Crafting design in Italy is the first book to examine the role that craft played in post-war Italian design, one of the most celebrated design episodes in the twentieth century. Craft was vital to the development of Italian design, and it has been so far overlooked. This book examines the multiple ways craft shaped Italian design from 1945 to the 1980s in the context of bigger socio-economic, cultural and political change; from post-war reconstruction to the economic 'miracle' of the 1960s, to the rise of the countercultural Radical Design movement and advent of postmodernism. It consists of case studies on design areas including product, furniture, fashion, glass and ceramics to bring to light previously unknown makers and objects as well as re-examine design 'icons' such as Gio Ponti's Superleggera chair and Ettore Sottsass's Memphisware. It also offers a model for analysing design and craft's relationship in other contexts, including today. -- .

Crusaders for art and design were men and women who were prepared to give their energy, talents, and oftimes money, to encourage young artists and designers to adventure in their chosen fields and generally to raise the status of the 'fine' and 'applied' arts and their creators. Many of these crusaders have largely been forgotten, such as John Gloag, who was here, there, and everywhere in support of the cause. Other Crusaders are remembered but for other reasons, such as Pevsner, the surveyor of British architectural heritage who for some years had been seen as the guru of industrial design. Gordon Russell, celebrated as the Cotswold furniture designer is altogether less known as a Director of the Council of Industrial Design. Whilst in the 'fine' arts Anton Zwemmer, whose Covent Garden shop is now a hairdressers, has largely been erased from memory as when he had been the king bee of a beehive frequented by artists and designers alike coming to find out the latest cultural news from the Continent to be gleaned from his magazines and books. Crusaders of Art and Design aims to restore a number of reputations by recording their contributions to the cause.

A celebration of Houston's Rothko Chapel on its fiftieth anniversary, featuring work by contemporary artists responding to its continuing impact Artists and the Rothko Chapel celebrates the legacy of the Rothko Chapel in Houston and globally, highlighting how it has inspired artists since its founding in 1971. The catalogue reflects on the Chapel's past while looking toward its future, featuring recent work by four contemporary artists-Sam Gilliam, Sheila Hicks, Shirazeh Houshiary, and Byron Kim-as well as illustrating the 1975 exhibition Marden, Novros, Rothko: Painting in the Age of Actuality shown at Rice University. The volume includes interviews with Brice Marden and David Novros, statements from the artists about their work's relationship to the Chapel, and testimonies by local figures reflecting on questions of spirituality, identity, and equality. With new photography of the installations and of the recently restored Chapel, this vividly illustrated catalogue is a testament to the enduring impact of the non-denominational space Mark Rothko created. Distributed for the Moody Center for the Arts, Rice University Exhibition Schedule: Moody Center for the Arts, Rice University (February 23-May 15, 2021)

This book presents an audacious account of the ways in which the arts in the Americas were modernized during the first half of the twentieth century. Rather than viewing modernization as a steady progression from one 'ism' to another, Edward J. Sullivan adopts a comparative approach, drawing his examples from North America, the Caribbean, Central and South America. By considering the Americas in this hemispheric sense he is able to tease out many stories of art and focus on the ways in which artists from different regions not only adapted and experimented with visual expression, but also absorbed trans-national as well as international influences. He shows how this rich diversity is most evident in the various forms of abstract art that emerged throughout the Americas and which in turn had an impact on art throughout the world.

The art of Edvard Munch is striking for the originality and universality of its themes, which cross moments in place and time. Yet he was very much an artist of the nineteenth century, and the focus of this publication is to show how especially in his prints and photographs Munch was enabled by technical advances developed by his contemporaries to create an entirely new visual language. Munch is probably best known for his desire to express emotions surrounding love, illness and death. However, the authors in this volume show that this preoccupation was not only based on biographical events but reflects wider contemporary debates on developments in medicine and science, including treatment of mental illness, as well as a proliferation of technical expertise in the production of prints. The arguments presented expand on subjects touched upon in the critically acclaimed British Museum exhibition Edvard Munch: love and angst (2019). Munch's remarkable prints were fundamental to establishing his international career, but there remains much to investigate in connection with the background to his innovatory techniques, his relationship with contemporary printmakers and his experiments with photography. The authors in this volume go some way to address these themes and outline future avenues of research.

