In 2018 the Fondation Louis Vuitton, Paris, is hosting exhibitons on two of the greatest artists of the 20th century - Egon Schiele, and Jean-Michel Basquiat. Both exhibitions have the same curator, and are taking place at the same time. The shows illustrate exactly what it is that linked the two artists: line, and the use of expressive force.This, the catalogue of the Basquiat exhibition, labelled "the definitive exhibition" by its curator, brings together 120 of the artist's most important masterpieces, sourced from interational museums and private collections. With the astonishing radicalness of his artistic practice, Basquiat renewed the concept of art with enduring impact. This Basquiat retrospective centres on the idea of Basquiat's unique energetic line, his use of words, symbols, and how he integrates collage in his paintings, sculptures, objects, and large-scale drawings.The catalogue includes texts by great authors, including Paul Schimmel who tells of his meeting with Basquiat in California; Francesco Pellizi who knew Basquiat well and has not written about him for a long time; and Okwui Enwezor who talks about the Afro American identity.

Contemporary artists and writers reflect on the Great Migration and the ways that it continues to inform the Black experience in America The Great Migration (1915-70) saw more than six million African Americans leave the South for destinations across the United States. This incredible dispersal of people across the country transformed nearly every aspect of Black life and culture. Offering a new perspective on this historical phenomenon, this incisive volume presents immersive photography of newly commissioned works of art by Akea, Mark Bradford, Zoe Charlton, Larry W. Cook, Torkwase Dyson, Theaster Gates Jr., Allison Janae Hamilton, Leslie Hewitt, Steffani Jemison, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems. The artists investigate their connections to the Deep South through familial stories of perseverance, self-determination, and self-reliance and consider how this history informs their working practices. Essays by Kiese Laymon, Jessica Lynne, Sharifa Rhodes-Pitts, and Willie Jamaal Wright explore how the Great Migration continues to reverberate today in the public and private spheres and examine migration as both a historical and a political consequence, as well as a possibility for reclaiming agency. Published in association with the Baltimore Museum of Art and the Mississippi Museum of Art Exhibition Schedule: Mississippi Museum of Art, Jackson (April 9-September 11, 2022) Baltimore Museum of Art (October 30, 2022-January 29, 2023) Brooklyn Museum (March 3-June 25, 2023) California African American Museum, Los Angeles (August 5, 2023-March 3, 2024)

First World War Poets by Alan Judd and David Crane. This collection of short biographies of those remarkable men who sought to record and convey the horrors of the Great War in poetry draws on letters, memoirs and portraits in a variety of media. Key poems by each of the poets are reproduced in full, and familiar images of Rupert Brooke, Wilfred Owen and Siegfried Sassoon are presented along with the haunting faces of lesser-known poets such as Isaac Rosenberg and Ivor Gurney to provide a new approach to one of the most devastating events of the last century. Published to coincide with the centenary of the start of the Great War.

This innovative book introduces a vivid new reading of French art and society at a crucial period of history The study of late nineteenth- and early twentieth-century French art tends to focus on a search for the modern. Richard Thomson presents an innovative approach to a popular period of art history, instead investigating how art in early Third Republic France adapted styles from the past. The classical is the predominant theme, punctuated by other stylistic currents, notably the Rubensian and the Botticellian. It asks, how did these styles-all three derived from foreign art-come to be adapted into French visual culture? How did the Republic customise classicism to its ideological ends? How was classicism manipulated by progressive painters for radical and reactionary readings? The Presence of the Past in French Art 1870-1905 considers artists of very different character and type-from Degas to Henner, Cezanne to Besnard, Roty to Seurat, Dalou to Maillol-as well as a variety of media, including painting, sculpture, medals and celebrity photographs, to open up new vistas of interpretation in this fascinating field.

Public space is political space. When a work of public art is put up or taken down, it is an inherently political statement, and the work's aesthetics are inextricably entwined with its political valences. Democracy's openness allows public art to explore its values critically and to suggest new ones. However, it also facilitates artworks that can surreptitiously or fortuitously undermine democratic values. Today, as bigotry and authoritarianism are on the rise and democratic movements seek to combat them, as Confederate monuments fall and sculptures celebrating diversity rise, the struggle over the values enshrined in the public arena has taken on a new urgency. In this book, Fred Evans develops philosophical and political criteria for assessing how public art can respond to the fragility of democracy. He calls for considering such artworks as acts of citizenship, pointing to their capacity to resist autocratic tendencies and reveal new dimensions of democratic society. Through close considerations of Chicago's Millennium Park and New York's National September 11 Memorial, Evans shows how a wide range of artworks participate in democratic dialogues. A nuanced consideration of contemporary art, aesthetics, and political theory, this book is a timely and rigorous elucidation of how thoughtful public art can contribute to the flourishing of a democratic way of life.

