This book is focused on the transcultural memory of the Mediterranean region and the different ways it is articulated by contemporary art practices and museum projects linked to migrations, exile, diaspora and transnationality. The artistic and curatorial examples analysed in this study articulate a critical relationship between the cultural representations and the sense of heritage, property and belonging, offering the opportunity of a more problematic and stimulating vision of the preservation of the European arts, traditions and histories. Artists and projects examined include the project Porto M in Lampedusa, Zineb Sedira, Ursula Biemann, Lara Baladi, Mona Hatoum, Emily Jacir, Kader Attia and Walid Raad.

The Reverend Howard Finster (1916 2001) was called the backwoods William Blake" and the Andy Warhol of the South," and he is considered the godfather of contemporary American folk and visionary art. This book is the first interpretive analysis of the intertwined artistic and religious significance of Finster's work within the context of the American outsider art" tradition. Finster began preaching as a teenager in the South in the 1930s. But it was not until he received a revelation from God at the age of sixty that he began to make sacred art. A modern-day Noah who saw his art as a religious crusade to save the world before it was too late, Finster worked around the clock, often subsisting on a diet of peanut butter and instant coffee. He spent the last years of his life feverishly creating his environmental artwork called Paradise Garden and what would ultimately number almost fifty thousand works of bad and nasty art." This was visionary work that obsessively combined images and text and featured apocalyptic biblical imagery, flying saucers from outer space, and popular cultural icons such as Elvis Presley, Marilyn Monroe, Henry Ford, Mona Lisa, and George Washington. In the 1980s and 90s, he developed cult celebrity status, and he appeared in the Venice Biennale and on the Tonight Show. His work graced the album covers of bands such as R.E.M. and Talking Heads. This book explores the life and religious-artistic significance of Finster and his work from the personal perspective of religion scholar Norman Girardot, friend to Finster and his family during the later years of the artist's life.

From the music of Louis Armstrong to the portraits by Beauford Delaney, the writings of Langston Hughes to the debut of the musical Show Boat, the Harlem Renaissance is one of the most significant developments in African-American history in the twentieth century. The Encyclopedia of the Harlem Renaissance, in two-volumes and over 635 entries, is the first comprehensive compilation of information on all aspects of this creative, dynamic period. For a full list of entries, contributors, and more, visit the Encyclopedia of Harlem Renaissance website.

This fascinating publication showcases the Saint Louis Art Museum’s collection of Japanese military prints and related materials—one of the largest collections of such works in the world. The 1,400 objects in the collection are mostly color woodblock prints, but the holdings also include paintings, lithographs, photographs, stereographs, books, magazines, maps, game boards, textiles, ceramics, toys, sketchbooks, and commemorative materials. This extraordinary body of visual works chronicles Japan’s rise as a modern nation from the beginning of the Meiji Restoration in 1868 through the aftermath of Pearl Harbor in 1942, with a focus on the Sino-Japanese and Russo-Japanese wars. Conflicts of Interest will bring to light an important aspect of Japan’s visual culture and the narratives it circulated for its citizens, allies, and enemies on the world stage.

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.

In Japanese life and culture, there has never been a clear distinction between art, craft and design. Generations of artisans have for centuries forged and refined their crafts, which have become the envy of the modern world. Regions of Japan are renowned for specific traditions, many of which are born of local materials and the natural settings in which they are produced. Visitors and craft and design enthusiasts have long known about the high quality of craftsmanship and the unique quality of these makers and the objects they create, though few are taken outside the country. Spurred by an awareness of the unseen treasures produced by these craftspeople, designer-authors Uwe Roettgen and Katharina Zettl set out across the country to find the finest examples, to document the makers and their workshops and the rural landscapes that surround them. The result is a breathtaking odyssey into the heart of Japanese culture. The authors portray twentyfive artisans, who work with natural materials to produce objects that are intended for everyday life but are worthy of museum display. Photographs and texts, drawn from close collaboration with each maker or studio, depict ancient techniques that continue to flourish, however much the world around them has changed. Craftland Japan is not merely a book about Japanese crafts: it is a glimpse into centuries of tradition and wisdom through the prism of contemporary makers. It celebrates the union of craft, design, materiality and landscape in a manner that most cultures can only hope to emulate.