Who was the man behind The Scream, the iconic painting that so acutely expresses the anguish of the twentieth century? Edvard Munch (1863 - 1944) was twenty-eight when he embarked on a lifelong effort to paint his 'soul's diary' - and began a perverse love affair with self-destruction. This intimate and moving life of the Norwegian artist explores his turbulent early years, his time as a recluse, and his intense efforts to paint not what he saw, but what he experienced.

A landmark examination of iconic and provocative portraits by Warhol and Mapplethorpe, presented side by side and in depth for the first time Andy Warhol (1928-1987) and Robert Mapplethorpe (1946-1989) are well known for significant work in portraiture and self-portraiture that challenged gender roles and notions of femininity, masculinity, and androgyny. This exciting and original book is the first to consider the two artists together, examining the powerful portraits they created during the vibrant and tumultuous era bookended by the Stonewall riots and the AIDS crisis. Several important bodies of work are featured, including Warhol's Ladies and Gentlemen series of drag queen portraits and his collaboration with Christopher Makos on Altered Image, in which Warhol was photographed in makeup and wigs, and Mapplethorpe's photographs of Patti Smith and of female body builder Lisa Lyon. These are explored alongside numerous other paintings, photographs, and films that demonstrate the artists' engagement with gender, identity, beauty, performance, and sexuality, including their own self-portraits and portraits of one another. Essays trace the convergences and divergences of Warhol and Mapplethorpe's work, and examine the historical context of the artists' projects as well as their lasting impact on contemporary art and queer culture. Firsthand accounts by the artists' collaborators and subjects reveal details into the making and exhibition of some of the works presented here. With an illustrated timeline highlighting key moments in the artists' careers, and more than 90 color plates of their arresting pictures, this book provides a fascinating study of two of the most compelling figures in 20th-century art. Published in association with the Wadsworth Atheneum Museum of Art Exhibition Schedule: Wadsworth Atheneum Museum of Art (10/17/15-1/24/16)

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.

Outsider art is generally narrowly defined as simply the spontaneous work of unschooled, obsessive people, often religious fanatics, prisoners, and mental patients. But there are many variations, one of the more unusual of which is the subject of "Migraine Art. "Pharmaceutical executive Derek Robinson pioneered the field in 1973 when he solicited graphic material for an ad campaign promoting a new drug for migraine prevention. This inspired public competitions in the 1980s encouraging artists, amateur and professional, to illustrate the pain, the visual disturbances, and the effects migraine had on their lives. "Migraine Art "collects outstanding examples of such work, along with descriptions of types of migraine visual phenomena. The book features a comprehensive view of the migraine aura experience and covers such topics as migraine signs, symptoms, triggers, and treatments, as well as types of visual hallucinations and somatic sensations and experiences. Each category of visual disturbance is accompanied by related artwork. A discussion of the migraine visual experiences of famous historical figures, such as Blaise Pascal and Lewis Carroll, provides historical context. The book also includes a history of our Migraine Art competitions and information about the fascinating Migraine Art collection.

A rich exploration of the possibilities of representation after Modernism, Mark Taylor's new study charts the logic and continuity of Mark Tansey's painting by considering the philosophical ideas behind Tansey's art. Taylor examines how Tansey uses structuralist and poststructuralist thought as well as catastrophe, chaos, and complexity theory to create paintings that please the eye while provoking the mind. Taylor's clear accounts of thinkers ranging from Plato, Kant, and Hegel to Merleau-Ponty, Derrida, and de Man will be an invaluable contribution to students and teachers of art.

