Traces the feminist icon Carolee Schneemann's prolific six-decade output, spanning her remarkably diverse, transgressive, and interdisciplinary expression Carolee Schneemann (1939-2019) was one of the most experimental artists of the twentieth and early twenty-first centuries. This book traces six decades of the feminist icon's diverse, transgressive and interdisciplinary expression through Schneemann's experimental early paintings, sculptural assemblages and kinetic works; rarely seen photographs of her radical performances; her pioneering films; and groundbreaking multi-media installations. Contributors shed new light on Schneemann's work, which addressed urgent topics from sexual expression and the objectification of women to human suffering and the violence of war. An artist who was concerned with the precarious lived experience of both humans and animals, this book positions Schneemann as one of the most relevant, provocative and inspiring artists in recent years. Published in association with Barbican Art Gallery Exhibition Schedule: Barbican Art Gallery, London (September 8, 2022-January 8, 2023)

The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and '70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art. The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London's art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End's familiar galleries and posed a radical challenge to established modes of making and understanding art. Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and '70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking. In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Julia, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.

An illuminating study of an overlooked artist from the 1960s whose work has recently returned to the limelight This is the first in-depth study of the idiosyncratic ten-year career of Lee Lozano (1930-1999), assuring this important artist a key place in histories of post-war art. The book charts the entirety of Lozano's production in 1960s New York, from her raucous drawings and paintings depicting broken tools, genitalia, and other body parts to the final exhibition of her spectacular series of abstract "Wave Paintings" at the Whitney Museum of American Art in 1970. Highly regarded at the time, Lozano is now perhaps best known for Dropout Piece (1970), a conceptual artwork and dramatic gesture with which she quit the art world. Shortly afterwards she announced she would have no further contact with other women. Her "dropout" and "boycott of women" lasted until her death, by which time she was all but forgotten. This book tackles head-on the challenges that Lozano poses to art history-and especially to feminist art history-attending to her failures as well as her successes, and arguing that through dead ends and impasses she struggled to forge an alternative mode of living. Lee Lozano: Not Working looks for the means to think about complex figures like Lozano whose radical, politically ambiguous gestures test our assumptions about feminism and the "right way" to live and work.

This beautifully illustrated book takes readers inside Samuel and Gabrielle Lurie's dynamic private collection of contemporary British art, an intended gift to the Yale Center for British Art. Spanning the past four decades, the collection includes major works by Ian Stephenson, Patrick Caulfield, and John Walker, as well as important prints by Howard Hodgkin and R. B. Kitaj. At its core are 52 paintings and drawings by John Hoyland, widely considered one of Britain's foremost abstract painters. The Independent Eye features an interview with the Luries, as well as essays by leading critics and writers, some of whom were and are personally acquainted with the artists represented. These experts assess individual artists and works, explore their inspirations and methods, and define their shared experiences and values. They also address subjects such as the overall importance of the collection and postwar art in Britain. Distributed for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art (09/16/10-01/02/11)

The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and '70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art. The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London's art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End's familiar galleries and posed a radical challenge to established modes of making and understanding art. Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and '70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking. In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Julia, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.

A comprehensive study highlighting the interplay of context and meaning in Robert Ryman's work This remarkable volume, featuring new photography and original essays by a formidable array of scholars and curators, is the most expansive and thorough investigation of the work of American painter Robert Ryman in over two decades. Arguing that the relationships between his paintings are key to understanding his diverse output, the book offers more faithful reproductions and subtler details of the paintings than have previously been available, and attends closely to the artist's own strategies of display. Ryman's paintings are readily identified by their predominantly achromatic surfaces, but his exploration of the values and effects of white was never limited to paint. His experimentations with canvas, board, paper, aluminum, fiberglass, and Plexiglas have evolved into a material vocabulary as revolutionary as his use of white. The texts featured here reflect on the importance of Ryman's practice to contemporary art: Robert Storr, curator of Ryman's 1993 retrospective, places the painter in historical context while Courtney J. Martin, curator of his 2015-16 exhibition at Dia Chelsea, looks at Ryman's three-dimensional works. Drawings scholar Allegra Pesenti investigates his drawing practice; music historian John Szwed traces the influence of jazz in Ryman's early works; and artist Charles Gaines asks what, in a Ryman, is real. Published in association with Dia Art Foundation