Here, Wieland specialist Johanne Sloan offers a fascinating new perspective on The Far Shore, making it more accessible by discussing Wieland's utopian fusion of art and politics, the importance of landscape within Canadian culture, and the on-going struggle over the meaning of the natural environment.
The art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion.
In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture.
The Lady in Gold, considered an unforgettable masterpiece, one of the twentieth century’s most recognizable paintings, made headlines all over the world when Ronald Lauder bought it for $135 million a century after Klimt, the most famous Austrian painter of his time, completed the society portrait.
Anne-Marie O’Connor, writer for The Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron.
The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered “degenerate” in a society that believed women being out in the world went against their feminine “nature”). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her—simple pencil drawings on thin manila paper.
And O’Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours.
She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers’ grand palais; of the Austrian government putting the painting on display, stripping Adele’s Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, The Lady in Gold and proudly exhibited it in Vienna’s Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution.
The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine.
We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court’s decision had profound ramifications in the art world.
A riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, the Lady in Gold—the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.
Japanese Tattoos explains the imagery featured in Japanese tattoos so that readers can avoid getting ink they don't understand or, worse, that they'll regret. This photo-heavy book will also trace the history of Japanese tattooing, putting the iconography and kanji symbols in their proper context so readers will be better informed as to what they mean and have a deeper understanding of irezumi. Tattoos featured will range from traditional tebori (hand-poked) and kanji tattoos to anime-inspired and modern works—as well as everything in between. For the first time, Japanese tattooing will be put together in a visually attractive, informative, and authoritative way.
Along with the 350+ photos of tattoos, Japanese Tattoos will also feature interviews with Japanese tattoo artists on a variety of topics. What's more, there will be interviews with clients, who are typically overlooked in similar books, allowing them to discuss what their Japanese tattoos mean to them. Those who read this informative tattoo guide will be more knowledgeable about Japanese tattoos should they want to get inked or if they are simply interested in Japanese art and culture.
Wolfe's style has never been more dazzling, his wit never more keen. He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. The Painted Word is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).
“The True Story of the World’s Largest Unsolved Art Theft,” The Gardner Heist by Ulrich Boser is a fascinating account of a brazen and amazing criminal act—a book that could help police and investigators solve the mystery of the 1990 break-in and burglary at Boston’s Isabella Stewart Gardner Museum. “A tantalizing whodunit” (Boston Globe) and a “riveting, wonderfully vivid account [that] takes you into the underworld of obsessed art detectives, con men, and thieves” (Jonathan Harr, author of The Lost Painting), The Gardner Heist is true crime history at its most spellbinding.
The best-selling author of Seven Days in the Art World now tells the story of the artists themselves—how they move through the world, command credibility, and create iconic works.
33 Artists in 3 Acts offers unprecedented access to a dazzling range of artists, from international superstars to unheralded art teachers. Sarah Thornton's beautifully paced, fly-on-the-wall narratives include visits with Ai Weiwei before and after his imprisonment and Jeff Koons as he woos new customers in London, Frankfurt, and Abu Dhabi. Thornton meets Yayoi Kusama in her studio around the corner from the Tokyo asylum that she calls home. She snoops in Cindy Sherman’s closet, hears about Andrea Fraser’s psychotherapist, and spends quality time with Laurie Simmons, Carroll Dunham, and their daughters Lena and Grace.
Through these intimate scenes, 33 Artists in 3 Acts explores what it means to be a real artist in the real world. Divided into three cinematic "acts"—politics, kinship, and craft—it investigates artists' psyches, personas, politics, and social networks. Witnessing their crises and triumphs, Thornton turns a wry, analytical eye on their different answers to the question "What is an artist?"
33 Artists in 3 Acts reveals the habits and attributes of successful artists, offering insight into the way these driven and inventive people play their game. In a time when more and more artists oversee the production of their work, rather than make it themselves, Thornton shows how an artist’s radical vision and personal confidence can create audiences for their work, and examines the elevated role that artists occupy as essential figures in our culture.
