This two-volume publication represents the only comprehensive documentation of one of the finest private collections of Asian art in the world. More than 1,000 works of art are shown in exquisite color reproductions, along with a special reference section of illustrated and translated texts, signatures, and seals. Since the collection will be dispersed for public use, "Art Through a Lifetime" provides the only opportunity for scholars, students, and admirers of Asian art to enjoy it in its entirety.

The first volume of this boxed set, Japanese Painting, Printed Works, Calligraphy, presents Japanese paintings, printed works, and calligraphy that date from the Nara period to the late 20th century. The second volume, Japanese Objects, Korean Art, Chinese Art, presents the remainder of the Japanese works--ceramics, lacquer, metalwork, sculpture, and textiles--along with an extensive array of Korean and Chinese works of art.

Miyeko Murase is professor emerita of Japanese art at Columbia University and special consultant to the Metropolitan Museum of Art. Soyoung Lee is associate curator for Korean art at the Metropolitan Museum of Art. David Ake Sensabaugh is the Ruth and Bruce Dayton Curator of Asian Art, Yale University Art Gallery. Shi-yee Liu, senior research associate in the Department of Asian Art, Metropolitan Museum of Art, provided translations.

Innovative artists in 1960s Japan who made art in the "wilderness"-away from Tokyo, outside traditional norms, and with little institutional support-with global resonances. 1960s Japan was one of the world's major frontiers of vanguard art. As Japanese artists developed diverse practices parallel to, and sometimes antecedent to, their Western counterparts, they found themselves in a new reality of "international contemporaneity" (kokusaiteki dojisei). In this book Reiko Tomii examines three key figures in Japanese art of the 1960s who made radical and inventive art in the "wilderness"-away from Tokyo, outside traditional norms, and with little institutional support. These practitioners are the conceptualist Matsuzawa Yutaka, known for the principle of "vanishing of matter" and the practice of "meditative visualization" (kannen); The Play, a collective of "Happeners"; and the local collective GUN (Group Ultra Niigata). The innovative work of these artists included a visionary exhibition in Central Japan of "formless emissions" organized by Matsuzwa; the launching of a huge fiberglass egg-"an image of liberation"-from the southernmost tip of Japan's main island by The Play; and gorgeous color field abstractions painted by GUN on accumulating snow on the riverbeds of the Shinano River. Pioneers in conceptualism, performance art, land art, mail art, and political art, these artists delved into the local and achieved global relevance. Making "connections" and finding "resonances" between these three practitioners and artists elsewhere, Tomii links their local practices to the global narrative and illuminates the fundamentally "similar yet dissimilar" characteristics of their work. In her reading, Japan becomes a paradigmatic site of world art history, on the periphery but asserting its place through hard-won international contemporaneity.

Die Werkstatt Georg Roettingers war in der Zeit um 1900 international sehr erfolgreich in der Produktion von Glasmalereien tatig. Das Zurcher Atelier, in welchem bereits in der zweiten Generation Glasgemalde erschaffen wurden, hatte sich auf die Herstellung von Glasmalereien im Stil des Historismus und Jugendstil spezialisiert und belieferte sowohl oeffentliche Institutionen und Kirchgemeinden als auch Privatpersonen mit den leuchtenden Kunstwerken. Der kunstlerisch wie auch handwerklich ausserst versierte Georg Roettinger leitete die Werkstatt zusammen mit seinem Bruder Heinrich, welcher fur die administrativen Belange zustandig war. Die Firma Roettinger ist eine der einzigen Werkstatten in Europa, von welcher noch der praktisch vollstandige Nachlass erhalten ist. Zudem befinden sich noch einige der Werke in situ oder sind eingelagert. Diese ausserordentlich gute Quellenlage erlaubt es, den Entstehungsprozess der Kunstwerke exemplarisch nachzuvollziehen und lasst Einblicke in das Funktionieren eines Glasmalereiateliers in der Zeit um 1900 zu.

No other civilization in the pre-modern world was more obsessed with creating underground burial structures than the Chinese. For at least five thousand years, from the fourth millennium BCE to the early twentieth century, Chinese people devoted an extraordinary amount of wealth and labor to building tombs and furnishing them with exquisite objects and images. In art history these ancient burial sites have mainly been appreciated as 'treasure troves' of exciting and often previously unknown works of art. New trends in Chinese art history are challenging this way of studying funerary art: now an entire memorial site--rather than any of its individual components--has become the focus of both observation and interpretation. "The Art of the Yellow Springs" expands on this scholarship by making interpretative methods the direct subject of consideration. It argues that to achieve a genuine understanding of Chinese tombs we need to reconsider a host of art-historical concepts, including visuality, viewership, space, formal analysis, function, and context. Profusely illustrated with many outstanding works of art, this ground-breaking new assessment demonstrates the amazing richness of arguably the longest and most persistent tradition in the entirety of Chinese art.

The baskets, blankets, rugs, pottery, jewellery, sandpaintings, dolls, and beadwork created by the Native Americans of the Southwest are all so unique and fascinating. This book is a good introduction to the work that goes into the creations.

This catalogue, accompanying the exhibition of the same title at the Samuel Dorsky Museum of Art at SUNY New Paltz (August 29 through December 16, 2012), examines the fifty-year career of Ushio Shinohara, an indispensable player in the field of global contemporary history. Born in Japan in 1932, Shinohara was an enfant terrible of the Tokyo avant-garde art scene in the late 1950s with his action art. During the 1960s, he went on to invent such signature series as Boxing Painting, Imitation Art, and Oiran. After his move to New York in 1969, he continued with his versatile image-making endeavor, with Motorcycle Sculpture and drawings of street scenes, among other series. Taken together, this volume narrates a story of the inventive, imaginative, and skillful image-maker that is Ushio Shinohara."