Critical facsimile edition making crucial modernist texts available for the first time since 1931 Restores a rare but highly influential modernist anthology to print in a new critical facsimile edition Provides extensive scholarly commentary, analyses, and newly discovered biographical information, setting the anthology in its broader cultural context Offers the first collection of avant-garde writing designed to be read on a 'reading machine' invented by the American expatriate poet Bob Brown Includes both Craig Saper's new Introduction and a separate chapter on the Contributors and their readies. Saper is the leading scholar of Bob Brown's work as well as an important scholar of experimental writing, media, publishing, and art This new edition of Bob Brown's groundbreaking collection of modernist writing experiments has been out of print since 1931, when Brown's Roving Eye Press originally published it. Only a few copies exist in archives today. The contributors include major modernist writers such as Gertrude Stein, William Carlos Williams, F. T. Marinetti, Eugene Jolas and Ezra Pound, key social realists like Kay Boyle and James T. Farrell and daring queer novelists and artists including Charles Henri Ford and Sidney Hunt. Providing extensive scholarly commentary, analyses and newly discovered biographical information, this book sets the anthology in its broader cultural context. This is an essential resource for those interested in print and book history, the politics and culture of the expatriate avant-garde and the reading machine's impact on reading, writing and literacy.

Clement Greenberg is widely recognized as the most influential and articulate champion of modernism during its American ascendency after World War II, the period largely covered by these highly acclaimed volumes of _The Collected Essays and Criticism_. _Volume 3: Affirmations and Refusals_ presents Greenberg's writings from the period between 1950 and 1956, while _Volume 4: Modernism with a Vengeance_ gathers essays and criticism of the years 1957 to 1969. The 120 works range from little-known pieces originally appearing _Vogue_ and _Harper's Bazaar_ to such celebrated essays as "The Plight of Our Culture" (1953), "Modernist Painting" (1960), and "Post Painterly Abstraction" (1964). Preserved in their original form, these writings allow readers to witness the development and direction of Greenberg's criticism, from his advocacy of abstract expressionism to his enthusiasm for color-field painting.With the inclusion of critical exchanges between Greenberg and F. R. Leavis, Fairfield Porter, Thomas B. Hess, Herbert Read, Max Kozloff, and Robert Goldwater, these volumes are essential sources in the ongoing debate over modern art.

Of Modernism presents original research by ten contemporary scholars of modern art. By turns provocative, insightful and informative, these essays – written in honour of the eminent British art historian Christopher Green – rethink some of the crucial artworks, problems and practitioners of European high modernism, from Les Demoiselles d’Avignon to Guernica, avant-gardism to internationalism, Joan Miró to Ludwig Mies Van der Rohe. Professor Christopher Green has made an outstanding contribution to the historiography of European modernism. As a teacher at the Courtauld Institute, his wide-ranging scholarship and generosity of mind have inspired several generations of students, many of whom have gone on to lead distinguished careers in the worlds of art and academia. Of Modernism is a collection written in his honour. Questions about modernism shape the ten essays presented here, explicitly or otherwise, and they come in as many different shapes. However, the subject-matter is predominantly European (which still includes Britain at the time of writing!); the method is historical, true to Chris’s conviction that ‘the work of an artist is, in its largest sense, inseparable from history thought of in its largest sense’; and finally, the canon is open, situating Picasso – a theme in the collection – alongside artists far more obscure, and in the context of a visual culture which is strikingly eclectic and often ephemeral. The ten contributors to this collection – Fae Brauer, Grace Brockington, Penelope Curtis, Linda Goddard, Nancy Ireson, William Jeffett, Silvia Loreti, C.F.B. Miller, Gavin Parkinson and Sarah Victoria Turner – all studied with Chris as postgraduates at the Courtauld, and several have also collaborated with him as curators. They have all moved on to distinguished careers worldwide, ranging from critics and historians to eminent professors and museum professionals.