Anthony M. Amore's The Art of the Con tells the stories of some of history's most notorious yet untold cons. They involve stolen art hidden for decades; elaborate ruses that involve the Nazis and allegedly plundered art; the theft of a conceptual prototype from a well-known artist by his assistant to be used later to create copies; the use of online and television auction sites to scam buyers out of millions; and other confidence scams incredible not only for their boldness but more so because they actually worked. Using interviews and newly released court documents, The Art of the Con will also take the reader into the investigations that led to the capture of the con men, who oftentimes return back to the world of crime. For some, it's an irresistible urge because their innocent dupes all share something in common: they want to believe.
#1 Book of the Year from Brain Pickings
Named a best book of the year by NPR, Newsweek, Slate, Pop Sugar, Marie Claire, Elle, Publishers Weekly, and Lit Hub
A dazzling work of biography, memoir, and cultural criticism on the subject of loneliness, told through the lives of iconic artists, by the acclaimed author of The Trip to Echo Spring.
When Olivia Laing moved to New York City in her midthirties, she found herself inhabiting loneliness on a daily basis. Increasingly fascinated by the most shameful of experiences, she began to explore the lonely city by way of art. Moving from Edward Hopper’s Nighthawks to Andy Warhol’s Time Capsules, from Henry Darger’s hoarding to David Wojnarowicz’s AIDS activism, Laing conducts an electric, dazzling investigation into what it means to be alone, illuminating not only the causes of loneliness but also how it might be resisted and redeemed.
Humane, provocative, and moving, The Lonely City is a celebration of a strange and lovely state, adrift from the larger continent of human experience, but intrinsic to the very act of being alive.
Interviewees. Naomi Beckwith, Claire Bishop, Tania Bruguera, Brett Cook, Teddy Cruz, Jay Dykeman, Wendy Ewald, Sondra Farganis, Harrell Fletcher, David Henry, Gregg Horowitz, Grant Kester, Mierle Laderman Ukeles, Pedro Lasch, Rick Lowe, Daniel Martinez, Lee Mingwei, Jonah Peretti, Ernesto Pujol, Evan Roth, Ethan Seltzer, and Mark Stern
Duncan Hannah arrived in New York City from Minneapolis in the early 1970s as an art student hungry for experience, game for almost anything, and with a prodigious taste for drugs, girls, alcohol, movies, rock and roll, books, parties, and everything else the city had to offer. He also happened to be outrageously, androgynously beautiful, attracting the attention of the city's most prominent gay scenemeisters, who found his adamant heterosexuality a source of immense frustration. Taken directly from the notebooks Hannah kept throughout the seventies, Twentieth-Century Boy is a louche, sometimes lurid, and incredibly entertaining report from a now almost mythical time and place, full of outrageously bad behavior, naked ambition, gender-bending celebrities, fantastically good music and evaporating barriers of taste and decorum. At its center: a young man in the mix and on the make, determined to forge an identity for himself as an artist while being at risk from his own heedless appetites. A time capsule from a scary, seedy, but irresistible time and place.
Richard Avedon was arguably the world’s most famous photographer—as artistically influential as he was commercially successful. Over six richly productive decades, he created landmark advertising campaigns, iconic fashion photographs (as the star photographer for Harper’s Bazaar and then Vogue), groundbreaking books, and unforgettable portraits of everyone who was anyone. He also went on the road to find and photograph remarkable uncelebrated faces, with an eye toward constructing a grand composite picture of America.
Avedon dazzled even his most dazzling subjects. He possessed a mystique so unique it was itself a kind of genius—everyone fell under his spell. But the Richard Avedon the world saw was perhaps his greatest creation: he relentlessly curated his reputation and controlled his image, managing to remain, for all his exposure, among the most private of celebrities.
