In Italy there has always been a tradition of making jewelery from semi-precious metal, as copies or prototypes of fine jewelery. Fashion Jewelery: Made in Italy moves chronologically through the last 100 years, with pieces from the beginning of the 20th century, through to the years spent under fascist rule, when jewelery had to be strictly made with local material such as wood, cork, straw, venetian glass and coral. The 50s and 60s allowed for the very first big names in fashion jewelery to arise: Giuliano Fratti, Emma Caimi Pellini, Sharra Pagano, Ugo Correani, Coppola e Toppo, Luciana de Reutern, Canesi, Ornella...The book reserves a special place for an important phenomenon that took place in Milan at the end of the 1970s - "Made in Italy" - when Italian fashion entered (and dominated) the international scene, and Italian designers such as Armani, Versace, Ferre, and later on, Moschino and Prada found incredible success all over the world. Throughout the 80s and 90s, and well into the year 2000 further names in fashion jewellery were pushed to the fore: Carlo Zini, Angela Caputi, Maria Calderara, Giorgio Vigna, Fabio Cammarata, Emilio Cressoni, Robert Tomas, Irene Moret, Silvia Beccaria, among others. The final section of the book is devoted to new talents, selecting ten designers whose jewels are particularly interesting and innovative. Famous houses that the jewellery was made for include: Bijoux Bozart, Biki, Carlo Zini, Chanel, Chloe, Coppla E Toppo, Edoardo Saronni, Emilio Pucci, Etro, Fiorucci, Flos Ad Florem, Gianfranco Ferre, Giorgio Armani, Giuliano Fratti, Irene Galitzine, Karl Lagerfeld, Luciana De Reutern, Marni, Missoni, Misterfox, Moschino, Prada, Roberto Capucci, Schiaparelli, Sharra Pagano, Ugo Correani, Unger, Valentino, Versace.

In August 1946, Marcel Duchamp spent five weeks in Switzerland, and stayed at the Hotel Bellevue (today, Le Baron Tavernier) near Chexbres, on Lake Geneva. It was here that he discovered the Forestay waterfall, which was to become the starting point for (and ultimately the landscape of) his enigmatic and final masterpiece, "Etant donnes: 1 la chute d'eau, 2 le gaz d'eclairage" ("Given: 1. The Waterfall, 2. The Illuminating Gas"). Now, for the first time, the full significance of the choice of this waterfall is explored. Among the contributors to this volume are Caroline Bachmann, Stefan Banz, Etienne Barilier, Lars Blunck, Ecke Bonk, Paul B. Franklin, Antje von Graevenitz, Dalia Judovitz, Michael Luthy, Bernard Marcade, Herbert Molderings, Adeena Mey, Stanislaus von Moos, Francis M. Naumann, Mark Nelson, Molly Nesbit, Dominique Radrizzani, Roman Signer, Michael R. Taylor, Hans Maria de Wolf and Philip Ursprung.

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.

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.

This book examines contemporary feminist visual activism(s) through the lens of embodiment(s). The contributors explore how the arts articulate and engage with the current sense of crisis and political concerns (e.g. equality, decolonisation, social justice, democracy, precarity, vulnerability), negotiated with and through the body. Drawing upon the legacy of feminist art historical critique, the book scrutinises activist strategies, practices and resilience techniques in intersectional and transnational frameworks. It interrogates how the arts enable the creation of civil and political resilience, become engaged with politics as a response to disaster capitalism and attempt to reform and improve society. The book will be of interest to scholars working in art history, visual culture, fine arts, women's studies, gender studies, feminism and cultural studies.

A must-have for the core contemporary art audience: Robert Storr's singular and long-awaited book is unprecedented in treating the full range of Louise Bourgeois's artistic achievement. In a career spanning nearly 75 years, Louise Bourgeois created a vast body of work that enriched the formal language of modern art while it expressed her intense inner struggles with unprecedented candor and unpredictable invention. Her solo 1982 retrospective at The Museum of Modern Art launched an extraordinarily productive late career, making her a much-honored and vivid presence on the international art scene until her death in 2010 at the age of 98. Trained as a painter and printmaker, Bourgeois embraced sculpture as her primary medium and experimented with a range of materials over the years, including marble, plaster, bronze, wood, and latex. Bourgeois contributed significantly to Surrealism, Postminimalist, and installation art, but her work always remained fiercely independent of style or movement. With more than 1000 illustrations, Intimate Geometries: The Art and Life of Louise Bourgeois comprehensively surveys her immense oeuvre in unmatched depth. Writing from a uniquely intimate perspective, as a close personal friend of Bourgeois, and drawing on decades of research, Robert Storr critically evaluates her achievements and reveals the complexity and passion of one of the greatest artists of the twentieth century.