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.

Italian-born American artist Harry Bertoia (1915-1978) was one of the most prolific, innovative artists of the post-war period. Trained at the Cranbrook Academy of Art, where he met future colleagues and collaborators Charles and Ray Eames, Florence Knoll, and Eero Saarinen, he went on to make one-of-a kind jewellery, design iconic chairs, create thousands of unique sculptures including large-scale commissions for significant buildings, and advance the use of sound as sculptural material. His work speaks to the confluence of numerous fields of endeavour, but is united throughout by a sculptural approach to making and an experimental embrace of metal. Harry Bertoia: Sculpting Mid-Century Modern Life accompanies the first U.S. museum retrospective of the artist's career to examine the full scope of his broad, interdisciplinary practice, and feature important examples of his furniture, jewellery, monotypes, and diverse sculptural output. Lavishly illustrated, the book offers new scholarly essays as well as a catalogue of the artists numerous large-scale commissions. It questions how and why we distinguish between a chair, a necklace, a screen, and a freestanding sculpture and what Bertoia's sculptural things, when taken together, say about the fluidity of visual language across culture, both at mid-century and now.

Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices.

Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. "Making Race" is a history of a past phenomenon which has ramifications for the present.

Jacqueline Francis is a senior lecturer at the California College of the Arts.

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.

The paintings of Paul Feiler (1918-2013), the focus of this first survey of the artist's life and career, were inspired by the English landscape, particularly the cliffs and inlets of the coast of south-west Cornwall. For his friend Peter Lanyon, Feiler's early works provided him with a sense of 'calm and I mean a sense of pause...To achieve that repose in the landscape I know one has to suffer the opposite.' Feiler's vision was based on the understanding that 'you stand vertically and you look horizontally'; through this he aimed to fulfil Cezanne's requirement that 'a picture should give us...an abyss in which the eye is lost.' He moved from painterly abstraction to an exploration of the elusive nature of space through the effects of narrow bands of colour, silver and gold in a pattern of square and circle, which he varied and developed over more than forty years. Based on full access to the artist's archive of letters, catalogues and photographs, Michael Raeburn describes how Feiler overcame many painful early experiences to achieve the meditative serenity of his deeply spiritual work. For all those interested in the history of modern British painting, this is a much-needed resource.

This is the first interdisciplinary exploration of machine culture in Italian futurism after the First World War. The machine was a primary concern for the futuristi. As well as being a material tool in the factory it was a social and political agent, an aesthetic emblem, a metonymy of modernity and international circulation and a living symbol of past crafts and technologies. Exploring literature, the visual and performing arts, photography, music and film, the book uses the lens of European machine culture to elucidate the work of a broad set of artists and practitioners, including Censi, Depero, Marinetti, Munari and Prampolini. The machine emerges here as an archaeology of technology in modernity: the time machine of futurism. -- .

According to the National Institute of Mental Health, more than half of the world's population will have a depressive disorder at some point in their lifetimes. In The Aesthetics of Disengagement Christine Ross shows how contemporary art is a powerful yet largely unacknowledged player in the articulation of depression in Western culture, both adopting and challenging scientific definitions of the condition. Ross explores the ways in which contemporary art performs the detached aesthetics of depression, exposing the viewer's loss of connection and ultimately redefining the function of the image. Ross examines the works of Ugo Rondinone, Rosemarie Trockel, Ken Lum, John Pilson, Liza May Post, Vanessa Beecroft, and Douglas Gordon, articulating how their art conveys depression's subjectivity and addresses a depressed spectator whose memory and perceptual faculties are impaired. Drawing from the fields of psychoanalysis as well as psychiatry, Ross demonstrates the ways in which a body of art appropriates a symptomatic language of depression to enact disengagement - marked by withdrawl, radical protection of the self from the other, distancing signals, isolation, communication ruptures, and perceptual insufficiency. Most important, Ross reveals the ways in which art transforms disengagement into a visual strategy of disclosure, a means of reaching the viewer, and how in this way contemporary art puts forth a new understanding of depression.