Grete Prytz Kittelsen (1917 2010) is regarded as "the queen of Scandinavian design." Her sphere of influence in the history of decorative art and design stretches from the Scandinavian Design period, 1945 65, to today. This book is the first comprehensive presentation of her work. An artist with an exceptionally broad scope, she designed jewelry and one-of-a-kind silver articles for her family s long-established Oslo firm, J. Tostrup, as well as beautiful utilitarian items in enameled steel and cast iron that found their way into thousands of homes worldwide in Scandinavia, the United States, and worldwide.

For half a century Grete Prytz Kittelsen was, along with her first husband, architect Arne Korsmo, part of the community of modernist architects and designers that included Ray and Charles Eames, Walter Gropius, Frank Lloyd Wright, and Mies van der Rohe. Among her European collaborators and friends were Lis and Jorn Utzon, Alvar Aalto, and Paolo Venini. Yet her work is less familiar to the general public than the work of her Swedish, Danish, and Finnish colleagues: this book presents it to new generations and highlights her role as a central player in the history of Scandinavian design in the twentieth century.

In these pages the range of her oeuvre is displayed in brilliant color, with archival material and more than five hundred new photographs that document her stature as a hollowware designer, whose production several hundred unique items, including bowls, dishes, plates, casseroles, and vases was more extensive than that of any other Norwegian postwar designer, and as a jewelry artist, who produced a large and innovative range of pieces challenging the view of jewelry as mere decoration in the era of modernism.

The accompanying text features contributions by leading Norwegian design scholars, describing Grete Prytz Kittelsen s professional career in the context of midcentury design, the many national and international exhibitions she participated in, and the collections for which she received the Grand Prix at the Milan Triennale in 1954, among other awards. Collectors and historians alike will value the biographical chronology and especially the illustrated catalogue of works."

This collection of new feminist essays represents the work of young critics researching and teaching in British Universities. Aiming to set the agenda for feminist criticism in the nineties, the essays debate themes crucial to the development of feminist thought: among them, the problems of gendered knowledge and the implications of accounts of gendered language, cultural restraints on the representation of sexuality, women's agency, cultural and political change, a feminist aesthetics and new readings of race and class. This variety is given coherence by a unity of aim - to forge new feminist discourses by addressing conceptual and cultural questions central to problems of gender and sexual difference. The topics of discussion range from matrilinear thought to seventeenth-century prophecy; the poetry of Amelia Lanyer to Julia Margaret Cameron's photographs; from Dorothy Richardson and Virginia Woolf to eighteenth-century colonial painting of the South Pacific; from medieval romance to feminist epistemology. The essays utilise and question the disciplines of literary criticism, art history, photography, psychoanalysis, Marxist history and post-structuralist theory.

American artist Nancy Spero (b.1929) concentrates on the depiction of women: mythological women, movie women, tortured women. Inspired by classical and modern sources, she collages and imprints her contemporary goddesses on to long, papyrus-like friezes that scroll around museum walls. Her subject matter, which has ranged from the writings of Artaud to the Vietnam War, mirrors her life. Working in Paris in the cultural ferment of the 1960s, she moved to New York in the 1970s to co-establish the feminist gallery A.I.R. and to join with artists and critics such as Leon Golub, Robert Morris and Lucy R Lippard in forming the Art Workers' Coalition. Since the 1980s she has attracted international acclaim, her exquisite works giving form to feminist issues and new critical discourses. The Survey by Jon Bird, cultural theorist and curator of the first British retrospective of Spero's work, discusses developments in her practice since the 1950s. Contemporary art scholar and critic Jo Anna Isaak talks with the artist about her life and work. Art historian Sylvere Lotringer, Edtior of Semiotext(e) and author of Overexposed, focuses on her 1993 installation at the Whitney Museum of American Art. In recognition of the impact Stanley Kubrick's Dr Strangelove made on her, Spero has chosen a scene from the screenplay; key excerpts from Gynesis: Configurations of Woman and Modernity by feminist theorist Alice Jardine on the place of women in a patriarchal culture complete the Artist's Choice section. Also included are a selection of Spero's own writings, many published here for the first time.