An insightful study of the progressive politics animating a great work of modernist mural painting In 1936 the Works Progress Administration's Federal Art Project commissioned Stuart Davis (1892-1964) to paint a mural for the Williamsburg Houses, a New York City housing project. Though the mural, Swing Landscape, was never installed in its intended location, it survives as an impressive testament to Davis's energetic, colorful brand of abstraction and the progressive politics that animated it. This study explores the painting, one of the greatest of twentieth-century America and arguably Davis's most ambitious work. This book challenges the prevailing tendency to separate Davis's leftist activism from his art and contextualizes Swing Landscape within 1930s abstract mural painting in New York, emphasizing the politics of abstraction. The book also offers the first comprehensive look at the Williamsburg mural commission, including works by Willem de Kooning, Ilya Bolotowsky, and others. The result is an indispensable resource on interwar modernism, mural painting, and urban development.

This book brings together some of Nicholson's most eloquent essays with extracts from previously unpublished letters between the artist and Ede, and the words of their mutual friends, the poet Kathleen Raine and collector Helen Sutherland. With an introduction by Kettle's Yard curator Elizabeth Fisher exploring Nicholson's relationship with Ede, the book is richly illustrated and includes reproductions of all works in the collection, a biography and bibliography.

A comprehensive biography of Hal Foster, in which author Brian M. Kane examines the 70-year career of one of the greatest illustrators of the 20th century. "Superman" was modelled after Foster's drawings of Tarzan, Flash Gordon's Alex Raymond borrowed compositions from "Prince Valiant", and many artists, including the famous contemporary Western painter James Bama, count Foster among their greatest influences. Born in Halifax, Nova Scotia in 1892 of a seafaring family, Hal naturally took to the sea. At the age of eight he paddled a 12-foot plank across Halifax Harbor to the consternation of large Cunard liners. In his youth he was a catalogue artist, a trapper, a professional boxer, a gold prospector, and a hunter-guide in the uncharted forests of Canada. In 1921 with a wife and two children to support he peddled his one-speed bicycle 1000 miles across dirt and gravel roads from Winnipeg to Chicago to attend the Art Institute and later find permanent employment. The young illustrator's work appeared on the covers of "Popular Mechanics" and in hundreds of magazines for clients such as "Northwest Paper", "Jekle Margarine", "Southern Pacific Railroad" and "Illinois Pacific Railroad". In 1929 Foster illustrated the first newspaper adaptation of "Tarzan of the Apes" by Edgar Rice Burroughs. The comic strip was the first of its kind and it was Foster's sense of realism, composition, draftsmanship, and understanding of fluid anatomy that would forever mark him as "The Father of the Adventure Strip". The famous newspaper tycoon, William Randolph Hearst, wanted Foster and made the artist an unheard of offer. If Foster would leave Tarzan and come to work for Hearst's King Features Syndicate he could do anything he wanted and have complete ownership of the new series. The first episode of "Prince Valiant in the Days of King Arthur" appeared on 13 February 1937. Foster's work has inspired generations of artists including Jack Kirby, Lou Fine, Frank Frazetta, Al Williamson, Wayne Boring, Joe Kubert, Russ Manning, Wally Wood, Dave Stevens, Carmine Infantino, Charles Vess, William Stout, John Buscema, Mark Schultz and the great Disney artist, Carl Barks. This volume features quotes and sidebars from many of these artists.

This book is an exhibition catalogue and a long-waited monograph on one of the most important contemporary artists working today. Barcelos artistic journey is explored through the themes that have marked his work over a period of more than twenty years, and these include: Ateliers, Portraits, Still life, Crucifixions, Bullfights and Sea Landscapes. His his subjects are first and foremost intentionally autobiographical - Barcelo depicts himself as he paints, alluding to the role of the demiurge incarnated as artist or are inspired by daily life (still life, portraits, landscapes). Experimenting using different artistic techniques enables Barcelo to represent and present the reality of the world, captured in its essentiality and truth, free from the superfluous and depicted showing the constant flux of life and death. The book is divided into two parts: 6 essays chapters that describe Miquel Barcelo chronology in terms of his stylistic and technical development, and the catalogue of about 60 works.