No one knew him better than did Norma Stevens, who for thirty years was his business partner and closest confidant. In Avedon: Something Personal—equal parts memoir, biography, and oral history, including an intimate portrait of the legendary Avedon studio—Stevens and co-author Steven M. L. Aronson masterfully trace Avedon’s life from his birth to his death, in 2004, at the age of eighty-one, while at work in Texas for The New Yorker (whose first-ever staff photographer he had become in 1992).
The book contains startlingly candid reminiscences by Mike Nichols, Calvin Klein, Claude Picasso, Renata Adler, Brooke Shields, David Remnick, Naomi Campbell, Twyla Tharp, Jerry Hall, Mikhail Baryshnikov, Bruce Weber, Cindy Crawford, Donatella Versace, Jann Wenner, and Isabella Rossellini, among dozens of others.
Avedon: Something Personal is the confiding, compelling full story of a man who for half a century was an enormous influence on both high and popular culture, on both fashion and art—to this day he remains the only artist to have had not one but two retrospectives at the Metropolitan Museum of Art during his lifetime. Not unlike Richard Avedon’s own defining portraits, the book delivers the person beneath the surface, with all his contradictions and complexities, and in all his touching humanity.
From museums and the art market to biennales and the next big thing, Who’s Afraid of Contemporary Art? offers concise and pointed insights into today’s art scene, decoding “Artspeak," explaining what curators do, demystifying conceptual art, exploring emerging art markets, and more. In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one.
Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.
Almost a generation ago, the early software for computer aided design and manufacturing (CAD/CAM) spawned a style of smooth and curving lines and surfaces that gave visible form to the first digital age, and left an indelible mark on contemporary architecture. But today's digitally intelligent architecture no longer looks that way. In The Second Digital Turn, Mario Carpo explains that this is because the design professions are now coming to terms with a new kind of digital tools they have adopted—no longer tools for making but tools for thinking. In the early 1990s the design professions were the first to intuit and interpret the new technical logic of the digital age: digital mass-customization (the use of digital tools to mass-produce variations at no extra cost) has already changed the way we produce and consume almost everything, and the same technology applied to commerce at large is now heralding a new society without scale—a flat marginal cost society where bigger markets will not make anything cheaper. But today, the unprecedented power of computation also favors a new kind of science where prediction can be based on sheer information retrieval, and form finding by simulation and optimization can replace deduction from mathematical formulas. Designers have been toying with machine thinking and machine learning for some time, and the apparently unfathomable complexity of the physical shapes they are now creating already expresses a new form of artificial intelligence, outside the tradition of modern science and alien to the organic logic of our mind.
Kelly Grovier surveys the dynamic developments in art practice worldwide since 1989, focusing on artists whose fresh visual vocabulary and innovation reflect these past turbulent decades. The book’s ten chapters examine the key themes in contemporary art—portraiture in the age of face transplants and facial recognition software, political activism, science, and religion, to name a few—by artists including Jeff Koons, Louise Bourgeois, Damien Hirst, George Condo, Marlene Dumas, Sean Scully, Cindy Sherman, Banksy, Ai Weiwei, Antony Gormley, Christo and Jean-Claude, Jenny Holzer, Chuck Close, and Cornelia Parker. A chapter-length timeline at the end of the book traces the evolution of art from 1989 to today by closely examining one key artwork from each year.
Illustrated with the work of over 200 key artists, Art Since 1989 is a lucid and engaging look at what may prove to be one of the more tempestuous eras in human history, if not the history of art.
2nd Edition - Completely Revised for the New 2016 Exam
Crash Course is perfect for the time-crunched student, the last-minute studier, or anyone who wants a refresher on the subject.
Are you crunched for time? Have you started studying for your Advanced Placement® Art History exam yet? How will you memorize everything you need to know before the test? Do you wish there was a fast and easy way to study for the exam AND boost your score?
If this sounds like you, don't panic. REA's Crash Course for AP® Art History is just what you need.
