Carved from the heart [videorecording]
Call Number: DVD H 18
Carved from the heart: Stan Marsden lost his son to a cocaine overdose and decided to create a totem pole in his son's memory, inviting the town of Craig, Alaska to help. "Intertwines the process of carving the Healing Heart Totem pole with participants' stories of involvement and healing ... death and dying, suicide, family relationships and parenting, substance abuse, family violence and the impact of the Vietnam War on veterans and their families ... shows the importance of ceremony and culture [in] facing tragedy and how communities can provide support to [their] members ... also acknowledges the intergenerational grief that grows out of rapid changes in lifestyle and interruptions [in] the passage of tradition and knowledge within Alaska Native and American Indian communities."
Call Number: OVERSIZE N5750 .D44 2013
Publication Date: 2013-06-11
This informative and engaging book on the Museum's outstanding collection of Etruscan art also provides an introduction to the fascinating and diverse culture of ancient Etruria, which thrived in central Italy from about 900 to 100 B.C. Masterpieces of the collection include 7th century B.C. objects from the Monteleone di Spoleto tomb group (including the famous remarkably well-preserved bronze chariot), intricate gold jewelry, carved gems, and wonderful ambers. For the first time in more than 70 years, this incredible body of work is published in a comprehensive and beautifully designed book that draws upon decades of exhaustive research. Etruscan Art opens with short histories of pre-Roman Italy, Etruscan Studies, and the Metropolitan's collection, followed by chronological analyses of tomb groups, types of objects, and individual objects. The closing section features forgeries, pastiches, and objects of uncertain authenticity, all previously thought to be genuine. Richard Daniel De Puma, one of the foremost experts on Etruscan art, provides an invaluable new contribution to the study of ancient Italy.
Call Number: OVERSIZE N6537.F68 A4 2013
Publication Date: 2013-01-29
This exhibition catalog accompanies the first comprehensive retrospective of the Los Angeles-based multimedia painter. Throughout his career, Llyn Foulkes has been working on the fringes of the art establishment, rebelling against commercialism, innovating new techniques of painting, and amassing a hugely diverse body of work. An extensive exploration of his career by curator Ali Subotnick helps readers appreciate the more than 130 works included in this monograph. Foulkes's paintings of America's rocky landscapes and postcard imagery; his enormous tableaux that combine painting with woodworking, found materials, and thick mounds of modeling paste; his provocative Bloody Head portraits; and his social commentary paintings targeting corporate America (especially Disney) are all featured in the book. Also included are essays that focus on Foulkes's obsession with the American landscape, corporate culture, and music as well as his frequent self-portraits.
Call Number: OVERSIZE N6537.T78 A4 2013
Publication Date: 2013-04-11
Copublished with the Los Angeles County Museum of Art for the major touring retrospective and concurrent exhibitions at the Solomon R. Guggenheim Museum, New York and The Museum of Fine Arts, Houston, this comprehensive volume illuminates the origins and motivations of James Turrell's incredibly diverse and exciting body of work--from his Mendota studio days to his monumental work-in-progress Roden Crater. Whether he's projecting shapes on a flat wall or into the corner of a gallery space, James Turrell is perpetually asking us to "go inside and greet the light"--evoking his Quaker upbringing. In fact, all of Turrell's work has been influenced by his life experiences with aviation, science, and psychology, and as a key player in Los Angeles's exploding art scene of the 1960s. Enhanced by thoughtful essays and an illuminating interview with the artist, this monograph explores every aspect of Turrell's career to date--from his early geometric light projections, prints, and drawings, through his installations exploring sensory deprivation and seemingly unmodulated fields of colored light, to recent two-dimensional experiments with holograms. It also features an in-depth look at Roden Crater, a site-specific intervention into the landscape near Flagstaff, Arizona, which will be presented through models, plans, photographs, and drawings. Fans of this highly influential artist will find much to savor in this wide-ranging and beautiful book, featuring specially commissioned new photography by Florian Holzherr.
New York Nights
Call Number: OVERSIZE NA6225 .M873 2012
Publication Date: 2012-11-21
Having captured and preserved the beauty and charm of New York City's traditional shops and lamented their dwindling numbers in the bestselling Store Front - The Disappearing Face of New York, James and Karla Murray have returned to the city's streets once more to expose the city bathed in light. New York Nights contains vivid photographs of an outstanding selection of bars & pubs, restaurants and cafes, music venues, and shops, all with historical significance and enduring after-dark aesthetics.
