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

Flags and Faces, based on David Lubin's 2008 Franklin D. Murphy Lectures at the University of Kansas, shows how American artists, photographers, and graphic designers helped shape public perceptions about World War I. In the book's first section, Art for War's Sake," Lubin considers how flag-based patriotic imagery prompted Americans to intervene in Europe in 1917. Trading on current anxieties about class, gender, and nationhood, American visual culture made war with Germany seem inevitable. The second section, Fixing Faces," contemplates the corrosive effects of the war on soldiers who literally lost their faces on the battlefield, and on their families back home. Unable to endure distasteful reminders of war's brutality, postwar Americans grew obsessed with physical beauty, as seen in the simultaneous rise of cosmetic surgery, the makeup industry, beauty pageants, and the cult of screen goddesses such as Greta Garbo, who was worshipped for the masklike perfection of her face. Engaging, provocative, and filled with arresting and at times disturbing illustrations, Flags and Faces offers striking new insights into American art and visual culture from 1915 to 1930.

A vivid, engaging account of the artists and artworks that sought to make sense of America's first total war, Grand Illusions takes readers on a compelling journey through the major historical events leading up to and beyond US involvement in WWI to discover the vast and pervasive influence of the conflict on American visual culture. David M. Lubin presents a highly original examination of the era's fine arts and entertainment to show how they ranged from patriotic idealism to profound disillusionment. In stylishly written chapters, Lubin assesses the war's impact on two dozen painters, designers, photographers, and filmmakers from 1914 to 1933. He considers well-known figures such as Marcel Duchamp, John Singer Sargent, D. W. Griffith, and the African American outsider artist Horace Pippin while resurrecting forgotten artists such as the mask-maker Anna Coleman Ladd, the sculptor Gertrude Vanderbilt Whitney, and the combat artist Claggett Wilson. The book is liberally furnished with illustrations from epoch-defining posters, paintings, photographs, and films. Armed with rich cultural-historical details and an interdisciplinary narrative approach, David Lubin creatively upends traditional understandings of the Great War's effects on the visual arts in America.

Jack and Jackie sailing at Hyannis Port. President Kennedy smiling and confident with the radiant first lady by his side in Dallas shortly before the assassination. The Zapruder film. Jackie Kennedy mourning at the funeral while her small son salutes the coffin. These images have become larger than life; more than simply photographs of a president, or of celebrities, or of a tragic event, they have an extraordinary power to captivate--today as in their own time. In Shooting Kennedy, David Lubin speculates on the allure of these and other iconic images of the Kennedys, using them to illuminate the entire American cultural landscape. He draws from a spectacularly varied intellectual and visual terrain--neoclassical painting, Victorian poetry, modern art, Hollywood films, TV sitcoms--to show how the public came to identify personally with the Kennedys and how, in so doing, they came to understand their place in the world. This heady mix of art history, cultural history, and popular culture offers an evocative, consistently entertaining look at twentieth-century America. Marilyn Monroe, Sylvia Plath, Donna Reed, Playboy magazine, Jack Ruby, the Rosenbergs, and many more personalities, little-known events, and behind-the-scenes stories of the era enliven Lubin's account as he unlocks the meaning of these photographs of the Kennedys. Elegantly conceived, witty, and intellectually daring, Shooting Kennedy becomes a stylish meditation on the changing meanings of visual phenomena and the ways they affect our thinking about the past, the present, and the process of history.

Clifford Ross’s photographic and video practices over the past thirty years reveals one of the most incisive and technically sophisticated investigations of the nature of vision in the medium’s history. Sightlines showcases the range and depth of Clifford Ross’s art by presenting the inexhaustible variety of visual experience he has created with two primary subjects: mountain and sea. In our era of unprecedented environmental peril, his inventive exploration of the iconic subjects of the mountain and the sea convey powerful creative engagement with the landscapes that are both majestic and fragile.

A fresh and surprising overview of N. C. Wyeth's career that considers the full range of the multifaceted artist's oeuvre N. C. Wyeth (1882-1945) was widely renowned for his iconic images of characters such as King Arthur, Robin Hood, and Robinson Crusoe that were reproduced as illustrations for books and magazines. The patriarch of the Wyeth family, father of Andrew Wyeth and grandfather of Jamie, he was also an artist with a broad purview whose work includes impressionist views of the Pennsylvania countryside and 1930s modernist interpretations of Maine coastal scenes. The book's essays look at topics such as Wyeth's contributions to the visual mythology of the American West, the darker nuances found in his Treasure Island illustrations, and correlations between his illustrations and cinema. Also explored is the way in which Wyeth's own Chadds Ford properties reflect his conception of home and the role of the artist in American society. Complete with a detailed chronology, this carefully researched study of Wyeth's life and work provides a long overdue assessment of the remarkable breadth of this complex yet often misunderstood artist.

The story of a bittersweet, impromptu art exhibition for President and Mrs. Kennedy The events associated with John F. Kennedy's death are etched into our nation's memory. This fascinating book tells a less familiar part of the story, about a special art exhibition organized by a group of Fort Worth citizens. On November 21, 1963, the Kennedys arrived in Fort Worth around midnight, making their way to Suite 850 of the Hotel Texas. There, installed in their honor, was an intimate exhibition that included works by Monet, Van Gogh, Marin, Eakins, Feininger, and Picasso. Due to the late hour, it was not until the following morning that the couple viewed the exhibition and phoned one of the principal organizers, Ruth Carter Johnson, to offer thanks. Mrs. Kennedy indicated that she wished she could stay longer to admire the beautiful works. The couple was due to depart for Dallas, and the rest is history. This volume reunites the works in this exhibition for the first time and features some previously unpublished images of the hotel room. Essays examine this exhibition from several angles: anecdotal, analytical, cultural, and historical, and include discussions of what the local citizens wished to convey to their distinguished viewers. Distributed for the Dallas Museum of Art and Amon Carter Museum of American Art Exhibition Schedule: Dallas Museum of Art (05/26/13-09/15/13) Amon Carter Museum of American Art (10/12/13-01/12/14)