Models of Integrity examines the relationship between contemporary art and the law through the lens of integrity. In the 1960s, artists began to engage conspicuously with legal ideas, rituals, and documents. The law-a primary institution subject to intense moral and political scrutiny-was a widely recognized source of authority to audiences inside the art world and out. Artists frequently engaged with the law in ways that signaled a recuperation of the integrity that they believed had been compromised by the very institutions entrusted with establishing standards of just conduct. These artists sought to convey the social purpose of an artwork without overstating its political impact and without losing sight of how aesthetic decisions compel audiences to see their everyday world differently. Addressing the role that law plays in enabling artworks to function as social and political forces, this important book fills a gap in the field of law and the humanities, and will serve as a practical "how-to" for contemporary artists.

An exploration of recent work by the award-winning Dutch visual artist Berend Strik Berend Strik (b. 1960) is an internationally acclaimed Dutch visual artist whose oeuvre ranges from two-dimensional works to sculpture and architecture. He is best known for his embroidered found objects, including photographs. Since 2012, Strik has focused on a series he calls Deciphering the Artist's Mind; Strik has photographed the studios of well-known modern and contemporary artists, such as Marcel Duchamp, Jackson Pollock, John Baldessari, and Martha Rosler, and then stitched colorful materials into enlarged prints of the photographic images. This book, designed by Irma Boom, documents this series. Texts by Marja Bloem, in collaboration with Strik, explore the artist's visits to the studios, including encounters and conversations with many living artists. The visual documentation of the works and the insightful accompanying texts serve to fully investigate the themes that underpin the series, including the privileged space of artistic creativity and the impossibility of accessing an artist's thought processes. Distributed for Mercatorfonds

Speaking Out of Turn is the first monograph dedicated to the forty-year oeuvre of feminist conceptual artist Lorraine O'Grady. Examining O'Grady's use of language, both written and spoken, Stephanie Sparling Williams charts the artist's strategic use of direct address-the dialectic posture her art takes in relationship to its viewers-to trouble the field of vision and claim a voice in the late 1970s through the 1990s, when her voice was seen as "out of turn" in the art world. Speaking Out of Turn situates O'Grady's significant contributions within the history of American conceptualism and performance art while also attending to the work's heightened visibility in the contemporary moment, revealing both the marginalization of O'Grady in the past and an urgent need to revisit her art in the present.

Painting after Postmodernism: Belgium - USA investigates why so many believed Marcel Duchamp when he made his infamous statement of 1918: that painting was dead. After all, as this book goes on to show, Duchamp was wrong. In the decades before and after World War II, Picasso, Matisse, Miro and the New York School continued to make monumental mural scale paintings on the level of the greatest art of the past. However, in the politically radical 1960s and 1970s it once again became fashionable to toll the death knell for painting, now perceived as the product of bourgeois culture. In its place galleries and museums defined the avant-garde as conceptual art, video, mixed media and installations, all of which denied painting its position of pre-eminence. Painting was reduced to just another form of Postmodernist endeavour. Barbara Rose investigates how contemporary artists rediscovered the art of painting, juxtaposing works from Belgian and American artists to create a cross-cultural dialogue.

Flatbed Press, a collaborative publishing workshop in Austin, Texas, has become one of the premier artists' printshops in America and an epicenter for the art form. Founded in 1989 by Mark Lesly Smith and Katherine Brimberry, Flatbed provides studio spaces for visiting artists to work with the press's master printers to create limited editions of original etchings, lithographs, woodcuts, and monotypes. The roster of artists who have worked at Flatbed includes Robert Rauschenberg, John Alexander, Dan Rizzie, Terry Allen, Michael Ray Charles, Luis Jimenez, Julie Speed, Trenton Doyle Hancock, and James Surls. Prints produced at Flatbed have been collected by major museums-the Museum of Modern Art, the Metropolitan Art Museum, the Whitney Museum of American Art, the Museum of Fine Arts, Houston, and the Brooklyn Museum, among others. Lavishly illustrated and printed, Flatbed Press at 25 presents a quarter-century retrospective of the press's productions. The book features the prints of thirty-five prominent artists who have collaborated with the press, each represented by full-color plates and a lively reminiscence by Smith and Brimberry that describes the process of working with the artist. Eighty additional artists are also included with a single print and documentary details. Susan Tallman's introduction places Flatbed in a national context, defines its uniqueness, and discusses many of the outstanding artworks that have been created there. Photographs of the facilities and equipment, technical processes, and artists and printers at work, as well as a chronology and glossary, complete the volume.