Cabinet cards were America's main format for photographic portraiture throughout the last quarter of the nineteenth century. Standardized at 61/2 x 41/4 inches, they were just large enough to reveal extensive detail, leading to the incorporation of elaborate poses, backdrops, and props. Inexpensive and sold by the dozen, they transformed getting one's portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends. The cards reinforced middle-class Americans' sense of family. They allowed people to show off their material achievements and comforts, and the best cards projected an informal immediacy that encouraged viewers to feel emotionally connected with those portrayed. The experience even led sitters to act out before the camera. By making photographs an easygoing fact of life, the cards forecast the snapshot and today's ubiquitous photo sharing. Organized by senior curator John Rohrbach, Acting Out is the first ever in-depth examination of the cabinet card phenomena. Full-color plates include over 100 cards at full size, providing a highly entertaining collection of these early versions of the selfie and ultimately demonstrating how cabinet cards made photography modern. Published in association with the Amon Carter Museum of American Art. Exhibition dates: Amon Carter Museum of American Art: August 15-November 1, 2020 Los Angeles County Museum of Art (LACMA): August 8-November 7, 2021

Art in Ireland since 1910 is the first book to examine Irish art from the early twentieth century to the present day. In this highly illustrated volume Fionna Barber looks at the work of a wide range of artists from Yeats and le Brocquy to Cross and Doherty, many of whom are unfamiliar to audiences outside Ireland. She also casts new light on Francis Bacon and other figures central to British art, assessing the significance of their Irishness to an understanding of their work. From the rugged peasantry of the Gaelic Revival to an increasing diversification of art practice towards the end of the century, Art in Ireland since 1910 tracks the work of artists that emerged and developed within a context of a range of very different social and political forces: not just the conflict in the North, but the emergence of feminism and migration as two of the factors that contributed to the unravelling of entrenched concepts of Irish identity. Barber looks at the theme of diaspora in the work of Irish artists working in Britain during and after the 1950s, investigating issues similar to those facing artists from other former British colonies, from India to the Caribbean. She chronicles a period that culminated with art practice and the sense of Ireland as a nation that would have been unrecognizable to its people a hundred years before. Richly illustrated, Art in Ireland since 1910 is essential reading for anyone interested in modern art, Irish Studies and the history of Ireland in general.

The collections of twentieth-century paintings in the Ashmolean Museum, Oxford, have developed largely through the generosity of individuals. Notable among these in the early decades of the century were Frank Hindley Smith and Mrs W F R Weldon, while since the Second World War the Museum's collections have been enriched through gifts and requests from Thomas Balston, R A P Bevan, Molly Freeman, Christopher Hewett and others. This book gives the reader a taste of the wide range of the collection, with its representative group of Camden Town and Euston Road School pictures, and important early works by Bonnard, Picasso and Matisse.

