World War I had a profound impact on American art and culture. Nearly every major artist responded to events, whether as official war artists, impassioned observers, or participants on the battlefields. It was the moment when American artists, designers, and illustrators began to consider the importance of their contributions to the wider world and to visually represent the United States' emergent role in modern global politics. World War I and American Art provides an unprecedented consideration of the impact of the conflict on American artists and the myriad ways they reacted to it. Artists took a leading role in chronicling the war, crafting images that influenced public opinion, supported mobilization efforts, and helped to shape how the appalling human toll was mourned and memorialized. World War I and American Art features some eighty artists--including Ivan Albright, George Bellows, Marsden Hartley, Childe Hassam, Violet Oakley, Georgia O'Keeffe, Man Ray, John Singer Sargent, and Claggett Wilson--whose paintings, sculptures, drawings, prints, photographs, posters, and ephemera span the diverse visual culture of the period to tell the story of a crucial turning point in the history of American art. Taking readers from the home front to the battlefront, this landmark book will remain the definitive reference on a pivotal moment in American modern art for years to come. Exhibition schedule: * Pennsylvania Academy of the Fine Arts November 4, 2016-April 9, 2017* New-York Historical Society May 26-September 3, 2017* Frist Center for the Visual Arts, Nashville October 6, 2017-January 21, 2018

For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art. Now that art is getting its due. Art in Chicago is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present, Manierre Dawson, Laszlo Moholy-Nagy, and Ivan Albright to Chris Ware, Anne Wilson, and Theaster Gates. The first single-volume history of art and artists in Chicago, the book-in recognition of the complexity of the story it tells-doesn't follow a single continuous trajectory. Rather, it presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city. From the temptingly blank canvas left by the Fire, we loop back to the 1830s and on up through the 1860s, tracing the beginnings of the city's institutional and professional art world and community. From there, we travel in chronological order through the decades to the present. Familiar developments-such as the founding of the Art Institute, the Armory Show, and the arrival of the Bauhaus-are given a fresh look, while less well-known aspects of the story, like the contributions of African American artists dating back to the 1860s or the long history of activist art, finally get suitable rcognition. The six chapters, each written by an expert in the period, brilliantly mix narrative and image, weaving in oral histories from artists and critics reflecting on their work in the city, and setting new movements and key works in historical context. The final chapter, comprised of interviews and conversations with contemporary artists, brings the story up to the present, offering a look at the vibrant art being created in the city now and addressing ongoing debates about what it means to identify as-or resist identifying as-a Chicago artist today. The result is an unprecedentedly inclusive and rich tapestry, one that reveals Chicago art in all its variety and vigor-and one that will surprise and enlighten even the most dedicated fan of the city's artistic heritage. Part of the Terra Foundation for American Art's year-long Art Design Chicago initiative, which will bring major arts events to venues throughout Chicago in 2018, Art in Chicago is a landmark publication, a book that will be the standard account of Chicago art for decades to come. No art fan-regardless of their city-will want to miss it.

David Lynch is internationally renowned as a filmmaker, but it is less known that he began his creative life as a visual artist and has maintained a devoted studio practice, developing an extensive body of painting, prints, photography, and drawing. Featuring work from all periods of Lynch's career, this book documents Lynch's first major museum exhibition in the United States, bringing together works held in American and European collections and from the artist's studio. Much like his movies, many of Lynch's artworks revolve around suggestions of violence, dark humor, and mystery, conveying an air of the uncanny. This is often conveyed through the addition of text, wildly distorted forms, and disturbances in the paint fields that surround or envelop his figures. While a few relate to his film projects, most are independent works of art that reveal a parallel trajectory. Organized in close collaboration with the artist, David Lynch: The Unified Field brings together ninety-five paintings, drawings, and prints from 1965 to the present, often unified by the recurring motif of the home as a site of violence, memories, and passion. Other works explore the odd, tender, and mincing aspects of relationships. Highlighting many works that have rarely been seen in public, including early work from his critical years in Philadelphia (1965 70), this catalog offers a substantial response to dealer Leo Castelli's comment when he enthusiastically viewed Lynch's work in 1987, I would like to know how he got to this point; he cannot be born out of the head of Zeus." Published in association with the Pennsylvania Academy of the Fine Arts.