"A revelation. No one will ever view Andrew Wyeth's apparently tranquil works the same way again after reading this vivid and astonishing portrait of the turbulent, driven man who paints them. Richard Meryman has written a wonderful book."
- Geoffrey C. Ward

At its most fundamental level, this stunning and unique biography describes a distinguished painter's enterprise of transmitting emotion onto a flat surface. It explores all the factors that have combined to create Andrew Wyeth -- his childhood in a hothouse of creativity; his hypersensitivity; his formidable wife; his identification with people marginalized and misunderstood -- all which have made him an American icon. In the process, his realist works in watercolor and tempera, including the famous "Christina's World," have gained him a special and secure niche in the history of American art.

The book is a portrait of obsession -- how single-mindedness has affected Wyeth's relationships and transformed his world into a realm of secrecy and fervid imagination. Those who read this book will never look at Wyeth's work as they did before. It reveals the artist's dark depths, as well as the ruthless, angry, child/man fantasist who paints the basic brutalities of existence -- death and madness --that vibrate eerily beneath his pictures' calm surfaces.

Richard Meryman's narrative is almost novelistic, with its larger-than-life characters and subplots: the tragedy of C.C. Wyeth; Betsy Wyeth's campaign for independence and individuality; the byzantine 15-year-long drama of the Helga paintings; the eccentric and creative Wyeth clan; and the idiosyncratic land and people of Maine and Pennsylvania.

Based on 30 years of research, frequent visits and countless conversations with the artist, his family, friends, admirers and critics, Andrew Wyeth: A Secret Life is the only book about the man and the artist that gets behind his carefully guarded screen, tells the full story of his life and reveals his complex personality and the motivations for his paintings.

"John Cage (Los Angeles 1912-New York 1992), by many considered the most influential musician in the second half of the 20th century, has decisively shaped our notion of artistic avant-garde--in music as well as in literature and the visual arts.
John Cage studied architecture, ethnic music and composition, taking free private counterpoint and analysis lessons under Arnold Schonberg. Influenced by Marcel Duchamp and Dada, Cage studied Zen Buddhism with Zen master Daisetsu Suzuki and staged spontaneous activities and happenings in the early fifties. In his later life he became a creator of fine visual art works, predominantly on paper. Vol.I of the John Cage Catalogue Raisonne of Visual art work features his Ryoanji works for the first time published in a book. Referring to the Kyoto Ryoanji Garden and executed in pencil or etching on paper that is evocative of raked sand, they depict the contours of fifteen stones. "

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.

"Poetry was declining/ Painting advancing/ we were complaining/ it was '50," recalled poet Frank O'Hara in 1957. Ellen Levy's Criminal Ingenuity traces a series of linked moments in the history of this crucial transfer of cultural power from the sphere of the word to that of the image. Levy explores the New York literary and art worlds in the years that bracket O'Hara's lament through close readings of the works and careers of poets Marianne Moore and John Ashbery and assemblage artist Joseph Cornell. In the course of these readings Levy discusses such topics as the American debates around surrealism, the function of the "token woman" in artistic canons, and the role of the New York City Ballet in the development of mid-century modernism, and situates her central figures in relation to such colleagues and contemporaries as O'Hara, T. S. Eliot, Clement Greenberg, Walter Benjamin, and Lincoln Kirstein. Moore, Cornell, and Ashbery are connected by acquaintance and affinity-and above all, by the possession of what Moore calls "criminal ingenuity," a talent for situating themselves on the fault lines that fissure the realms of art, sexuality and politics. As we consider their lives and works, Levy shows, the seemingly specialized question of the source and meaning of the struggle for power between art forms inexorably opens out to broader questions about social and artistic institutions and forces: the academy and the museum, professionalism and the market, and that institution of institutions, marriage.