Nature According to de Chirico
Call Number: OVERSIZE ND623.D37273 A4 2010
Publication Date: 2010-12-16
De Chirico (1888-1978) is the father of the Metaphysic, the most relevant cultural movement of the entire XX century.
Black Mountain College
Call Number: OVERSIZE NX405.B55 B552 2013
Publication Date: 2013-02-01
Although it lasted only twenty-three years (1933--1956) and enrolled fewer than 1,200 students, Black Mountain College was one of the most fabled experimental institutions in art education and practice. Faculty members included Anni Albers, Josef Albers, Ilya Bolotowsky, John Cage, Harry Callahan, Merce Cunningham, Buckminster Fuller, Walter Gropius, Clement Greenberg, Lou Harrison, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Roger Sessions, Ben Shahn, Aaron Siskind, Esteban Vicente, and Stefan Wolpe. Among their students were Ruth Asawa, John Chamberlain, Ray Johnson, Kenneth Noland, Robert Rauschenberg, Dorothea Rockburne, Cy Twombly, and Susan Weil. Literature teachers included Robert Creeley, Robert Duncan, Charles Olson, and M.C. Richards, with students Fielding Dawson, Ed Dorn, Francine du Plessix Gray, Joel Oppenheimer, Arthur Penn, John Wieners, and Jonathan Williams. This book -- the paperback edition of a milestone work that has been unavailable for several years -- documents the short but influential life of Black Mountain College. Nearly 500 images, many in color and published for the first time in this book, show important works of art created by Black Mountain College faculty and students as well as snapshots of campus life. Four essays, all commissioned for the book, offer closer looks at the world of Black Mountain. Poet Robert Creeley recounts his first meeting with his mentor and friend Charles Olson. Composer Martin Brody offers a history of the musical world of the 1930s to 1950s, in which Black Mountain played a significant role. Critic Kevin Power looks at the experimental literary journal " The Black Mountain Review," which was instrumental in launching the Black Mountain school of poetry. The books editor, Vincent Katz, discusses the philosophy of the colleges founders, the Bauhaus principles followed by art instructor Josef Albers, and the many interactions among the arts in the colleges later years.
Call Number: OVERSIZE SB482.N72 N4 2009
Publication Date: 2009-10-31
This tome, commissioned by the New York City Department of Parks Recreation, covers the 8,700 acres within the five boroughs of New York City that still exist in their original pristine state, as well as areas within parks that have been left to revert to wilderness.
Paul Strand in Mexico
Call Number: OVERSIZE TR140.S7345 K75 2010
Publication Date: 2010-11-15
A lusciously produced monograph, Paul Strand in Mexico tells the story of Strands journeys through Mexico in the early 1930s. In search of a fresh start, Strand traveled to Mexico City in late 1932 at the invitation of Carlos Ch vez, the eminent Mexican composer and conductor. The work he created during this key period reflects a time of intense productivity, creative renewal, and the evolution of Strands foundational idea of the collective portrait, in which he depicted a region through photographs of individuals, still lifes, and studies of architecture and religious subjects. The first publication to chronicle this pivotal time in Strands career (193234), Paul Strand in Mexico demonstrates how, through his photographic studies and work in film, Strand deepened his involvement with Mexican art, society, and revolutionary politics. Shedding new light on this little-known chapter of Strands life, author James Krippners in-depth, scholarly analysis brings together primary research from distinguished archives and institutions in both Mexico and the United States, and Mexican photo-historian Alfonso Morales contributes an essay contextualizing this remarkable body of work within the cannon of Mexican photography and film of the 1930s. Additionally, the appendix serves as the catalogue raisonn of Strands entire photographic output in Mexico. The culmination of Strands time in Mexico was his collaboration with Emilio G mez Muriel and Academy Awardwinning director Fred Zinnemann on the groundbreaking film, Redes (The Wave; 1936). A remastered DVD version of the film is included with this essential volume.
