the development of a movement that-while seemingly doomed to certain failure-nevertheless survived the most destructive war in human history. This book provides new answers to the question of photography's role as a medium and its significance and use in social movements.

At 18, Corita Kent (1918-1986) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a thirty-five-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest of it, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the twentieth anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.

As Director of Exhibitions and Publications at the Museum of Modern Art from 1939 to 1967, Monroe Wheeler heavily influenced typography, book design, and the development of the museum exhibition catalogue. During his tenure at MoMA, Wheeler developed close relationships with many of the artists he exhibited and published. Season's Greetings is a volume of over fifty handmade art objects and limited printings that were sent to Wheeler from artists, many of whom he knew intimately, including never-before-seen work by such luminaries as Jean Cocteau, Ben Shahn, Miguel Covarrubias, Rufino Tamayo, Robert Parker, Roberto Montenegro, Herbert Bayer, and Max Weber. Essays by Allen Ellenzweig, Joseph Scott IV and Vincent Cianni establish the importance of this vast archive of art, letters, and ephemera, and highlight Wheeler's wide influence within his field. Season's Greetings is a fitting tribute to a man whose life's work centered on and celebrated fine art publications. Vincent Cianni is a documentary photographer and archivist for the Estate of Anatole Pohorilenko and the Monroe Wheeler Archive. He teaches at Parsons, The New School for Design in New York City, and has authored two books, including Gays in the Military, published by Daylight Books in 2014. Joseph Scott IV, Philadelphia, PA, became caretaker of the Manhattan apartment of Monroe Wheeler in 1990 to assist with organizing and preserving this important archive. His work continues today, as executor for Anatole Pohorienko, to help finish cataloging the remaining material for Mr. Wheeler, Glenway Wescott and George Platt Lynes. Allen Ellenzweig, New york, NY, is an arts critic and cultural commentator currently preparing a biography of twentieth-century photographer George Platt Lynes for Oxford University Press. He is a contributing writer to the Gay & Lesbian Review Worldwide and has published in Art in America, PASSION: the Magazine of Paris, Studies in Gender and Sexuality, and the online magazine Tablet. He has also published works of short fiction. His landmark 1992 illustrated history, The Homoerotic Photograph: Male Images from Durieu/Delacroix to Mapplethorpe, was reissued in paperback by Columbia University Press in 2012. He teaches in the Writing Program at Rutgers University, New Brunswick, New Jersey. He is a founding board member of The Robert Giard Foundation which offers an annual fellowship to photographers, videographers, or filmmakers.

"This is a much needed, important collection-a goldmine of sources for scholars and students. The texts articulate the key Primitivist aesthetic discourses of the period, offering crucial insight into the complex and always changing nexus between culture, politics, and representation. Because of the breadth of the materials covered and the controversies they raise, this anthology is one of the all too rare volumes that not only will provide reference materials for years to come but also will feature centrally in classroom discussions."--Suzanne Preston Blier, author of "African Vodun: Art, Psychology, and Power

"For almost a century art historians have fretted about the notion of primitivism in the arts. This comprehensive-in both senses of the word-anthology is a peerless source of the history of responses to works categorized as 'primitive.' In its range, the book touches upon all the troubling questions-formal, anthropological, political, historical-that have bedeviled the study of the arts of Oceania, Africa, and North and South America, and provides the grounds, at last, for intelligent pursuit of keener distinctions. I regard this book as a superb contribution to the study of Modern art; in fact, indispensable."--Dore Ashton, author of "Noguchi East and West

"An extraordinarily useful and complete collection of primary documents, many translated for the first time into English, and almost all unlikely to be encountered elsewhere without serious effort. Its five sections, each with a lively and scholarly introduction, reveal the diverse views of artists and writers on primitive art from Matisse, Picasso, and Fry to many far less known and sometimes surprising figures. The bookalso uncovers the politics and aesthetics of the major museum exhibitions that gained acceptance for art that had been both reviled and mythologized. Recent texts included are all germane. This book will be invaluable for any college course on the topic."--Shelly Errington, author of "The Death of Authentic Primitive Art and Other Tales of Progress

"An exceptionally valuable anthology of seventy documents--most heretofore unavailable in English--on the ongoing controversies surrounding Primitivism and Modern art. Insightfully chosen and annotated, the collection is brilliantly introduced by Jack Flam's essay on the historical progression, contexts, and cultural complexities of more than one hundred years' ideas about Primitivism. Rich, timely, illuminating."--Herbert M. Cole, author of "Icons: Ideals and Power in the Art of Africa

The exhibition Maison Sonia. Sonia Delaunay and the Atelier Simultane is dedicated to the applied work of Russian-French artist Sonia Delaunay (1885-1979), with a focus on her textile design work. The accompanying catalogue includes the first scholarly essays on Sonia Delaunay's collaborations with silk industrialist Robert Perrier and couturier Jacques Heim, who were among her most important collaborators and previously unexplored. In addition, the publication provides the first overview of the role of Sonia Delaunay's simultaneous fabrics in the design of modern living and media spaces.

