The fifth and final volume in the Essays by Leo Steinberg series, focusing on modern artists.   Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures ranging from old masters to modern art, he combined scholarly erudition with eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His writings, sometimes provocative and controversial, remain vital and influential reading. Steinberg’s perceptions evolved from long, hard looking at his objects of study. Almost everything he wrote included passages of formal analysis that were always put into the service of interpretation.   Following the series publication on Pablo Picasso, this volume focuses on other modern artists, including Cézanne, Monet, Matisse, Max Ernst, Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Hans Haacke, and Jeff Koons. Included are seven unpublished lectures and essays, Steinberg’s landmark essay “Encounters with Rauschenberg,� a survey of twentieth-century sculpture, and an examination of the role of authorial predilections in critical writing. The final chapter presents a collection of Steinberg’s humorous pieces, witty forays penned for his own amusement.    Modern Art is the fifth and final volume in a series that presents Steinberg’s writings, selected and edited by his longtime associate Sheila Schwartz.  

This exhibition will be the first American retrospective of Donald Judd's work in thirty years. Due to the unprecedented archival access granted by the Judd Foundation to MoMA's curatorial team, this show presents a unique opportunity to assess Judd's career anew.

Most writings to date have dwelled on Judd's place within Minimalism and drawn heavily on biography as well as the artist's own statements on his work. With an aim to counter the mythologizing and interpretation-heavy literature that still prevails in Judd scholarship, this book will marshal in-depth research in order to expand readers' knowledge of the revolutionary nature of his working method. The essays included will delve into the specifics of Judd's industrial materials, fabrication processes, exhibition histories, and activities related to design and architecture.

A groundbreaking examination of the "double" in modern and contemporary art From ancient mythology to contemporary cinema, the motif of the double-which repeats, duplicates, mirrors, inverts, splits, and reenacts-has captured our imaginations, both attracting and repelling us. The Double examines this essential concept through the lens of art, from modernism to contemporary practice-from the paired paintings of Henri Matisse and Arshile Gorky, to the double line works of Piet Mondrian and Marlow Moss, to Eva Hesse's One More Than One, Lorna Simpson's Two Necklines, Roni Horn's Pair Objects, and Rashid Johnson's The New Negro Escapist Social and Athletic Club (Emmett). James Meyer's survey text explores four modes of doubling: Seeing Double through repetition; Reversal, the inversion or mirroring of an image or form; Dilemma, the staging of an absurd or impossible choice; and the Divided and Doubled Self (split and shadowed selves, personae, fraternal doubles, and pairs). Thought-provoking essays by leading scholars Julia Bryan-Wilson, Tom Gunning, W.J.T. Mitchell, Hillel Schwartz, Shawn Michelle Smith, and Andrew Solomon discuss a host of topics, including the ontology and ethics of the double, the double and psychoanalysis, double consciousness, the doppelganger in silent cinema, and the queer double. Richly illustrated throughout, The Double is a multifaceted exploration of an enduring theme in art, from painting and sculpture to photography, film, video, and performance. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC July 10-October 31, 2022

More than any other decade, the Sixties captures our collective cultural imagination. And while many Americans can immediately imagine the sound of Martin Luther King, Jr. declaring, "I Have A Dream," or envision hippies placing flowers in gun barrels while staring down the National Guard, the revolutionary Sixties resonate around the world: China's communist government inaugurated a new cultural era, African nations won independence from colonial rule, and students across Europe took to the streets calling for an end to capitalism, imperialism, and the brutality of the Vietnam War. In this highly original work, James Meyer turns to art criticism, theory, memoir, and fiction to examine the fascination with the long Sixties and contemporary expressions of these cultural memories across the globe. Meyer draws on a diverse range of cultural objects that reimagine this revolutionary era stretching from the 1950s to the 1970s, including reenactments of civil rights, antiwar, and feminist marches, Cai Guo-Qiang's reconstructions of an iconic Cultural Revolution-era sculpture, and the television series Mad Men, to name only a few. Many of these works were created by artists and writers born during the long Sixties, who are driven to understand a monumental era that they missed. These cases show us that the past becomes significant only in relation to our present, and our remembered history, whether dark or glowingly nostalgic, never perfectly replicates time passed. This, Meyer argues, is precisely what makes our contemporary attachment to the past so important: it provides us with a critical opportunity to examine our own relationship to history, memory, and nostalgia.