The Latin American Photobook
Call Number: OVERSIZE TR27.5 .F4713 2011
Publication Date: 2011-10-31
A growing appreciation of the photobook has inspired a flood of new scholarship and connoisseurship of the formfew as surprising and inspiring as The Latin American Photobook, the culmination of a four-year, cross-continental research effort led by Horacio Fernández, author of the seminal volume, Fotografia Pública. Compiled with the input of a committee of researchers, scholars, and photographers, including Marcelo Brodsky, Iatã Cannabrava, Pablo Ortiz Monasterio, and Martin Parr, The Latin American Photobook presents one hundred and fifty volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru, and Venezuela. The Latin American Photobook begins with the 1920s and continues up to today, providing revelatory perspectives on the undercharted history of Latin American photography, and featuring work by great figures such as Claudia Andujar, Barbara Brändli, Manuel Álvarez Bravo, Horacio Coppola, Paz Errázuriz, Graciela Iturbide, Sara Facio, Paolo Gasparini, Daniel González, Boris Kossoy, Sergio Larrain, and many others. The book is divided into thematic sections such as The City, Conceptual Art and Photography, and Photography and Literature, a category uniquely important to Latin America. Fernandezs texts, exhaustively researched and richly illustrated, offer insights not only on each individual title and photographer, but on the multivalent social, political, and artistic histories of the region as well. This book is an unparalleled resource for those interested in Latin American photography or in discovering these heretofore unknown gems in the history of the photobook at large.
Call Number: OVERSIZE TR645.M52 M523 2013
Publication Date: 2013-04-30
Today color photography is so ubiquitous that its hard to believe there was a time when this was not the case. Color Rush: Seventy-five Years of Color Photography in America explores the developments that led us to this point, looking at the way color photographs circulated and appeared at the time of their making. From magazine pages to gallery walls, from advertisements to photojournalism, Color Rush charts the history of color photography in the United States from the moment it became available as a mass medium to the moment when it no longer seemed an unusual choice for artists. The book begins with the 1907 unveiling of autochrome, the first commercially available color process, and continues up through the 1981 landmark survey show and book, The New Color Photography, which hailed the widespread acceptance of color photography in contemporary art. In the intervening years, color photography captured the popular imagination through its visibility in magazines like Life and Vogue, as well as through its accessibility in the marketplace thanks to companies like Kodak. Often in photo histories color is presented as having arrived fully formed in the 1970s; this book reveals a deeper story and uncovers connections in both artistic and commercial practices. A comprehensive chronology and examples of significant moments and movements mark the increasing visibility of color photography. Color Rush brings together Ansel Adams and William Eggleston, Eliot Porter and Cindy Sherman, Edward Steichen and Stephen Shore, and examines them in a fresh context paying particular attention to color photographys translation onto the printed page. In doing so, it traces a new history that more fully accounts for colors pervasive presence today.
Brian Ulrich: is this place great or what : copia : retail, thrift, and dark stores, 2001-11
Call Number: OVERSIZE TR647 .U47 2011
Publication Date: 2011-10-31
Plenty, Brian Ulrichs long-awaited first monograph, presents the photographers decade-long exploration of the shifting tectonic plates that make up American consumer society. Ulrich focuses, in part, on photographing the architectural legacies of a retail-driven economy in the midst of collapse shopping malls on the brink of demolition, empty big box stores, and other retail structures in transition. In depicting the disintegration of the former economic and social anchors of the American landscape, Ulrich does more than sketch the fraying surfaces of a shopping-obsessed culture. He has also created a series of clear-eyed yet sympathetic portraitsof teenaged shoppers lost in reverie over a new pair of shoes, thrift-store mavens determined to find the best deal possible, and families desperately in search of that perfect purchase. Cinematic and utterly engrossing, these portraits are interspersed among the forlorn landscapes of empty parking lots and foreclosed malls. Tracing a palpable trajectory from irrational exuberance to debt-laden hangover, Ulrich has successfully managed to get under the skin of the current economic crisis, providing a sobering documentboth personal as well as sociologically astuteof the American consumer psyche in the first decade of the twenty-first century. Plenty will accompany an exhibition of the same title at the Cleveland Museum of Art.