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Targeted, Focused Review - Study Only What You Need to Know
The Crash Course is based on an in-depth analysis of the new AP® Art History course description outline and actual AP® test questions. It covers only the information tested on the exam, so you can make the most of your valuable study time. Written by an AP® Art History teacher, the targeted review prepares students for the 2016 test by focusing on the new framework concepts and learning objectives tested on the redesigned AP® Art History exam.
Easy-to-read review chapters in outline format cover all the artistic traditions students need to know, including Global Prehistory, Ancient Mediterranean, Europe and the Americas, Asia, Africa, and more. The book also features must-know Art History terms all AP® students should know before test day.
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Our experienced AP® Art History teacher shares detailed question-level strategies and explains the best way to answer the multiple-choice and free-response questions you'll encounter on test day. By following our expert tips and advice, you can boost your overall point score!
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After studying the material in the Crash Course, go to the online REA Study Center and test what you've learned. Our free practice exam features timed testing, detailed explanations of answers, and automatic scoring analysis. The exam is balanced to include every topic and type of question found on the actual AP® exam, so you know you're studying the smart way.
Whether you're cramming for the test at the last minute, looking for extra review, or want to study on your own in preparation for the exams - this is the study guide every AP® Art History student must have.
When it's crucial crunch time and your Advanced Placement® exam is just around the corner, you need REA's Crash Course for AP® Art History!
In this highly engaging book, Evelyn Toynton examines Pollock's itinerant and poverty-stricken childhood in the West, his encounters with contemporary art in Depression-era New York, and his years in the run-down Long Island fishing village that, ironically, was transformed into a fashionable resort by his presence. Placing the artist in the context of his time, Toynton also illuminates the fierce controversies that swirled around his work and that continue to do so. Pollock's paintings captured the sense of freedom and infinite possibility unique to the American experience, and his life was both an American rags-to-riches story and a darker tale of the price paid for celebrity, American style.
Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to finish abruptly, he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form, which was paired with her redoubled projection onto his work. Krauss identifies these elements throughout de Kooning’s oeuvre, even in his paintings of highways, boats, and landscapes: Woman is always there. A thought-provoking study by one of America’s greatest art critics, Willem de Kooning Nonstop revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.
Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy—and what it meant to be authentically Mexican.
Thus did the young Russian painter Wassily Kandinsky (1866–1944) react to his first viewing of Monet's Haystack, included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of an object and presaged the later development of his influential theories of non-objective art.
During study and travel in Europe, the young artist breathed the heady atmosphere of artistic experimentation. Fauvism, Cubism, Symbolism, and other movements played an important role in the development of his own revolutionary approach to painting. Decrying literal representation, Kandinsky emphasized instead the importance of form, color, rhythm, and the artist's inner need in expressing reality.
In Point and Line to Plane, one of the most influential books in 20th-century art, Kandinsky presents a detailed exposition of the inner dynamics of non-objective painting. Relying on his own unique terminology, he develops the idea of point as the "proto-element" of painting, the role of point in nature, music, and other art, and the combination of point and line that results in a unique visual language. He then turns to an absorbing discussion of line — the influence of force on line, lyric and dramatic qualities, and the translation of various phenomena into forms of linear expression. With profound artistic insight, Kandinsky points out the organic relationship of the elements of painting, touching on the role of texture, the element of time, and the relationship of all these elements to the basic material plane called upon to receive the content of a work of art.
Originally published in 1926, this essay represents the mature flowering of ideas first expressed in Kandinsky's earlier seminal book, Concerning the Spiritual in Art. As an influential member of the Bauhaus school and a leading theoretician of abstract expressionism, Kandinsky helped formulate the modern artistic temperament. This book amply demonstrates the importance of his contribution and its profound effect on 20th-century art.
Published by Duke University Press and the Vera List Center for Art and Politics at The New School
Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.