Draw, colour and create your own modern art in this creative activity book. From Impressionism to Pop Art, and Cubism to Surrealism, you can find out about many different art movements and try out the techniques for yourself. The Modern Art Activity Book is jam-packed with interesting information and beautiful, bold illustrations, as well as a fun variety of colouring, drawing and creative exercises. You can imitate an Impressionist, colour like a Cubist and Action Paint like an Abstract Expressionist. With an illustrated fold-out timeline showing the dates of the movements and artists associated with them, you'll get to grips with the key influences of modern art. From Monet to Warhol, this is a fun and accessible introduction to modern art.

Ever since electricity became ubiquitous artists have been fascinated by the manifold possibilities to create works with it. The catalogue Kinetismus: 100 Years of Electricity in Art, which accompanies the opening exhibition of Kunsthalle Praha, explores how electricity has transformed artistic practice from 1920 to the present day, including cinematography, sound, kinetic and mechanical sculptures, computer-based art and immersive installations. A historical perspective emphasizes the fact that electricity, with its various usages-from artificial light to computing-has become a defining element of our societies. Kinetismus: 100 Years of Electricity in Art includes an essay by Peter Weibel, the author of the exhibition concept, four thematic chapters written by the co-curator Livia Nolasco-Rozsas as well as descriptions and reproductions of key artworks by artists, such as Mary Ellen Bute, William Kentridge, Christina Kubish, Zdenek Pesanek, Anna Ridler, Nicolas Schoeffer, Jeffrey Shaw, Takis, Steina, and Woody Vasulka.

A cultural and historical philosophy of fashion in economic and social life from the 1830s to the present dayUlrich Lehmann brings together methods and ideas from social sciences and material production to offer a new political reading of fashion in today's post-democracy. Accessing rare source material across a wide range of European languages and cultures, he offers insight into new working structures in the manufacture of garments and textiles. Reinvigorates materialism as a critical approach to analysing economics, society and media through the thematic focus on fashion as the economically and culturally dominant sector within post-industrial societiesCase studies include the male suit in Alfred Hitchcock's film 'North by Northwest' (1959), the revolutionary production methods in the work of Carol Christian Poell and the innovative textile manufacture of Bonotto in Molvena, north-east ItalyRedirects fashion theory toward materiality and materialism from previous art-historical and social-anthropological approachesExposes the need critically to engage with fashion production, away from the exclusive reading of fashion through its media representationExtends the discussion of fashion production from aspects of labour conditions and sustainability to the materialist critique of the fashion system

Throughout human history, people have imagined inanimate objects to have intelligence, language, and even souls. In our secular societies today, we still willingly believe that nonliving objects have lives of their own as we find ourselves interacting with computers and other equipment. In On the Animation of the Inorganic, Spyros Papapetros examines ideas about simulated movement and inorganic life during and after the turn of the twentieth century--a period of great technical innovation whose effects continue to reverberate today. Exploring key works of art historians such as Aby Warburg, Wilhelm Worringer, and Alois Riegl, as well as architects and artists like Fernand Leger, Mies van der Rohe, and Salvador Dali, Papapetros tracks the evolution of the problem of animation from the fin de siecle through the twentieth century. He argues that empathy--the ability to identify with objects of the external world--was repressed by twentieth-century modernist culture, but it returned, projected onto inorganic objects such as machines, automobiles, and crystalline skyscrapers. These modern artifacts, he demonstrates, vibrated with energy, life, and desire of their own and had profound effects on people. Subtle and insightful, this book will change how we view modernist art, architecture, and their histories.

Volume 10 examines how the innovative impulses that came from Italy were creatively merged with indigenous traditions and how many national variants of Futurism emerged from this fusion. Ten essays investigate various aspects of Italian Futurism and its links to Austria, Georgia, France, Hungary and Portugual and in fields such as Typography, Olfaction, Photography. Section 2 examines seven examples of caricatures and satires of Futurism in the contemporary press, followed by Section 3, reporting on the Archiv der Avantgarden (AdA) in Dresden. Section 4 communicates bibliographic details of 120 book publications on Futurism in the period 2017-2020, including exhibition catalogues, conference proceedings and editions.