Call Number: OVERSIZE TR647 .W56 2013
Publication Date: 2013-04-02
Widely regarded as one of the most important photographers of the 20th century, Garry Winogrand (1928-1984) did much of his best-known work in Manhattan during the 1960s, becoming an epic chronicler of that tumultuous decade. But Winogrand was also an avid traveler and roamed extensively around the United States, bringing exquisite work out of nearly every region of the country. This landmark retrospective catalogue looks at the full sweep of Winogrand's exceptional career. Drawing from his enormous output, which at the time of his death included thousands of rolls of undeveloped film and unpublished contact sheets, the book will serve as the most substantial compendium of Winogrand's work to date. Lavishly illustrated with both iconic images and photographs that have never been seen before now, and featuring essays by leading scholars of American photography, Garry Winogrand presents a vivid portrait of an artist who unflinchingly captured America's swings between optimism and upheaval in the postwar era.
The New York Times Magazine Photographs
Call Number: OVERSIZE TR820.5 .N49 2011
Publication Date: 2011-09-30
For over thirty years, the New York Times Magazine has presented the myriad possibilities and applications of photography. Aperture is pleased to present the upcoming publication and exhibition The New York Times Magazine Photographs, which reflects upon and interrogates the very nature of both photography and print magazines at this pivotal moment in their history and evolution. Edited by Kathy Ryan, long-time photo editor of the magazine, and with a preface by former editorial director Gerald Marzorati, this volume presents some of the finest commissioned photographs worldwide in four sections: reportage, portraiture, style, and conceptual photography, including photo illustration. Diverse in content and sensibility, and consistent in virtuosity, the photographs are accompanied by reproduced tear sheets to allow for the examination of sequencing and the interplay between text and image, simultaneously presenting the work while illuminating its distillation to magazine form. This process is explored further through texts offering behind-the-scenes perspective and anecdotes by the many photographers, writers, editors, and other collaborators whose voices have been a part of the magazine over the years. David Campany contributes a critical essay that provides an in-depth history of the magazines relationship to photography, contextualizing its contributions within the larger world of magazine work. Also addressed are issues of documentary photography in relation to more conceptual photography; the efficacy of story-telling; and what makes an image evidentiary, objective, subjective, truthful, or a tool for advocacy; as well as thoughts on whether these matters are currently moot, or more critical than ever. As such, The New York Times Magazine Photographs aims to serve as a springboard for a rigorous, necessary, and revitalized examination of photography as presented within a modern journalistic context.
Photography and the American Civil War
Call Number: OVERSIZE TR820.6 .R67 2013
Publication Date: 2013-05-07
Six hundred thousand lives were lost between 1861 and 1865, making the conflict between North and South the nation's deadliest war. If the "War Between the States" was the test of the young republic's commitment to its founding precepts, it was also a watershed in photographic history, as the camera recorded the epic, heartbreaking narrative from beginning to end--providing those on the home front, for the first time, with immediate visual access to the horrors of the battlefield. Photography and the American Civil War features both familiar and rarely seen images that include haunting battlefield landscapes strewn with bodies, studio portraits of armed Confederate and Union soldiers (sometimes in the same family) preparing to meet their destiny, rare multi-panel panoramas of Gettysburg and Richmond, languorous camp scenes showing exhausted troops in repose, diagnostic medical studies of wounded soldiers who survived the war's last bloody battles, and portraits of both Abraham Lincoln and his assassin, John Wilkes Booth. Published on the occasion of the 150th anniversary of the battle of Gettysburg (1863), this beautifully produced book features Civil War photographs by George Barnard, Mathew Brady, Alexander Gardner, Timothy O'Sullivan, and many others.
The Guggenheim Collection
Call Number: N620.S63 A535 2006
Publication Date: 2007-03-01
Originally, Solomon R. Guggenheim donated works from his collection to the Solomon R. Guggenheim Foundation, which he began in 1937 to support and promote non-objective art. Then, in 1939, he established the Museum of Non-Objective Painting, which was renamed the Solomon R. Guggenheim Museum in 1952, and its signature Frank Lloyd Wright building opened on New York's Fifth Avenue in 1959. Over time, the Guggenheim has expanded the type of art that it exhibits and collects through the addition of other great collections--notably, those of Karl Nierendorf, Peggy Guggenheim, Justin and Hilde Thannhauser, and Giuseppe Panza di Biumo--as well as through opportunities that resulted from the institution's increasingly international focus in more recent decades. The Guggenheim today encompasses venues on two continents: the museum in New York, the Peggy Guggenheim Collection in Venice, the Guggenheim Museum Bilbao, the Deutsche Guggenheim in Berlin and the Guggenheim Hermitage Museum in Las Vegas. This volume is published on the occasion of a major exhibition at the Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, and the Kunstmuseum Bonn. With its comprehensive presentation of masterworks from the Guggenheim's extended holdings, it provides insight into Modern and Contemporary art movements--from Impressionism to Cubism, Surrealism to Abstract Expressionism, Pop art and Minimalism to the most recent developments--and the distinctive features of the collection. The selection emphasizes the Guggenheim's ongoing commitment to acquiring the work of particular artists in depth, including Vasily Kandinsky, Paul Klee, Pablo Picasso, Robert Rauschenberg, Richard Serra and Matthew Barney, among many others.