Los Angeles, 1960: There was no modern art museum and there were few galleries, which is exactly what a number of daring young artists liked about it, among them Ed Ruscha, David Hockney, Robert Irwin, Bruce Nauman, Judy Chicago and John Baldessari. Freedom from an established way of seeing, making, and marketing art fueled their creativity, which in turn inspired the city. Today Los Angeles has four museums dedicated to contemporary art, around one hundred galleries, and thousands of artists. Here, at last, is the book that tells the saga of how the scene came into being, why a prevailing Los Angeles permissiveness, 1960s-style, spawned countless innovations, including Andy Warhol's first exhibition, Marcel Duchamp's first retrospective, Frank Gehry's mind-bending architecture, Rudi Gernreich's topless bathing suit, Dennis Hopper's Easy Rider, even the Beach Boys, the Byrds, the Doors, and other purveyors of a California style. In the 1960s, Los Angeles was the epicenter of cool.
Harris combines his in-depth knowledge of American history and culture with extensive archival research, and he has interviewed dozens of key players to reveal how Brown’s showmanship transformed the National Gallery. At the time of the Cold War, Washington itself was growing into a global destination, with Brown as its devoted booster. Harris describes Brown’s major role in the birth of blockbuster exhibitions, such as the King Tut show of the late 1970s and the National Gallery’s immensely successful Treasure Houses of Britain, which helped inspire similarly popular exhibitions around the country. He recounts Brown’s role in creating the award-winning East Building by architect I. M. Pei and the subsequent renovation of the West building. Harris also explores the politics of exhibition planning, describing Brown's courtship of corporate leaders, politicians, and international dignitaries.
In this monumental book Harris brings to life this dynamic era and exposes the creation of Brown's impressive but costly legacy, one that changed the face of American museums forever.
Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room—Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to “free love” and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. The installation itself was a room lined with mirrored panels and carpeted with several hundred brightly polka-dotted soft fabric protrusions into which the visitor was completely absorbed. Kusama simply called it “a sublime, miraculous field of phalluses.” A precursor of performance-based feminist art practice, media pranksterism, and “Occupy” movements, Kusama (born in 1929) was once as well known as her admirers—Andy Warhol, Donald Judd, and Joseph Cornell. In this first monograph on an epoch-defining work, Jo Applin looks at the installation in detail and places it in the context of subsequent art practice and theory as well as Kusama's own (as she called it) “obsessional art.”
Applin also discusses Kusama's relationship to her contemporaries, particularly those working with environments, abstract-erotic sculpture, and mirrors, and those grappling with such issues as abstraction, eroticism, sexuality, and softness. The work of Lee Lozano, Claes Oldenburg, Louise Bourgeois, and Eva Hesse is seen anew when considered in relation to Yayoi Kusama's.
The book explores the worlds of sonic art and sound design through their history and development, and looks at the present state of these extraordinarily diverse genres through the works and words of established artists and through an examination of the wide range of practices that currently come under the heading of sonic arts. The technologies that are used and the impact that they have upon the work are also discussed.
Additionally, The Fundamentals of Sonic Art & Sound Design considers new and radical approaches to sound recording, performance, installation works and exhibitions and visits the worlds of the sonic artist and the sound designer.
Velthuis shows that prices, far from being abstract numbers, convey rich meanings to trading partners that extend well beyond the works of art. A high price may indicate not only the quality of a work but also the identity of collectors who bought it before the artist's reputation was established. Such meanings are far from unequivocal. For some, a high price may be a symbol of status; for others, it is a symbol of fraud.
Whereas sociological thought has long viewed prices as reducing qualities to quantities, this pathbreaking and engagingly written book reveals the rich world behind these numerical values. Art dealers distinguish different types of prices and attach moral significance to them. Thus the price mechanism constitutes a symbolic system akin to language.
In a changing world everyone designs: each individual person and each collective subject, from enterprises to institutions, from communities to cities and regions, must define and enhance a life project. Sometimes these projects generate unprecedented solutions; sometimes they converge on common goals and realize larger transformations. As Ezio Manzini describes in this book, we are witnessing a wave of social innovations as these changes unfold—an expansive open co-design process in which new solutions are suggested and new meanings are created.