As the lead singer of the Grammy Award-winning rock band Quetzal and a scholar of Chicana/o and Latina/o studies, Martha Gonzalez is uniquely positioned to articulate the ways in which creative expression can serve the dual roles of political commentary and community building. Drawing on postcolonial, Chicana, black feminist, and performance theories, Chican@ Artivistas explores the visual, musical, and performance art produced in East Los Angeles since the inception of NAFTA and the subsequent anti-immigration rhetoric of the 1990s. Showcasing the social impact made by key artist-activists on their communities and on the mainstream art world and music industry, Gonzalez charts the evolution of a now-canonical body of work that took its inspiration from the Zapatista movement, particularly its masked indigenous participants, and that responded to efforts to impose systems of labor exploitation and social subjugation. Incorporating Gonzalez's memories of the Mexican nationalist music of her childhood and her band's journey to Chiapas, the book captures the mobilizing music, poetry, dance, and art that emerged in pre-gentrification corners of downtown Los Angeles and that went on to inspire flourishing networks of bold, innovative artivistas.

Edward Ardizzone RA (1900-79) was one of relatively few British artists who defined the field of illustration for their generation. Although his work as an artist and illustrator was wide-ranging, it is for his illustrated children's books, almost continuously available since they were first published from the late 1930s onwards, that he is best known. This book provides the first fully illustrated survey of Ardizzone's work, analysing his activity as an artist and illustrator in the context of 20th-century British art, illustration, printing and publishing. Copiously illustrated with many previously unpublished images, Edward Ardizzone: Artist and Illustrator also contributes more broadly to the current reassessment and investigation of mid-20th-century British art and illustration. Alan Powers (author of the bestselling Eric Ravilious: Artist and Designer) has written a critically considered text which draws for the first time on the family's archives, those of Ardizzone's publishers, and conversations with those who knew the artist. This beautiful and enlightening book, which reflects in its design and production values the aesthetic of an artist who was closely involved in the production of his own illustrated books, will be a fascinating read both for specialists as well as for readers who have grown up with the unforgettable characters of Ardizzone's classic children's stories.

As featured in the New York Times, ARTnews, Colossal, Metropolis and New York Magazine's The Strategist A groundbreaking A-Z survey of the work of over 300 modern and contemporary artists born or based in Africa Modern and Contemporary African art is at the forefront of the current curatorial and collector movement in today's art scene. This groundbreaking new book, created in collaboration with a prestigious global advisory board, represents the most substantial appraisal of contemporary artists born or based in Africa available. Features the work of more than 300 artists, including El Anatsui, Marlene Dumas, David Goldblatt, Lubaina Himid, William Kentridge, Julie Mehretu, Wangechi Mutu, and Robin Rhode, as well as lesser-known names from across Africa, with stunning and surprising examples of their art paired with insightful texts that demonstrate their contribution to the painting, sculpture, installation, photography, moving image, and performance art. Advisory Panel: Alayo Akinkugbe, Kavita Chellaram, Raphael Chikukwa, Julie Crooks, Tandazani Dhlakama, Oumy Diaw, Janine Gaelle Dieudji, Ekow Eshun, Ndubuisi C. Ezeluomba, Joseph Gergel, Danda Jaroljmek, Omar Kholeif, Rose Jepkorir Kiptum, Alicia Knock, Nkule Mabaso, Lucy MacGarry, Owen Martin, Aude Christel Mgba, Bongani Mkhonza, Riason Naidoo, Paula Nascimento, Simon Njami, Robert Njathika, Ugochukwu-Smooth C. Nzewi, Chika Okeke-Agulu, Hannah O'Leary, Sean O'Toole, John Owoo, Brenda Schmahmann, Mark Sealy, Yasmeen Siddiqui, and Joseph L. Underwood

The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts. Choosing a representative work from each of four modern genres-painting, film, photography, and animation-Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey-Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.

Philip de Laszlo (1869-1937) was born into a humble Hungarian family in Budapest and rose to become the preeminent portrait artist working in Britain between 1907 and 1937. He painted nearly 3,000 portraits, including those of numerous kings and queens, four American presidents, and countless members of the European nobility. "Has any one painter ever before painted so many interesting and historical personages?" asked his contemporaries. There has been no biography of him since 1939, and this new account of both his life and his work draws on previously untapped material from the family archive of over 15,000 documents, to which the author has had unrivaled access. It establishes the intrinsic importance of his art and re-positions him in his rightful place alongside his great contemporaries John Singer Sargent, Sir John Lavery, and Giovanni Boldini.