Now recalled as the infamous lover and patron of legendary photographer Robert Mapplethorpe, Sam Wagstaff here takes center stage as a leading American intellectual and cultural visionary in his own right. Philip Gefter s epochal biography traces Wagstaff s evolution from society bachelor of the 1940s to his emergence as rebellious curator, initially at Hartford s Wadsworth Atheneum, where he mounted the first exhibition of Minimalist art, and then at the Detroit Institute of Arts, where he famously took on the trustees. In 1972, his fateful meeting with twenty-five-year-old, Queens-born Mapplethorpe would lead to his crowning legacy as world-class photography collector and cultural arbiter. Positioning Wagstaff s personal life against the rise of photography as a major art form, the formation of the gay rights movement, and New York just before and during the age of AIDS, Gefter writes of an intensely passionate, romantic odyssey and a celebrated union that would help transform contemporary art history."

The London-based avant-garde movement Vorticism, like its continental counterparts Cubism and Futurism--and its English rival Bloomsbury--was created by artists, poets, writers, and artist-writers, as a project that defied disciplinary boundaries. Vorticism: New Perspectives is the first volume to attend to the full range of the movement's innovations, providing investigations into every aspect of the Vorticists' artistic production: their avant-garde experiments in print culture, art criticism, theater, poetry, exhibition practice, manifesto writing, literature, sculpture, painting, and photography. The rich and varied essays in this volume constitute a timely and comprehensive reassessment of a key chapter in the history of modernism, and will be of interest to scholars across the full range of the humanities.

At the turn of the 20th century, Vienna became an epicentre for new thought. A multi-disciplinary environment emerged where music, writing and intellectual thought all flourished, often brought together in the capital's famous coffee houses. This was the time of Freud and Wittgenstein, of Mahler and Schoenberg, and of the Secession (1897-1905), the modern movement led by Klimt, Josef Hoffmann and Koloman Moser that aimed to bring different arts together in a `Gesamtkunstwerk', a total work of art; of Jugendstil, Vienna's Art Nouveau; and of the Wiener Werkstatte, the workshop founded in 1903 by Moser and Hoffmann that revolutionized the decorative and graphic arts. There have been many exhibitions and publications devoted to this efflorescence, and even more monographs devoted to its key players. None, however, brings together a selection of visual material from across the different artistic disciplines as significant as this current volume, curated and authored by three leading scholars of the period. The book covers all areas of production: painting and drawing; decorative arts and crafts; applied art and book design; fashion, photography and architecture. In each section the illustrations take the lead, creating an invaluable visual reference point for all those eager to identify a given category of the arts within this period, particularly in the field of the decorative arts, from ceramics to glass, silverwork, furniture, jewelry; and graphic arts, from book design to posters and postcards. There are also many less familiar works in the field of fashion and photography, and a particular focus is given to the role of women in all disciplines of the time.

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.

Now available in paperback, this is the first work in English to tell the full story of Claude Cahun’s art and life. It both recounts her life and analyses her complex writings and images, making them available to a wide audience. Shaw’s account embeds Cahun’s work in the exciting milieu of Paris between the wars and follows it into the dangerous territory of the Nazi-occupied Isle of Jersey. Using letters and diaries, Shaw brings Cahun’s ideas and feelings to life and contributes to our understanding of photography, Surrealism and the histories of women artists and queer culture. This book includes a full range of illustrations by Cahun and other renowned photographers, as well as writings never before translated into English. Shaw’s book will appeal to art and photography lovers and scholars alike.

Donald Judd Interviews presents more than sixty interviews with the artist over the course of four decades, and is the first compilation of its kind. It is the companion volume to the critically acclaimed and bestselling Donald Judd Writings. This collection of interviews engages a diverse range of topics, from philosophy and politics to Judd's insightful critiques of his own work and the work of others such as Mark di Suvero, Edward Hopper, Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening discussion of the volume between Judd, Dan Flavin, and Frank Stella provides the foundation for many of the succeeding conversations, focusing on the nature and material conditions of the new art developing in the 1960s. The publication also gathers a substantial body of unpublished material across a range of mediums including extensive interviews with art historians Lucy R. Lippard and Barbara Rose. Judd's contributions in interviews, panels, and extemporaneous conversations are marked by his forthright manner and rigorous thinking, whether in dialogue with art critics, art historians, or his contemporaries. In one of the last interviews, he was asked, "What kind of advice do you have for young artists and architects based on all the things you thought all these years?" Judd responded, "To remember that art and architecture are both real activities with their own integrity and that they are not basically commercial activities and you have to partly live with that. Certainly, it's not hard to maintain the difference ... I think both activities, to repeat myself, have an integrity. They are each a particular activity, and if you don't like that activity, don't do it. Go do something else. If you really want to make a lot of money, go sell cars or something." Donald Judd Interviews is co-published by Judd Foundation and David Zwirner Books. The interviews expand upon the artist's thinking present in Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016).