Manzini distinguishes between diffuse design (performed by everybody) and expert design (performed by those who have been trained as designers) and describes how they interact. He maps what design experts can do to trigger and support meaningful social changes, focusing on emerging forms of collaboration. These range from community-supported agriculture in China to digital platforms for medical care in Canada; from interactive storytelling in India to collaborative housing in Milan. These cases illustrate how expert designers can support these collaborations—making their existence more probable, their practice easier, their diffusion and their convergence in larger projects more effective. Manzini draws the first comprehensive picture of design for social innovation: the most dynamic field of action for both expert and nonexpert designers in the coming decades.
The founder and director of the fabled Green Gallery on Fifty-Seventh Street, Bellamy thrived on the energy of the sixties. With the covert support of America’s first celebrity art collectors, Robert and Ethel Scull, Bellamy gained his footing just as pop art, minimalism, and conceptual art were taking hold and the art world was becoming a playground for millionaires. Yet as an eccentric impresario dogged by alcohol and uninterested in profits or posterity, Bellamy rarely did more than show the work he loved. As fellow dealers such as Leo Castelli and Sidney Janis capitalized on the stars he helped find, Bellamy slowly slid into obscurity, becoming the quiet man in oversize glasses in the corner of the room, a knowing and mischievous smile on his face.
Born to an American father and a Chinese mother in a Cincinnati suburb, Bellamy moved to New York in his twenties and made a life for himself between the Beat orbits of Provincetown and white-glove events like the Guggenheim’s opening gala. No matter the scene, he was always considered “one of us,” partying with Norman Mailer, befriending Diane Arbus and Yoko Ono, and hosting or performing in historic Happenings. From his early days at the Hansa Gallery to his time at the Green to his later life as a private dealer, Bellamy had his finger on the pulse of the culture.
Based on decades of research and on hundreds of interviews with Bellamy’s artists, friends, colleagues, and lovers, Judith E. Stein’s Eye of the Sixties rescues the legacy of the elusive art dealer and tells the story of a counterculture that became the mainstream. A tale of money, taste, loyalty, and luck, Richard Bellamy’s life is a remarkable window into the art of the twentieth century and the making of a generation’s aesthetic.
"Bellamy had an understanding of art and a very fine sense of discovery. There was nobody like him, I think. I certainly consider myself his pupil." --Leo Castelli
She was a steel heiress from the Midwest—Chicago and Lake Forest (her grandfather built Chicago’s bridges and worked for Andrew Carnegie). She was a daughter of the American Revolution—Anglo-Saxon, Republican, Episcopalian.
She was tough, disciplined, courageous, dazzling, and went up against the masculine art world at its most entrenched, made her way in it, and disproved their notion that women couldn’t paint.
Joan Mitchell is the first full-scale biography of the abstract expressionist painter who came of age in the 1950s, ’60s, and ’70s; a portrait of an outrageous artist and her struggling artist world, painters making their way in the second part of America’s twentieth century.
As a young girl she was a champion figure skater, and though she lacked balance and coordination, accomplished one athletic triumph after another, until giving up competitive skating to become a painter.
Mitchell saw people and things in color; color and emotion were the same to her. She said, “I use the past to make my pic[tures] and I want all of it and even you and me in candlelight on the train and every ‘lover’ I’ve ever had—every friend—nothing closed out. It’s all part of me and I want to confront it and sleep with it—the dreams—and paint it.”
Her work had an unerring sense of formal rectitude, daring, and discipline, as well as delicacy, grace, and awkwardness.
Mitchell exuded a young, smoky, tough glamour and was thought of as “sexy as hell.”
Albers writes about how Mitchell married her girlhood pal, Barnet Rosset, Jr.—scion of a financier who was head of Chicago’s Metropolitan Trust and partner of Jimmy Roosevelt. Rosset went on to buy Grove Press in 1951, at Mitchell’s urging, and to publish Henry Miller, Samuel Beckett, Jean Genet, Jack Kerouac, Allen Ginsberg, et al., making Grove into the great avant-garde publishing house of its time.