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.

The beginning of the 20th century saw literary scholars from Russia positing a new definition for the nature of literature. Within the framework of Russian Formalism, the term 'literariness' was coined. The driving force behind this theoretical inquiry was the desire to identify literature-and art in general-as a way of revitalizing human perception, which had been numbed by the automatization of everyday life. The transformative power of 'literariness' is made manifest in many media artworks by renowned artists such as Chantal Akerman, Mona Hatoum, Gary Hill, Jenny Holzer, William Kentridge, Nalini Malani, Bruce Nauman, Martha Rosler, and Lawrence Weiner. The authors use literariness as a tool to analyze the aesthetics of spoken or written language within experimental film, video performance, moving image installations, and other media-based art forms. This volume uses as its foundation the Russian Formalist school of literary theory, with the goal of extending these theories to include contemporary concepts in film and media studies, such as Neoformalism, intermediality, remediation, and postdrama.

This is a study of a distinctive brand of modernism that first emerged in late nineteenth-century Germany and remained influential throughout the inter-war years and beyond. Its supporters saw themselves as a new elite, ideally placed to tackle the many challenges facing the young and rapidly industrializing German nation-state. They defined themselves as bourgeois, and acted as self-appointed champions of a modern consciousness. Focusing on figures such as Hermann Muthesius, Fritz Schumacher, and Karl-Ernst Osthaus, and the activities of the Deutscher Werkbund and other networks of bourgeois designers, writers, and 'experts', this book shows how bourgeois modernism shaped the infrastructure of social and political life in early twentieth-century Germany.
Bourgeois modernism exercised its power not so much in the realm of ideas, but by transforming the physical environment of German cities, from domestic interiors, via consumer objects, to urban and regional planning. Drawing on a detailed analysis of key material sites of bourgeois modernism, and interpreting them in conjunction with written sources, this study offers new insights into the history of the bourgeois mindset and its operations in the private and public realms. Thematic chapters examine leitmotifs such as the sense of locality and place, the sense of history and time, and the sense of nature and culture. Yet for all its self-conscious progressivism, German bourgeois modernism was not an inevitable precursor of neo-liberal global capitalism. It remained a hotly contested historical construct, which was constantly re-defined in different geographical and political settings.

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists.
There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Volz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.
With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

'One of the most famous of modern art documents - a poetic primer, prepared by the artist for his Bauhaus pupils, which has deeply affected modern thinking about art . . . This little handbook leads us into the mysterious world where science and imagination fuse.' Observer

The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists.
There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Volz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.
With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.

In 1925 the artists Edward Bawden and Eric Ravilious moved to the Essex village of Great Bardfield, at first sharing lodgings. Over the course of several years and encouraged by Bawden and Ravilious' work, other artists came to live in the village, forming a community of artists and designers that has continued to the present. Among the first to join them were the Rowntrees, Kenneth and Diana, and Michael Rothenstein and his wife Duffy Ayers. They were followed by John Aldridge, painter and designer of wallpapers (printed, like Bawden's papers, by the Curwen Press); Walter Hoyle, printmaker and also a wallpaper designer; Marianne Straub, textile designer and weaver; illustrators and printmakers Bernard Cheese and his wife Sheila Robinson. Though the careers of Bawden and Ravilious are well-documented, many of the other artists are less well-known but equally talented, such as George Chapman, Stanley Clifford-Smith and Laurence Scarfe.This book tells the story of Great Bardfield and its artists, and their famous 'open house' exhibitions, showing how the village and neighbouring landscape nurtured a distinctive style of art, design and illustration from the 1930s to the 1970s and beyond. '..their shared artistic legacy is immediately obvious from this beautiful book.' --Country Life 16th 23rd December 2015'..Beautifully designed.' --Evening Standard 24th December 2015'..splendidly illustrated' -- The Spectator, 28th November 2015