Call Number: N6535.N5 A25 2012
Publication Date: 2012-09-14
This groundbreaking book--part exhibition catalogue, part cultural history--chronicles alternative art spaces in New York City since the 1960s. Developed from an exhibition of the same name at Exit Art, Alternative Histories documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites--including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others--that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context.
Call Number: N6537.L3835 L68 2013
Publication Date: 2013-02-08
Louise Lawler has devoted her art practice to investigating the life cycle of artobjects. Her photographs depict art in the collector's home, the museum, the auction house, and thecommercial gallery, on loading docks, and in storage closets. Her work offers a sustained meditationon the strategies of display that shape art's reception and distribution. The cumulative effect ofLawler's photographs is a silent insistence that context is the primary shaper of art's meaning.Informed by feminism and institutional critique, Lawler's witty, poignant, and trenchant photosfrequently pay attention to a host of overlooked details -- almost Freudian slips -- that ineffablyand tacitly shore up what we conventionally think of as art's "power." This book includes the earliest published text on Lawler's work; an examinationof her ephemera (Lawler produced, among other things, matchbooks and paperweights); a rare interviewwith the artist, conducted by Douglas Crimp; a conversation between George Baker and Andrea Fraseron Lawler's work; and essays by writers including Rosalind Krauss, Rosalyn Deutsche, and HelenMolesworth, the volume's editor. The book traces the changing reception of Lawler's work from earlypreoccupations with appropriation to later discussions of affect.
Call Number: N6537.W63 D38 2006
Publication Date: 2006-11-03
In February 1991, the artist David Wojnarowicz (1954-1992) and the philosopher Sylvère Lotringer met in a borrowed East Village apartment to conduct a long-awaited dialogue on Wojnarowicz's work. Wojnarowicz was then at the peak of his notoriety as the fiercest antagonist of morals crusader Senator Jesse Helms--a notoriety that Wojnarowicz alternately embraced and rejected. Already suffering the last stages of AIDS, David saw his dialogue with Lotringer as a chance to set the record straight on his aspirations, his personal history, and his political views. The two arranged to have this three-hour dialogue video-recorded by a mutual friend, the artist Marion Scemama.Lotringer held on to the tape for a long time. After Wojnarowicz's death the following year, he found the transcript enormously moving, yet somehow incomplete. David was trying, often with heartbreaking eloquence, to define not just his career but its position in time. The subject was huge, and transcended the actual dialogue. Lotringer then spent the next several years gathering additional commentary on Wojnarowicz's life and work from those who knew him best--the friends with whom he collaborated.Lotringer solicited personal testimony from Wojnarowicz's friends and other artists, including Mike Bildo, Steve Brown, Julia Scher, Richard Kern, Carlo McCormick, Ben Neill, Kiki Smith, Nan Goldin, Marguerite van Cook, and others. What emerges from these masterfully-conducted interviews is a surprising insight into something art history knows, but systematically hides: the collaborative nature of the work of any "great artist." All these respondents had, at one time, made performances, movies, sculptures, photographs, and other collaborative works with Wojnarowicz. In this sense, Wojnarowicz appears not only as a great originator, but as a great synthesizer.