Mitchell’s life was messy and reckless: in New York and East Hampton carousing with de Kooning, Frank O’Hara, James Schuyler, Jane Freilicher, Franz Kline, Helen Frankenthaler, and others; going to clambakes, cocktail parties, softball games—and living an entirely different existence in Paris and Vétheuil.
Mitchell’s inner life embraced a world beyond her own craft, especially literature . . . her compositions were informed by imagined landscapes or feelings about places.
In Joan Mitchell, Patricia Albers brilliantly reconstructs the painter’s large and impassioned life: her growing prominence as an artist; her marriage and affairs; her friendships with poets and painters; her extraordinary work.
Joan Mitchell re-creates the times, the people, and her worlds from the 1920s through the 1990s and brings it all spectacularly to life.
From the Hardcover edition.
Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.
Tendencies toward “academization” of traditionally practice-based fields have forced design to articulate itself as an academic discipline, in theoretical terms. In this book, Johan Redström offers a new approach to theory development in design research–one that is driven by practice, experimentation, and making. Redström does not theorize from the outside, but explores the idea that, just as design research engages in the making of many different kinds of things, theory might well be one of those things it is making.
Redström proposes that we consider theory not as stable and constant but as something unfolding—something acted as much as articulated, inherently fluid and transitional. Redström describes three ways in which theory, in particular formulating basic definitions, is made through design: the use of combinations of fluid terms to articulate issues; the definition of more complex concepts through practice; and combining sets of definitions made through design into “programs.” These are the building blocks for creating conceptual structures to support design.
Design seems to thrive on the complexities arising from dichotomies: form and function, freedom and method, art and science. With his idea of transitional theory, Redström departs from the traditional academic imperative to pick a side—theory or practice, art or science. Doing so, he opens up something like a design space for theory development within design research.
After emigrating to New York in 1941, Castelli would not open a gallery for sixteen years, when he had reached the age of fifty. But as the first to exhibit the then-unknown Jasper Johns, Castelli emerged as a tastemaker overnight and fast came to champion a virtual Who’s Who of twentieth-century masters: Rauschenberg, Lichtenstein, Warhol, and Twombly, to name a few. The secret of Leo’s success? Personal devotion to the artists, his “heroes”: by putting young talents on stipend and seeking placement in the ideal collection rather than with the top bidder, he transformed the way business was done, multiplying the capital, both cultural and financial, of those he represented. His enterprise, which by 1980 had expanded to an impressive network of satellite galleries in Europe and three locations in New York, thus became the unrivaled commercial institution in American art, producing a generation of acolytes, among them Mary Boone, Jeffrey Deitch, Larry Gagosian, and Tony Shafrazi.
Leo and His Circle brilliantly narrates the course of one man’s power and influence. But Castelli had another secret, too: his life as an Italian Jew. Annie Cohen-Solal traces a family whose fortunes rose and fell for centuries before the Castellis fled European fascism. Never hidden but also never discussed, this experience would form the core of a guarded but magnetic character possessed of unfailing old-world charm and a refusal to look backward—traits that ensured Castelli’s visionary precedence in every major new movement from Pop to Conceptual and by which he fostered the worldwide enthusiasm for American contemporary art that is his greatest legacy.
Drawing on her friendship with the subject, as well as an uncanny knack for archival excavation, Annie Cohen-Solal gives us in full the elegant, shrewd, irresistible, and enigmatic figure at the very center of postwar American art, bringing an utterly new understanding of its evolution.
From the Hardcover edition.
Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.