A philosophical consideration of Soviet Socialism that reveals the hidden desire for capitalism in contemporary anticapitalist discourse and theory This book, a philosophical consideration of Soviet socialism, is not meant simply to revisit the communist past; its aim, rather, is to witness certain zones where capitalism's domination is resisted-the zones of countercapitalist critique, civil society agencies, and theoretical provisions of emancipation or progress-and to inquire to what extent those zones are in fact permeated by unconscious capitalism and thus unwittingly affirm the capitalist condition. By means of the philosophical and politico-economical consideration of Soviet socialism of the 1960 and 1970s, this book manages to reveal the hidden desire for capitalism in contemporaneous anticapitalist discourse and theory. The research is marked by a broad cross-disciplinary approach based on political economy, philosophy, art theory, and cultural theory that redefines old Cold War and Slavic studies' views of the post-Stalinist years, as well as challenges the interpretations of this period of historical socialism in Western Marxist thought.

This lavishly illustrated book explores the aesthetic and cultural impact of New Mexico art from the 1880s to the present, and highlights a refreshing range of works representing European, native, ethnic, tourist, regional and commercial art. For the past 125 years, art in New Mexico has told a complex story of aesthetic interaction and cultural fusion. Southwest art began with 19th-century documentarians confronting a disappearing Native America and an exotic landscape. Artists who arrived in New Mexico beginning in the 1880s wrestled with the commercialisation of the region and the clash of cultural identities. Native peoples and expedition photographers, tourism and the railroad, artist colonies, the arrival of modernism, Trinity and the end of romanticism, a new generation of native artists challenging ethnic identity -- all have played a part in what we now call New Mexican art. "The Art of New Mexico" provides new perspectives on the evolution of art in the state, and highlights the outstanding collection of the Museum of Fine Arts in Santa Fe, which is the repository for some of the finest works by renowned artists such as Adam Clark Vroman, Marsden Hartley, Robert Henri, John Sloan, Georgia O'Keeffe, and Luis Elijo Tapia. Curator and author Joseph Traugott discusses how Native American and Hispanic artists of the Southwest not only influenced the non-native artists who came to call New Mexico home, but how in turn their work was influenced by these newcomers. By organising key objects from the museum's collection with an intercultural history of New Mexico art, the book makes cogent connections between specific works, aesthetic movements, and cultural traditions. As a result, this book will engage readers who are well versed in the artistic traditions of New Mexico, as well as those new to its aesthetic heritage. The book is published to coincide with a reinstallation of the permanent collection at the Museum of Fine Arts in Santa Fe.

Combining a highly expressive graphic style and a deep sensitivity to colour, Ernst Wilhelm Nay's intense painting is surveyed in this first English-language overview of his varied life and career. For Ernst Wilhelm Nay (1902-68), painting was an entrance to a world beyond the visible, a world more real and more vital that lay beneath the surface of appearances. Beginning his career as the chaotic years of the Weimar Republic became the dark years of the Third Reich, it was natural that he should look to art for an alternative reality. One of Germany's most important abstract painters, this fully illustrated publication offers a fresh approach to the Nay's work. This comprehensive monograph is accompanied by an overview of his life and work by John-Paul Stonard and in-depth history of Nay's reception in Britain and the United States by Dr Pamela Kort, and a foreword by Sir Norman Rosenthal.

Rivera, Kahlo, Tamayo, Covarrubias, Weston, Modotti, Bravo, Spratling - names which are closely linked with the internationally celebrated art, photography and design scene of the 1920s and 1930s in the United States and Mexico. This lavishly illustrated publication traces the dynamic cultural exchange which left its mark on both sides of the border. At the beginning of the 20th century a lively and profitable exchange developed between artists in the United States and Mexico. The Americans were full of enthusiasm for the Mexican synthesis of history and modernity and their social commitment, which contrasted strongly with the consumer culture in the U.S. The Mexican artists in turn found important financiers across the border. The volume shows through paintings, drawings, photographs and graphical works from the Harry Ransom Center in Austin and other important museums how this intercultural network brought forth a large number of world-famous artists.