Call Number: N6797.H3 R53 2010
Publication Date: 2010-01-29
Still little-known in the United States, Richard Hamilton is a key figure in twentieth-century art. An original member of the legendary Independent Group in London in the 1950s, Hamilton organized or participated in groundbreaking exhibitions associated with the group--in particular This Is Tomorrow (1956), for which his celebrated collage Just what is it that makes today's homes so different, so appealing?, crystallizing the postwar world of consumer capitalism, was made. With his colleagues in the Independent Group, Hamilton promoted the artistic investigation of popular culture, undertaking this analysis in paintings, prints, and texts, thus setting the stage for Pop art--indeed, he is often called the intellectual father of Pop. At the same time, Hamilton was crucial to the postwar reception of Marcel Duchamp, transcribing his notes for The Large Glass and producing a reconstruction of this epochal piece for the first Duchamp retrospective in Britain, in 1966. Over the years Hamilton has continued to develop his work, in a variety of media, on subjects ranging from the Rolling Stones to the Troubles in Northern Ireland, from new commodities and technologies to the oldest genres in Western painting. True to the mission of the October Files series, this volume collects the most telling essays on Hamilton (including several hard-to-find texts by the artist), spanning the entire range of his extraordinary career.
History of the Church in Art
Call Number: N7830 .G5313 2008
Publication Date: 2009-01-09
In this richly illustrated volume Rosa Giorgi argues that because much of Western art depicts key events, leaders, and practices in the history of the Christian Church, knowledge of that history is critical to an appreciation of many of our great masterpieces. Giorgi begins by analyzing artistic representations of liturgical objects, including altars, crosses, and censers, and follows with an examination of the duties and vestments of the variety of clerics, ranging from minor clerks to the pope. Both the rituals of the monastic life and worshippers' devotional practices are well documented in paintings depicting prayer, communal meals, funeral rites, religious processions, and cult practices. The author next turns to artworks that capture important episodes from the Church's history, including crusades and pilgrimages, the Inquisition and the Reformation, and power struggles between popes and rulers. Giorgi ends with an analysis of the lives and portraits of the notable leaders who made this fascinating history, from Peter and Paul to Thomas More to Pope Paul VI.
Call Number: NA6225 .M87 2010
Publication Date: 2011-03-01
Store Front (Mini) is a new, compact version of the critically acclaimed bestseller Store Front: The Disappearing Face of New York, by James and Karla Murray. The Murrays' brilliant documentation of New York's irreplaceable, generations-old storefronts has made headlines all over the world. For many of these establishments, the photographs mark the end of a legacy. In the wake of gentrification, vital facets of New York's cultural heritage are disappearing at an alarming rate. Store Front (Mini) immerses the reader in a virtual tour of NYC at its most authentic. From tiny stores tucked away on narrow side streets to well-known institutions on historic avenues, this book presents the individual images and shop owner stories that together make up a collective history. Up until now, there has been little attention paid to New York's storefronts; this book reverses that glaring omission and makes clear that the spirit of New York City is etched in its facades.
Call Number: ND673.E5 S85 2009
Publication Date: 2009-07-31
James Ensors painting of 1887, The Temptation of St Anthony, now in MoMAs collection, established him as one of the boldest painters of his contemporaries. Ensor (18601949) was a major figure in the Belgian avant-garde of the late 19th century and an important precursor to the development of Expressionism in the early 20th, yet his work is far too little seen. This striking book, published to accompany an exhibition at The Museum of Modern Art, NewYork, gives Ensor the attention he so greatly deserves. Approximately ninety paintings, prints and drawings are featured, creating a complete picture of the artists daring, experimental oeuvre. Essays examine Ensors modernity, his innovative and allegorical approach to light, his prominent use of satire, his deep interest in carnival and performance, and finally his own self-fashioning, masking and roleplaying. As the most comprehensive volume on the artist available in English, this remarkable volume reveals Ensor as a socially engaged and self-critical artist involved with the issues of his times and contemporary debates on the very nature of modernism.
Painting in Spain, 1500-1700
Call Number: ND805 .B76 1998
Publication Date: 1999-03-11
Surveys the development of Spain during this fascinating period. Offers information about religious beliefs, social attitudes, the activities of patrons & collectors & how these were absorbed & interpreted by painters.