This revealing biography covers the life and art of painter Diego Rivera. Diego Rivera: A Biography presents a concise but substantial biography of the famous and controversial Mexican artist. Chronologically arranged, the book examines Rivera's childhood and artistic formation (1886-1906), his European period (1907-1921), and his murals of the 1920s. It looks at the work he did in the United States (1930-1933) and follows his career from his subsequent return to Mexico through his death in 1957. Drawing from primary source materials, the book reveals facts about Rivera's life that are not well known or have not been widely discussed before. It explores his tempestuous marriage to renowned painter Frida Kahlo and looks at controversial works, such as Rivera's 1933 mural for the RCA Building at Rockefeller Center in Manhattan, which featured a portrait of Communist party leader Vladimir Lenin, and was officially destroyed the following year. Citations of many fragments of primary source material Photographs of important moments and persons in the life of Diego Rivera

In June 2012, Jasper Johns encountered a photograph of the painter Lucian Freud reproduced in a Christie's auction catalogue. Inspired not only by the photographic image, but also by the physical qualities of the object itself, Johns took this motif through a succession of cross-medium permutations. He also incorporated into his art the text of a rubber stamp he had made several years ago, to allow him to efficiently decline the myriad requests and invitations that come his way: 'Regrets/Jasper Johns'. But the stamp's text also calls to mind the more familiar connotations of regret, such as loss, disappointment, and remorse, invoking an enigmatic sense of melancholy. Published in conjunction with an exhibition of this recent series of paintings, drawings and prints, created over the last year and a half through an intricate combination of techniques, this publication presents each of the sixteen new works in full colour. An essay by Ann Temkin, Chief Curator of Painting and Sculpture, and Christophe Cherix, Chief Curator of Drawings and Prints, MoMA, examine the importance of process and experimentation, the cycle of dead ends and fresh starts, and the incessant interplay of materials, meaning, and representation so characteristic of Johns's career over the last sixty years.

Partisan Aesthetics explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political through interactions with left-wing activism during the 1940s, and the afterlives of such interactions in post-independence India. Using an archive of artists and artist collectives working in Calcutta from these decades, Sanjukta Sunderason argues that artists became political not only as reporters, organizers and cadre of India's Communist Party, or socialist fellow travelers, but through shifting modes of political participations and dissociations. Unmooring questions of Indian modernism from its hitherto dominant harnesses to national or global affiliations, Sunderason activates, instead, distinctly locational histories that refract transnational currents. She analyzes largely unknown and dispersed archives-drawings, diaries, posters, periodicals, and pamphlets, alongside paintings and prints-and insists that art as archive is foundational to understanding modern art's socialist affiliations during India's long decolonization. By bringing together expanding fields of South Asian art, global modernisms, and Third World cultures, Partisan Aesthetics generates a new narrative that combines political history of Indian modernism, social history of postcolonial cultural criticism, and intellectual history of decolonization.

An authoritative, richly illustrated history of six centuries of global protest art Throughout history, artists and citizens have turned to protest art as a means of demonstrating social and political discontent. From the earliest broadsheets in the 1500s to engravings, photolithographs, prints, posters, murals, graffiti, and political cartoons, these endlessly inventive graphic forms have symbolized and spurred on power struggles, rebellions, spirited causes, and calls to arms. Spanning continents and centuries, Protest! presents a major new chronological look at protest graphics. Beginning in the Reformation, when printed visual matter was first produced in multiples, Liz McQuiston follows the iconic images that have accompanied movements and events around the world. She examines fine art and propaganda, including William Hogarth's Gin Lane, Thomas Nast's political caricatures, French and British comics, postcards from the women's suffrage movement, clothing of the 1960s counterculture, the anti-apartheid illustrated book How to Commit Suicide in South Africa, the "Silence=Death" emblem from the AIDS crisis, murals created during the Arab Spring, electronic graphics from Hong Kong's Umbrella Revolution, and the front cover of the magazine Charlie Hebdo. Providing a visual exploration both joyful and brutal, McQuiston discusses how graphics have been used to protest wars, call for the end to racial discrimination, demand freedom from tyranny, and satirize authority figures and regimes. From the French, Mexican, and Sandinista revolutions to the American civil rights movement, nuclear disarmament, and the Women's March of 2017, Protest! documents the integral role of the visual arts in passionate efforts for change.