Americans in Paris: Artists Working in Postwar France, 1946–1962 delves into the various circles of artists who lived in France following World War II. Featuring new scholarship and illuminating essays, this groundbreaking volume illustrates many of the paintings, sculptures, drawings, prints, photos, and films produced during these fertile years. Americans in Paris introduces the story of the American creative community that inhabited the City of Light following World War II. Proposing Paris as decisive for the development of postwar American art, this volume investigates the academies where many of these artists studied, the spaces where their work was exhibited, the aesthetic discourses that animated their conversations, their interactions with European artists, and the overarching issue of what it meant to be an American abroad.

Memoir of a provocative Parisian art dealer at the heart of the 20th-century art world, available in English for the first time. Berthe Weill, a formidable Parisian dealer, was born into a Jewish family of very modest means. One of the first female gallerists in the business, she first opened the Galerie B. Weill in the heart of Paris's art gallery district in 1901, holding innumerable exhibitions over nearly forty years. Written out of art history for decades, Weill has only recently regained the recognition she deserves. Under five feet tall and bespectacled, Weill was beloved by the artists she supported, and she rejected the exploitative business practices common among art dealers. Despite being a self-proclaimed "terrible businesswoman," Weill kept her gallery open for four decades, defying the rising tide of antisemitism before Germany's occupation of France. By the time of her death in 1951, Weill had promoted more than three hundred artists-including Henri Matisse, Pablo Picasso, Amedeo Modigliani, Diego Rivera, and Suzanne Valadon-many of whom were women and nearly all young and unknown when she first exhibited them. Pow! Right in the Eye! makes Weill's provocative 1933 memoir finally available to English readers, offering rare insights into the Parisian avant-garde and a lively inside account of the development of the modern art market.

Perhaps more than anything else, it is the concept of the everyday that has most marked the arts and culture of the twentieth century. Nowhere has this been so clearly articulated as in France after World War II. Indeed, the 1950s and 1960s in France were awash in a sociological fascination with the transformed rhythms and accoutrements of daily lived experience.

"The Art of the Everyday" features essays by prominent writers on the topic of the quotidian in philosophy, cinema, theater, photography, and other visual arts of postwar France. In particular, a number of younger artists practicing today--such as JoAl BartolomA(c)o, Rebecca Bournigault, Claude Closky, FrA(c)dA(c)ric Coupet, Valerie Jouve, Philippe Mairesse, Jean-Luc MoulA]ne, and Rainer Oldendorf--find inspiration in the stuff of everyday life, rejecting an outmoded reverence for "le grand goAt," For them, the sophisticated urbanity of the nineteenth-century "flA[neur" has mutated into a city dweller well-acquainted with the often unpleasant requirements of city life.

A panorama of an important aspect of postwar French culture, "The Art of the Everyday "brings to light the work of a new generation of contemporary French artists viewed through the lens of daily experience.

Modernisms explores art from the 1960s and early ’70s from Iran, Turkey, and India via selections from an unparalleled collection at New York University. Featuring new scholarship and seminal essays, this book also illustrates paintings, sculptures, drawings, and prints from these three countries alongside biographical narratives of each artist. Modernisms will be the first book to provide a cross-cultural study of works from Iran, Turkey, and India. In so doing, it will illuminate our understanding of modern art created outside the long-dominant North American–Western European axis. With nearly 700 works, the Abby Weed Grey Collection comprises the largest institutional holdings of modern art from Iran and Turkey outside those countries, and the most important trove of modern Indian art in an American university museum. Proposing non- Western art as a critical component of modernity, this publication challenges the long held belief that other modernisms are second-rate.