The paintings and drawings of Michele Melillo (*1977) enchant the viewer with their lightness and harmonious colours. Accompanied by an explanatory essay by Veit Ziegelmaier, this comprehensive artist monograph reproduces for the first time works from all work cycles by the young German painter and graphic artist.Michele Melillo starts with historicalreferences when developing his works, combining in masterly style motifs from the Baroque and Rococo eras with a modern vocabulary of forms, folkloric ornaments and classical architecture. Fauvist orgies of colour and sprawling lines characterise the recurring subjects of his pictures: the barque as a symbol of the Egyptian sun god Ra, fabulous creatures and unusual animal pictures or portraits of people long believed to be dead. After studying painting with Prof. Axel Kasseboehmer at the Academy of Fine Arts, today Melillo lives and works in Munich. As the monograph impressively proves, hisworks instantly fascinate the viewer and surprise repeatedly with their profound wit.

Exploring the dialogue between the National Gallery, London and contemporary artist Rosalind Nashashibi through her work as artist in residence Rosalind Nashashibi (b. 1973) is a London-based artist known for her 16mm films, as well as her paintings and prints. Her films convey inner experiences of moments and events, often considering the politics of relations in the community and extended family, while merging everyday observations with fictional or mythological elements. Like her films, her paintings move between impressions and the more concrete depiction of forms or figures. In 2019 Nashashibi was appointed as artist in residence for 2020 by the National Gallery, London; over the course of a year she worked in close proximity to the gallery's collection, research, and teams. As the gallery's inaugural artist in residence, she has explored the ongoing dialogue between the art of the past and that of today, as well as the collection's influence on her own practice as a painter. The book includes enlightening conversations between Nashashibi and two artist colleagues, Elena Narbutaite and Lucy Skaer. Published by National Gallery Company/Distributed by Yale University Press

This new publication is dedicated to the Baranger Motion Displays of the R. F. Collection housed at the Vitra Design Museum. Motion Displays were conceived as eye-catching and novel moving objects, which - primarily in the US - were used in jewellers' shop-window displays to attract customers. The Baranger Motion Displays were produced by Baranger Studios in Pasadena, CA between 1937 and 1957 and were lent to thousands of jewellers' shops over the years. Primarily during the 1990s, Rolf Fehlbaum, Vitra Chairman Emeritus and founder of the Vitra Design Museum, worked to assemble a carefully selected a comprehensive collection of these objects in Weil am Rhein. With large-scale illustrations of the different Motion Displays and an atmospheric photo essay featuring black-and-white details of the objects, the book provides an unprecedented and in-depth view into this collection. In an accompanying essay, Bill Shaffer traces the success story of the displays and sheds light on the significance of the red cases in which they were delivered to the jewellers. Along with Robots 1:1 and Space Fantasies 1:1, Baranger Motion Displays is the third publication to focus on the R. F. Collection. Visitors can view the collection of Motion Displays at the Vitra Campus in Weil am Rhein as part of the "Wunderkammer" (cabinet of curiosities), which also presents other parts of Rolf Fehlbaum's wide-ranging collection. In order for readers to be able to experience the wonders of these moving objects for themselves, each Motion Display has been given a QR Code in the book which links to an entertaining video clip of the display in action.

A survey of 21 contemporary artists who specialise in painting gardens. The artists come from the United Kingdom as well as Europe and the United States. They work in a wide range of media including watercolour, acrylics, oils and tempera. For each artist, there is a brief biographical thumbnail sketch, reproductions of a variety of their work, and comments from the artists on their painting styles and working practices. The result is a intriguing look at this fascinating subject. A beautiful book with a foreword by Sir Roy Strong.

From the mangaka who told his life story in A Drifting Life, and gave you Abandon the Old in Tokyo and The Push Man and Other Stories, comes this collection of gekiga of the 1970s which have never before been translated into English. Personally selected for publication exclusively by Landmark Books by Tatsumi, the stories strip away the gloss of the Japanese Economic Miracle to reveal the stresses, desires and angst of the millions of young people who flocked to the cities where life was not what it was promised to be.Compared to Tatsumi's earlier stories, this collection paints a much more pessimistic world. The stories run on a different beat. The banality of modern life and its values bleed through.Yoshihiro Tatsumi plumbs the depths of the lost Japanese youth of the 1970s. Today, 'youth' of every age group appreciates Yoshihiro Tatsumi. They are attracted to him because they connect with the struggles and the darkness of modern life which he portrays.

