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A rich exploration of American artworks that reframes them within current debates on race, gender, the environment, and more Object Lessons in American Art explores a diverse gathering of Euro-American, Native American, and African American art from a range of contemporary perspectives, illustrating how innovative analysis of historical art can inform, enhance, and afford new relevance to artifacts of the American past. The book is grounded in the understanding that the meanings of objects change over time, in different contexts, and as a consequence of the ways in which they are considered. Inspired by the concept of the object lesson, the study of a material thing or group of things in juxtaposition to convey embodied and underlying ideas, Object Lessons in American Art examines a broad range of art from Princeton University's venerable collections as well as contemporary works that imaginatively appropriate and reframe their subjects and style, situating them within current social, cultural, and artistic debates on race, gender, the environment, and more. Distributed for the Princeton University Art Museum
After 1500, as Catholic Europe fragmented into warring sects, evidence of a pagan past came newly into view, and travelers to distant places encountered deeply unfamiliar visual cultures, it became ever more pressing to distinguish between the sacred image and its opposite, the 'idol'. Historians and philosophers have long attended to Reformation charges of idolatry - the premise for image-breaking - but only very recently have scholars begun to consider the ways that the idol occasioned the making no less than the destruction. The present book focuses on how idols and ideas about them matter for the history of early modern objects produced around the globe, especially those created in the context of an exchange or confrontation between an 'us' and a 'them'. Ranging widely within the early modern period, the volume contributes to the project of globalizing the study of European art, bringing the continent's commercial, colonial, antiquarian, and religious histories into dialogue. Its studies of crosses, statues on columns, wax ex-votos, ivories, prints, maps, manuscripts, fountains, banners, and New World gold all frame Western 'art' simultaneously as an idea and as a collection of real things, arguing that it was through the idol that object-makers and writers came to terms with what it was that art should be, and do.
During the 1960s and 70s, Chicago was shaped by art and ideas produced and circulated on its South Side. Defined by the city’s social, political, and geographic divides and by the energies of its multiple overlapping art scenes, this vibrant moment of creative expression produced a cultural legacy whose impact continues to unfold nationally and internationally. The Time is Now! Art Worlds of Chicago’s South Side, 1960-1980, published in tandem with an exhibition at the Smart Museum of Art, examines this cultural moment—brimming with change and conflict—and the figures who defined it. Focusing primarily on African American artists in and out of the Black Arts Movement, The Time is Now! re-examines watershed cultural moments: from the Wall of Respect to Black Creativity, from the Civil Rights Movement to AfriCOBRA, from vivid protest posters to visionary Afrofuturist art, and from the Hairy Who to the radical sounds of the Association for the Advancement of Creative Musicians. Employing new scholarship that reassesses and recalibrates traditional narratives of postwar Chicago art, the exhibit resonates with current national dialogues around race, gender, protest, and belonging. The book contains a series of long and short essays, interviews, and other contextual material, along with full-color images of all works included in the exhibition and extensive reproductions of ephemera and historical photographs
The Wall of Respect: Public Art and Black Liberation in 1960s Chicago is the first in-depth, illustrated history of a lost Chicago monument. The Wall of Respect was a revolutionary mural created by fourteen members of the Organization of Black American Culture (OBAC) on the South Side of Chicago in 1967. This book includes photographs by Darryl Cowherd, Bob Crawford, Roy Lewis, and Robert A. Sengstacke, and gathers historic essays, poetry, and previously unpublished primary documents from the movement's founders that provide a guide to the work's creation and evolution. The Wall of Respect received national critical acclaim when it was unveiled on the side of a building at Forty-Third and Langley in Chicago's Bronzeville neighborhood. Painters and photographers worked side by side on the mural's seven themed sections, which featured portraits of Black heroes and sheroes, among them John Coltrane, Nina Simone, Billie Holiday, Malcolm X, Muhammad Ali, and W. E. B. Du Bois. The Wall became a platform for music, poetry, and political rallies. Over time it changed, reflecting painful controversies among the artists as well as broader shifts in the Civil Rights and Black Liberation Movements. At the intersection of African American culture, politics, and Chicago art history, The Wall of Respect offers, in one keepsake-quality work, an unsurpassed collection of images and essays that illuminate a powerful monument that continues to fascinate artists, scholars, and readers in Chicago and across the United States.
In 1540 Antonio Lafreri, a native of Besancon transplanted to Rome,
began publishing maps and other printed images that depicted major
monuments and antiquities in Rome. These prints--of statues and
ruined landscapes, inscriptions and ornaments, reconstructed
monuments and urban denizens--evoked ancient Rome and appealed to
the taste for classical antiquity that defined the Renaissance.
Collections of these prints came to be known as the "Speculum
Romanae Magnificentiae," the "Mirror of Roman Magnificence."
In 1968, Chicago made headlines for the ferocity of its police
response to protesters at the Democratic National Convention,
prompting outrage in the art world. Some artists pulled their shows
from the city and called for a boycott until the mayor left office.
But others responded artistically, creating new works and even full
exhibitions in reaction to the political and social issues raised
by the summer's events.
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