Churchill is today remembered as a great leader, a war hero, a literary heavyweight and a renowned wit. This incarnation of Churchill is the latest in a long-evolving identity, which at various times has sustained his power, enhanced his popularity and enabled him to personify aspects of British national identity. Indeed Churchill was more aware than most of the performative power of his public life. He lived in an age of the illustrated mass-produced newspaper, with its cartoons and 'Kodak-snappers'. He was well-known for his readiness to appear in uniform for photo opportunities during the Second World War and he not only wrote about the art of political caricature, but collected cartoons of himself, his allies and opponents. In this heavily-illustrated book, Jonathan Black considers the changing image of Churchill in visual art, from cartoons and paintings to photographs and sculptures. He asks how and why his image developed right up to the present day and examines the extent to which Churchill was complicit in its production.

Naval aviation special markings and nose art is a field that has been largely ignored, primarily due to the lack of coverage in mainstream aviation history publications. Research into archives, feedback from veterans, and personal photographs by the authors, Jim Meehan and William Tate, have documented thousands of previously unknown individual aircraft with these markings. Paint Locker Magic: A History of Naval Aviation Special Markings and Artwork covers markings on US Navy, Marine Corps and Coast Guard aircraft over the 100 year history of US naval aviation. This fascinating and visually resplendent book includes illustrations of special markings and nose art on early canvas-covered airplanes through the World War 2 era when nose art flourished and on into the jet age, the Korean and Vietnam conflicts, and up to the present war on terror with aircraft marked to commemorate the 9-11 terrorist attacks. This coverage includes fighters and attack aircraft of the carrier navy and the patrol aircraft, transports blimps, research and test aircraft and helicopters. Markings include personal nose art and pinups, shark mouth and similar markings, cartoons depicting special missions, Christmas and similar markings and tributes.

In this unprecedentedly wide-ranging account of art, design, and architecture in the complex Central Europe of the Austro-Hungarian Empire during its momentous last decades, Elizabeth Clegg achieves a forceful integration of political and cultural developments. Comparing the situation in eight cities2;among them Vienna, Prague, Budapest, Cracow, and Zagreb2;the author highlights contrasts, rivalries, parallels, and interconnections across this colorful and important region. The book deals with all the chief ethnic/national categories of Austria-Hungary and embraces all the visual arts. Focusing on their public display, appraisal, and consumption, Clegg shows how the harmonious/antagonistic coexistence of institutions, publications, and events gave rise to the dynamic art life of a period that would end in a turning point for Central Europe. As vividly revealed, this was a time and place marked by a simultaneous fear and celebration of ethnic, linguistic, and cultural diversity that has enormous international resonance a century later.

How does photography shape the way we see sculpture? In "David Smith in Two Dimensions," Sarah Hamill broaches this question through an in-depth consideration of the photography of American sculptor David Smith (1906-1965). Smith was a modernist known for radically shifting the terms of sculpture, a medium traditionally defined by casting, modeling, and carving. He was the first to use industrial welding as a sustained technique for large-scale sculpture, influencing a generation of minimalists to come. What is less known about Smith is his use of the camera to document his own sculptures as well as everyday objects, spaces, and bodies. His photographs of sculptures were published in countless exhibition catalogs, journals, and newspapers, often as anonymous illustrations. Far from being neutral images, these photographs direct a pictorial encounter with spatial form and structure the public display of his work.
"David Smith in Two Dimensions" looks at the sculptor's adoption of unconventional backdrops, alternative vantage points, and unusual lighting effects and exposures to show how he used photography to dramatize and distance objects. This comprehensive and penetrating account also introduces Smith's expansive archive of copy prints, slides, and negatives, many of which are seen here for the first time. Hamill proposes a new understanding of Smith's sculpture through photography, exploring issues that are in turn vital to discourses of modern sculpture, sculptural aesthetics, and postwar art. In Smith's photography, we see an artist moving fluidly between media to define what a sculptural object was and how it would be encountered publicly.