The Fitzwilliam Museum, University of Cambridge, holds stunning examples of jewellery and metalwork from the late nineteenth and early twentieth centuries. This exceptional period of design covers the neo-Gothic and historicist designs of the mid- to late nineteenth century, the groundbreaking work of British Arts & Crafts designers, sinuous curves influenced by the European Art Nouveau movement and the structural modernity of the 1930s. The collection contains jewellery by some of the finest historicist designers, including the Castellani and Giuliano families and John Brogden, as well as a spectacular decanter by William Burges. There are important pieces of jewellery and silver by the most famous of Arts & Crafts designers, including C.R. Ashbee, Henry Wilson, Gilbert Marks and John Paul Cooper. Unique pieces designed by the artist Charles Ricketts hold a special place in the history of queer art in Britain, having been designed for his friends Katherine Bradley and Edith Cooper, a couple known collectively as Michael Field. Modernist silver is represented by leaders of the field Omar Ramsden and H.G. Murphy. This beautifully illustrated volume reproduces 70 of the Museum's most important pieces from this period, many previously unpublished, with comparative illustrations of some of the original designs. Importantly, the book is arranged chronologically by designer and includes biographies, a description of their work and how it changed over time, as well as commentary about the specific works in the Museum's collection. The resulting book therefore brings together for the first time the Fitzwilliam's exceptionally fine holdings of jewellery and metalwork from this highly popular and fruitful period of design.

Resonating at the heart of Neolithic Childhood. Art in a False Present, c. 1930 is the question whether art has present, past, and future functions. The modernist assertion of the autonomy of art was intended to render superfluous art's social and religious functions. But what if the functionlessness of art comes under suspicion of being instrumentalized by bourgeois capitalism? This was an accusation that informed the anti-modernist critique of the avant-garde, and particularly of Surrealism. The objective throughout the crisis-ridden present of the 1920s to the 1940s was to reaffirm a once ubiquitous, but long-lost functionality--not only of art. The publication accompanying the exhibition examines the strategies deployed in this reaffirmation. These include the surrealist Primitivism of an "Ethnology of the White Man" together with the excavation of the deep time of humanity--into the "Neolithic Childhood" mapped out by the notoriously anti-modernist Carl Einstein (1885-1940) as a hallucinatory retro-utopia. The volume brings together essays by the curators and academics involved in the project, primary texts by Carl Einstein and a comprehensive documentation of the exhibition including lists of works, texts on as well as images of numerous exhibits and finally installation views. At the center of the volume, a glossary discusses Carl Einstein's own theoretical vocabulary as well as further associated terms, such as Autonomy, Formalism, Function, Gesture, Hallucination, Art, Metamorphosis, Primitivisms, Totality. With contributions by: Irene Albers, Philipp Albers, Joyce S. Cheng, Rosa Eidelpes, Carl Einstein, Anselm Franke, Charles W. Haxthausen, Tom Holert, Sven Lutticken, Ulrike Muller, Jenny Nachtigall, David Quigley, Cornelius Reiber, Erhard Schuttpelz, Kerstin Stakemeier, Maria Stavrinaki, Elena Vogman, Zairong Xiang, Sebastian Zeidler With reproductions of artworks by: Jean (Hans) Arp, Willi Baumeister, Georges Braque, Brassai, Claude Cahun, Lux T. Feininger, Max Ernst, Florence Henri, Barbara Hepworth, Hannah Hoech, Heinrich Hoerle, Paul Klee, Germaine Krull, Helen Levitt, Andre Masson, Alexandra Povorina, Gaston-Louis Roux, Kalifala Sidibe, Louis Soutter, Yves Tanguy, Toyen, Jindrich Styrsky, Raoul Ubac, Paule Vezelay and others.

Fair Women was the Victorian equivalent of a 'blockbuster' exhibition. Organised by a committee of women, it opened to great fanfare in the Grafton Galleries in London, and was comprised of both historical and contemporary portraits of women as well as decorative objects. Meaghan Clarke argues that the exhibition challenged contemporary assumptions about the representation of women and the superficiality of female collectors. The Fair Women phenomenon complicated gender stereotypes and foregrounded women as cultural arbiters. This book uncovers a wide range of texts and images to reveal that Fair Women brought together fashion, modernity and gender politics in new and surprising ways. It shows that, while invariably absent in institutional histories, women were vital to the development of the modern blockbuster exhibition. This book will be of interest to scholars in art and gender studies, museum studies, feminist art history, women artists and art history.