Virginia Dwan is one of the most influential figures in the history of twentieth-century American art. Her eponymously named galleries, the first established in a Los Angeles storefront in 1959, followed by a second in New York in 1965, became a beacon for influential postwar American and European artists. She sponsored the debut show for Yves Klein in the United States, and she championed such artists as Franz Kline, Robert Rauschenberg, Claes Oldenburg, Sol LeWitt, and Ad Reinhardt. Her Los Angeles gallery featured abstract expressionism, neo-dada, and pop, while the New York branch became associated with the emerging movements of minimalism and conceptualism. At the same time, the gallery's influence expanded to remote locations in Nevada, Utah, and Arizona, where Dwan sponsored such iconic earthworks as Robert Smithson's Spiral Jetty, Michael Heizer's Double Negative, and Walter De Maria's Lightning Field. Though Dwan was a major force in the art world of the sixties and seventies, her story and the history of her gallery have been largely unexplored until now. Published to coincide with an exhibition at the National Gallery of Art celebrating Dwan's gift to the Gallery of her extraordinary personal collection, From Los Angeles to New York: The Dwan Gallery, 1959 1971 explores her remarkable career. Alongside lush full-color images of one hundred leading artworks, the book deepens our understanding of the artistic exchanges Dwan facilitated during this age of mobility, when air travel and the interstate highway system linked the two coasts and transformed the making of art and the sites of its exhibition. James Meyer, the curator of the exhibition and the foremost authority on minimal art, contributes a essay that is a sophisticated and broad-ranging analysis of Dawn's legacy. Honoring Dwan's significant influence and impact on postwar art, From Los Angeles to New York is a rich and informative collection that will be treasured by fans of contemporary art.

This is a new release of the original 1931 edition.

"I rush to the door and attempt to pry it open, the door is firmly latched. I sink to my knees in despair. I'm guilty of countless misdeeds and under the death penalty. I place my face in my hands and prepare myself for execution. I'm overcome with guilt, tears of remorse fill my eyes and I cry out... I deserve to die " "I feel a hand on my shoulder and expect to see my executioner. I look up to a large hooded man dressed in black He extends his hand I reluctantly grasp his hand and expect to be led out to my execution. The hooded man motions to the open door and says... you're free " ..".I possess power and influence and my followers look to me for leadership I wrestle not against flesh and blood, but against principalities, against powers, against rulers of darkness of this world, against spiritual wickedness in Mohamed's high place. I'm challenged to join forces with Mohamed and lead my followers to war against western nations and fight for Mohamed's ideologies. And I'm challenged to love my followers with grace and fight the spiritual war to destroy Mohamed's high place and lead my followers to their legacy of peace " This is a story of intrigue, suspense, spiritual warfare... and love with grace Jim is retired and traveled nationally and internationally as a computer consultant gaining a wealth of acquaintances, friends and experiences. He and his wife are parents of twins and grandparents of two preteen boys. Jim's active in children's and middle school ministries and a serious Bible student. He writes stories with characters living Biblical parallels to world events.

College Art Association's Frank Jewett Mather Award for Distinction in Art Criticism, February 2006. The HIV epidemic animates this collection of essays by a noted artist, writer, and activist. "So total was the burden of illness--mine and others'--that the only viable response, other than to cease making art entirely, was to adjust to the gravity of the predicament by using the crisis as a lens," writes Gregg Bordowitz, a film- and video-maker whose best-known works, "Fast Trip Long Drop" (1993) and "Habit" (2001), address AIDS globally and personally. In "The AIDS Crisis Is Ridiculous"--the title essay is inspired by Charles Ludlam, founder of the Ridiculous Theater Company--Bordowitz follows in the tradition of artist-writers Robert Smithson and Yvonne Rainer by making writing an integral part of an artistic practice. Bordowitz has left his earliest writings for the most part unchanged--to preserve, he says, "both the youthful exuberance and the palpable sense of fear" created by the early days of the AIDS crisis. After these early essays, the writing becomes more experimental, sometimes mixing fiction and fact; included here is a selection of Bordowitz's columns from the journal "Documents," "New York Was Yesterday." Finally, in his newest essays he reformulates early themes, and, in "My Postmodernism" (written for "Artforum"'s fortieth anniversary issue) and "More Operative Assumptions" (written especially for this book), he reexamines the underlying ideas of his practice and sums up his theoretical concerns. In his mature work, Bordowitz seeks to join the subjective--the experience of having a disease--and the objective--the fact of the disease as a global problem. He believesthat this conjunction is necessary for understanding and fighting the crisis. "If it can be written," he says, "then it can be realized."

Zikarown Say'fer, memorial book as in Exodus 17:14, is a version of the Scriptures meant to bring out the ancient language intricacies that have been lost in modern translations. Zikarown is the transliteration of the Hebrew word for memorial or rehearsal. The Scriptures are meant to be rehearsed as instruction for the path to eternal life. Yahweh and Yahshua's names are restored to the text through the Bora Paleo Hebrew font. For more information please refer to Paleo Times.