America is haunted. Ghosts from its violent history-the genocide of Indigenous peoples, slavery, the threat of nuclear annihilation, and traumatic wars-are an inescapable and unsettled part of the nation's heritage. Not merely in the realm of metaphor but present and tangible, urgently calling for contact, these otherworldly visitors have been central to our national identity. Through times of mourning and trauma, artists have been integral to visualizing ghosts, whether national or personal, and in doing so have embraced the uncanny and the inexplicable. This stunning catalog, accompanying the first major exhibition to assess the spectral in American art, explores the numerous ways American artists have made sense of their own experiences of the paranormal and the supernatural, developing a rich visual culture of the intangible. Featuring artists from James McNeill Whistler and Kerry James Marshall to artist/mediums who made images with spirits during seances, this catalog covers more than two hundred years of the supernatural in American art. Here we find works that explore haunting, UFO sightings, and a broad range of experiential responses to other worldly contact.

A rich reconsideration of a short-lived but visionary voice in twentieth-century American painting and his enduring relevance Bob Thompson (1937-1966) came to critical acclaim in the late 1950s for paintings of unparalleled figurative complexity and chromatic intensity. Thompson drew upon the Western art-historical canon to formulate a highly personal, expressive language. Tracing the African American artist's prolific, yet tragically brief, transatlantic career, this volume examines Thompson's outlier status and pays close attention to his sustained engagements with themes of community, visibility, and justice. As the contributors contextualize the artist's ambitions and his unique creative process, they reposition Thompson as a predecessor to contemporary artists such as Kerry James Marshall and Kehinde Wiley. Featuring an array of artwork, and never-before-published poems and archival materials, this study situates Thompson's extraordinary output within ongoing dialogues about the politics of representation. Published in association with Colby College Museum of Art Exhibition Schedule: Colby College Museum of Art, Waterville, ME (July 20, 2021-January 9, 2022) Smart Museum of Art, The University of Chicago (February 10-May 15, 2022) High Museum of Art, Atlanta (June 18-September 11, 2022) Hammer Museum, Los Angeles (October 9, 2022-January 8, 2023)

The first posthumous survey of Ojibwe artist Jim Denomie’s paintings, which invite further conversation about American history, memory, and place   A prolific artist, Jim Denomie (La Courte Oreilles Band, Ojibwe, 1955–2022) did not begin his art career until the age of 35. Over the course of three decades, his award-winning work has been featured in national and international exhibitions and found in notable private and public collections. The Lyrical Artwork of Jim Denomie explores themes in the artist’s work, such as the legacies of colonization, reconsideration of American history, and what he saw as the absurdity of our current zeitgeist. His paintings are satirical and surreal, displaying a vibrant palette, along with dark humor and pointed references to historical and contemporary issues and injustices.  Denomie drew upon lived experiences, pop culture, Ojibwe beliefs and traditions, and American history to tell stories with universal lessons. Alongside his satirical, history paintings, Denomie created a deeply personal body of work that depicts his spirituality, memories, and relationship to place.   In addition to its incisive essays, the book includes forewords by Denomie’s friend and gallerist, Todd Bockley, and the artist’s wife, the author Diane Wilson, as well as a transcript of one of his final interviews. In its totality, this catalogue begins the conversation around the lasting impact of Denomie’s work and life.   Distributed for the Minneapolis Institute of Art   Exhibition Schedule:   Minneapolis Institute of Art (July 8, 2023–March 24, 2024)  

Honore Sharrer (1920-2009) was a major art world figure in 1940s America, celebrated for exquisitely detailed paintings conveying subtly subversive critiques of the political and artistic climate of her time. This book offers the first critical reassessment of the artist: a leftist, female painter committed to figuration in an era when anti-Communist sentiment and masculine Abstract Expressionism dominated American culture. Her brightly colored, humorous, and distinctly feminine paintings combine elements of social realism and surrealism to seductive and disquieting effect. This publication is a timely reevaluation of an artist who pushed the boundaries of figurative painting with playfulness and biting wit. Distributed for the Columbus Museum of Art Exhibition Schedule: Columbus Museum of Art (02/10/17-05/21/17) Pennsylvania Academy of the Fine Arts, Philadelphia (06/30/17-09/03/17) Smith College Museum of Art, Northamton, MA (09/21/17-01/07/18)

Chicago has for decades years been one of the most prominent cities where European surrealism is avidly collected and displayed. However, there has yet to be a scholarly exhibition and catalogue that addresses the local manifestations of this international mode of art. A Home for Surrealism focuses on a select group of painters whose work in the 1940s and ’50s both transformed the domestic and domesticated the surrealist, particularly in Chicago. Working independently, but within a chain of social and artistic relationships, this group explored the interior as a site of projected imagination and fantasy, and the self as the generator of such altered perception. Including contributions by Robert Cozzolino, Adam Jolles, and Joanna Pawlik, the book provides a richly illustrated account of an international movement’s unlikely—but somehow ever so fitting—home in America.