Offering a major contribution to the field of American culture and aesthetics in an interdisciplinary frame, this collection assembles the cutting-edge research of renowned and emerging scholars in literature and the visual arts, with a foreword by Miles Orvell. The volume represents the first of its kind: an intervention in current interdisciplinary approaches to the intersections of the written word and the visual image that moves beyond standard theoretical approaches to consider the written and visual artwork in embodied, cognitive and experiential terms. Tracing a strong lineage of pragmatism, romanticism, surrealism and dada in American intermedial works through the nineteenth century to the present day, the editors and authors of this volume chart a new and vital methodology for the study and appreciation of the correspondences between visual and verbal practices. -- .

A timely reassessment of the artist's early performances and feminist sculptures, affirming their radical engagements and art historical significance This volume is a focused look at two bodies of work, the Tirs ("shooting paintings") and Nanas ("dames"), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle (1930-2002). Alongside a poetic response to the work, four essays treat Saint Phalle's oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle's life in the 1960s. Tirs were made by firing a .22 caliber rifle at the surfaces of paintings. The bullets pierced bags of pigment, aerosol paint cans, or even food embedded in dense assemblages covered in painted plaster. Saint Phalle's increasingly liberated female figures with outstretched arms, curvaceous forms, and powerful poses developed into her well-known Nanas, an evolution contemporaneous with the rise of a Euro-American feminist movement. Distributed for the Menil Collection and the Museum of Contemporary Art, San Diego Exhibition Schedule: Menil Collection, Houston (September 10, 2021-January 23, 2022) Museum of Contemporary Art, San Diego (April 9-July 17, 2022)

Can You Dig It? Digital—even before this word signified research-based proces-sing, its original meaning referred to the fingers. The same goes for the artists Michael Morris and Vincent Trasov, whose Image Bank, founded in 1969, did not consist of ones and zeros but en-tirely of postal handwork. With the intent of a decentralized and network-based circulation and exchange of images, they antici-pated the structures of today’s image databases on the Internet. Moreover, from sending, receiving, and collecting, a multifaceted and expansive oeuvre formed, whose creator is no longer a single person, but a collective movement. Away from established insti-tutions such as museums and galleries, a utopia of non-hierarchi-cal and free exchange of images first took shape here, which has lost nothing of its topicality even from today’s perspective. Exhibition: KW Institute for Contemporary Art, 22.6.–1.9.2019

In 1966, the most destructive flood in the history of Venice temporarily submerged the city and threatened its extraordinary art and architecture. Among the organizations that mobilized to protect this fragile heritage was Save Venice Inc. Founded in Boston and now headquartered in New York City, this nonprofit has become the largest and most active committee dedicated to preserving the artistic legacy of Venice.Christopher Carlsmith tells the fascinating story of Save Venice Inc., from its origins to its fiftieth anniversary. It continues to provide an influential model for philanthropy in the cultural sector, raising substantial funds to conserve and restore paintings, sculptures, books, mosaics, and entire buildings at risk from human and environmental impacts. Employing extensive archival research, oral interviews, and newspaper accounts, Save Venice Inc. explores a range of topics, including leadership, conservation projects, fundraising, and educational outreach. Using a range of methodologies from cultural history and art history, Carlsmith traces the achievements and challenges faced by this and other historic preservation organizations and by this unique city on the sea.

In a first, this anthology presents essays by art historians and cultural scientists from both sides of the Atlantic to rediscover, analyze and contextualize the rich and largely unknown art of Winold Reiss, opening up a new, previously untapped archive of multicultural Modernism. The German-American artist, who was born in Karlsruhe in 1886 and arrived in New York in 1913, defies instant categorization. With his dual background in fine arts and applied arts he set out to bridge the gulf between "high" and "low" art introducing a bold use of color to the American art scene and to interior design. In his portraits Reiss captured the multi-ethnic diversity of the US. His specific blend of cultural otherness, primitivism, and depictions of ethnicity challenged the conventions of the time.

Known for incorporating happy little clouds, mountains, and trees in paintings he would create in just 26 television minutes, Bob Ross had an encouraging and soothing demeanour that made his instructional television shows the most recognized and watched in television history. Ross created nearly 30,000 paintings in his lifetime, most using the wet-on-wet method employed by Caravaggio, Cezanne, and Monet. This fully authorized collection of more than 300 pieces of his art features his most famous quotes about painting and life, including And success with painting leads to success with many things. It carries over into every part of your life as well as techniques that will inspire readers to create their own art. Originally airing in 1982 on PBS in the United States and various outlets throughout Canada, Latin America, and Europe, the more than 400 episodes of Bob Ross s two series, The Joy of Painting and Beauty Is Everywhere are now available on YouTube and Netflix. He is a figure beloved by multiple generations and is seen as an icon rivalling, if not surpassing, any other modern-day painter in terms of the scope of his work, societal influence, and popularity.