Aperture Magazine Anthology
Call Number: TR140.W467 A64 2012
Publication Date: 2012-10-31
Published on the occasion of Aperture magazines sixtieth anniversary, this is the first anthology of Aperture magazine ever published. This long-awaited volume will provide a selection of the best critical writing from the first twenty-five years of the magazinethe period spanning the tenure of cofounder and editor Minor White. Aperture was established in 1952 by a group of photographers, including Ansel Adams, Dorothea Lange, Barbara Morgan, and historian-curators Beaumont and Nancy Newhall. Their intention was to provide a forum in which photographers can talk straight to each other, discuss the problems that face photography as profession an art, share their experiences, comment on what goes on, descry the new potentials. With its far-ranging interests in spirituality in diverse forms, and an adventurous commitment to a broad international range, Aperture has had a profound impact on the course of fine-art photography. The texts and visuals in this anthology will be selected by Peter C. Bunnell, Whites protégé and an early member of the Aperture staff, who went on to become a major force in photography as an influential writer, curator, and professor. Essay contributors include Andreas Feininger, Henry Holmes Smith, Nathan Lyons, Frederick Sommer, Harry Callahan, Nancy Newhall, John Szarkowski, and other characters essential to the foundation of photography as an art form. Several issues will be reproduced in facsimile, and the book will be enlivened by other distinctive elements, including a selection of exceptional covers, and a selection of the colophons (short statements or quotes) that appeared at the front of each issue.
Call Number: TR647 .W444 2013
Publication Date: 2013-03-31
Lauded by photographers, artists, and critics for his influence on the contemporary generation of art photographers, James Welling has created beautiful and uncompromising photographs for over thirty-five years. Operating in the hybrid ground between painting, sculpture, and traditional photography, Welling is first and foremost a photographic practitioner enthralled with the possibilities of the medium. James Welling: Monograph will provide the most thorough presentation of the artists work to date, as well as offer an indispensible resource for those interested in this artists remarkable, foundational practice. Since the mid-1970s, Wellings work has fluidly explored a mercurial set of issues and ideas: the tenets of realism and transparency, abstraction and representation, optics and description, personal and cultural memory, and the material and chemical nature of photography. To date, the artist has been the subject of numerous catalogs addressing his more than twenty-five different bodies of workWellings substantive investigation of the spectrum of abstract to figurative, as one curator has described it. Yet no book has appeared with the ambition of linking these bodies of work together by examining the primary threads that run through them all. That is, until now. Sumptuously produced, James Welling: Monograph, presents a large selection of recent series, from 2000 through to the present, comingled with important early and iconic works made in the preceding decades. Chief curator of the Cincinnati Art Museum, James Crump, working closely with the artist, contributes an extensive introductory essay, and the volume will also include text contributions by Mark Godfrey, Thomas Seelig, and an interview with Eva Respini, associate curator in the Department of Photography at MoMA.
Call Number: TR655 .W66 2011
Publication Date: 2013-03-31
In the thirty years since her death, FrancescaWoodmans work has retained an undeniable immediacy and continues to inspire a cult-like following of admirers.Woodman began photographing at the age of thirteen. By the time she enrolled at the Rhode Island School of Design in 1975, she was already an accomplished photographer with a remarkably mature and focused approach to her work. At the age of twenty-two, she committed suicide. Woodman might be merely a tragic footnote in the history of photography were it not for the startlingly compelling, complex and artistically resolved body of work she produced during her short career. Her oeuvre represents a remarkably rich and singular exploration of the human body in space and of the genre of self-portraiture in particular. Her practice assimilated and advanced aspects of feminist theory, Conceptualist practice, and performance art. Thus, a close re-examination of the maturation and reception of Woodmans artistic vision presents an important and timely opportunity to reassess the heady artistic moment during which she came of age. This catalogue, produced by the San Francisco Museum of Modern Art in conjunction with the first major American exhibition of the artists work in more than two decades, promises to be a landmark reconsideration of Woodman for the twenty-first century. It will paint a fuller picture of her oeuvre than has previously been available, spanning her earliest student experiments to her late, large-scale blueprint studies of caryatid-like figures for the massive Temple Project, and her experiments with fashion photography. The exhibition will bring to light many photographs that have never before been exhibited or published, and the book will focus on these and other vintage prints that theWoodman estate is making available for this exhibition and publication. These rare prints will allow audiences to appreciateWoodmans skill as a printer, and to grasp the importance of the final print to her artistic vision. Through all of these means, Francesca Woodman will examine why her photographs continue to be so profoundly affective many decades after their making.