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 magnificent companion to ÊThe Art of HorrorÊ from the same creative team behind that award-winning illustrated volume looks at the entire history of the horror film from the silent era right up to the latest releases and trends.ÞThrough a series of informative chapters and fascinating sidebars chronologically charting the evolution of horror movies for more than a century profusely illustrated throughout with over 600 rare and unique images including posters lobby cards advertising promotional items tie-in books and magazines and original artwork inspired by classic movies this handsomely designed hardcover traces the development of the horror film from its inception and celebrates the actors filmmakers and artists who were responsible for scaring the pants off successive generations of moviegoers!ÞEdited by multiple award-winning writer and editor Stephen Jones and boasting a foreword by director and screenwriter John Landis (ÊAn American Werewolf in LondonÊ) this volume brings together fascinating and incisive commentary from some of the genre's most highly respected experts. With eye-popping images from all over the world ÊThe Art of Horror MoviesÊ is the definitive guide for anyone who loves horror films and movie fans of all ages.

This edited collection examines conflicting assumptions, expectations, and perceptions of maternity in artistic, cultural, and institutional contexts. Over the past two decades, the maternal body has gained currency in popular culture and the contemporary art world, with many books and exhibitions foregrounding artists' experiences and art historical explorations of maternity that previously were marginalized or dismissed. In too many instances, however, the maternal potential of female bodies-whether realized or not-still causes them to be stigmatized, censored, or otherwise treated as inappropriate: cultural expectations of maternity create one set of prejudices against women whose bodies or experiences do align with those same expectations, and another set of prejudices against those who do not. Support for mothers in the paid workforce remains woefully inadequate, yet in many cultural contexts, social norms continue to ask what is "wrong" with women who do not have children. In these essays and conversations, artists and writers discuss how maternal expectations shape creative work and designed environments, and highlight alternative ways of existing in relation to those expectations.

Early in this century, Futurist and Dada artists developed brilliantly innovative uses of typography that blurred the boundaries between visual art and literature. In this text, Johanna Drucker shows how later art criticism has distorted our understanding of such works. She argues that Futurist, Dadaist, and Cubist artists emphasized materiality as the heart of their experimental approach to both visual and poetic forms of representation; by mid-century, however, the tenets of New Criticism and High Modernism had polarized the visual and the literary. Drucker suggests a methodology closer to the actual practices of the early avant-garde artists, based on a re-reading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara.

The art of Makoto Azuma uses flowers and plants as its starting point, but juxtaposes their timeless yet transient beauty with an incredibly diverse range of striking settings. In a series of sculptures, installations and interactive events, he delights in blurring the boundaries between nature and artifice. Azuma founded the floral atelier Jardins des Fleurs in 2002, taking commissions from private clients as well as brands and corporations, both in Japan and all over the world. His parallel career as an artist began in 2005 and involves creating and exhibiting artworks that turn flowers and plants into a medium for self-expression. In 2008, Azuma founded AMKK (Azuma Makoto Kaju Kenkyujo), a group specializing in experimental floral creation, with the aim of seeking new forms of botanical beauty and new ways to exhibit them. His works have travelled the globe, from barren deserts to frozen expanses, from thousands of feet below the sea to the very edge of space. Featuring more than sixty projects captured in breathtaking photography, this beautiful book is the most comprehensive showcase of Azuma's art ever published.

In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself.

These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years -- sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists.

From this emerges a materialist theory -- an embodied, erotic relationship to art and to the world. Marks's approach leads to an appreciation of the works' mortal bodies: film's volatile emulsion, video's fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.

Looking behind the scenes at the personalities and policies of such venerable institutions as the Federal Arts Project and the Museum of Modern Art, A. Joan Saab discerns a broad-based democratic modernism inspired by and engaged with the social life of the period.In the summer of 1935 President Franklin Delano Roosevelt established the Federal Arts Project under the aegis of the Works Progress Administration. The project's goal was, in the words of its director Holger Cahill, to "get people all over the United States interested in art as an everyday part of living and working." In addition to this endeavor, the project would also provide work for artists who, as a project press release stated, "had been hit just as hard by unemployment as any other producing worker." Meanwhile, as director of the newly opened Museum of Modern Art, Alfred Barr was instituting his philosophy of "democracy in design" through a series of ambitious exhibits that focused on informed consumption in the marketplace.The idea of treating the artist as a "producing worker" and art as an "everyday part of living and working" was a novel one in 1935 and illustrated a broad shift in the social roles of both. Prior to the 1930s, art in America had resided principally in the domain of the cultural elite. The upheaval of the Depression era, however, challenged this authority. Throughout the decade, government officials, museum professionals, educators, and artists worked together to determine not only what role artists would play in society but also what forms democratic art would take and how widely it would be disseminated, thus fundamentally redefining the relationship between art and society. This egalitarian artistic movement of the 1930s stands as a significant moment in the ongoing dialogue over the relationship of art and public life that continues today.