An Ideal Theater is a wide-ranging, inspiring documentary history of the American theatre movement as told by the visionaries who goaded it into being. This anthology collects over forty essays, manifestos, letters and speeches that are each introduced and placed in historical context by the noted writer and arts commentator, Todd London, who spent nearly a decade assembling this collection. This celebration of the artists who came before is an exhilarating look backward, as well as toward the future, and includes contributions from:
Jane Addams • William Ball • Julian Beck • Herbert Blau • Angus Bowmer • Bernard Bragg • Maurice Browne • Robert Brustein • Alison Carey • Joseph Chaikin • Harold Clurman • Dudley Cocke • Alice Lewisohn Crowley • Gordon Davidson • R. G. Davis • Doris Derby • W. E. B. Du Bois • Zelda Fichandler • Hallie Flanagan • Eva Le Gallienne • Robert E. Gard • Susan Glaspell • André Gregory • Tyrone Guthrie • John Houseman • Jules Irving • Margo Jones • Frederick H. Koch • Lawrence Langner • W. McNeil Lowry • Charles Ludlam • Judith Malina • Theodore Mann • Gilbert Moses • Michaela O’Harra • John O’Neal • Joseph Papp • Robert Porterfield • José Quintero • Bill Rauch • Bernard Sahlins • Richard Schechner • Peter Schumann • Maurice Schwartz • Gary Sinise • Ellen Stewart • Lee Strasberg • Luis Miguel Valdez • Nina Vance • Douglas Turner Ward
As well as the founding visions of theatres from across the country:
The Actors Studio • The Actor's Workshop • Alley Theatre • American Conservatory Theater • American Repetory Theater • Arena Stage • Barter Theatre • Bread and Puppet Theater • The Carolina Playmakers • The Chicago Little Theater • Circle in the Square Theatre • The Civic Repertory Theatre • Cornerstone Theater Company • The Federal Theatre Project • Ford Foundation Program in Humanities and the Arts • The Free Southern Theater • The Group Theatre • The Hull-House Dramatic Association • KRIGWA Players • The Living Theatre • La MaMa Experimental Theatre Club • The Mark Taper Forum • The Mercury Theatre • Minnesota Theater Company (Guthrie Theater) • The National Theatre of the Deaf • The Negro Ensemble Company • The Negro Theatre Project, Federal Theatre Project • The Neighborhood Playhouse • New Dramatists • The New York Shakespeare Festival • The Open Theater • Oregon Shakespeare Festival • The Performance Group • The Provincetown Players • The Repertory Theater of Lincoln Center • The Ridiculous Theatrical Company • Roadside Theater • The San Francisco Mime Troupe • The Second City • Steppenwolf Theatre Company • El Teatro Campesino • Theater '47 • The Theatre Guild • The Theatre of the Living Arts • The Washington Square Players • The Wisconsin Idea Theater • Yale Repertory Theatre • The Yiddish Art Theatre
Todd London is in his 18th season as artistic director of New Dramatists, the nation’s oldest center for the creative and professional development of American playwrights. In 2009 Todd became the first recipient of Theatre Communications Group’s (TCG) Visionary Leadership Award for “an individual who has gone above and beyond the call of duty to advance the theater field as a whole, nationally and/or internationally.” He’s the author of The Importance of Staying Earnest: Writings from Inside the American Theatre, 1988-2013 (NoPassport Press), Outrageous Fortune: The Life and Times of the New American Play (with Ben Pesner, Theatre Development Fund), The Artistic Home (TCG), and The World’s Room, a novel (Steerforth Press), among others. His column, “A Lover’s Guide to American Playwrights,” tributes to contemporary
A unique anthology of 35 feminist art manifestos by contemporary women artists from around the world (1969-2013) introduced by Katy Deepwell. These feminist art manifestos written at different moments over the last forty years explore the potential of women's cultural production as visual artists. Manifestos occupy a specific place in the visual arts, as a means to communicate radical ideas. These texts outline a critique of patriarchy and utopian hopes for the future.
CONTENT: KATY DEEPWELL – NEGOTIATIONS (an introduction); MIERLE LADERMAN UKELES - MANIFESTO FOR MAINTENANCE ART 1969!; AGNES DENES - A MANIFESTO (1969); MICHELE WALLACE - MANIFESTO OF WSABAL (1970); NANCY SPERO - FEMINIST MANIFESTO (1970-1971); MONICA SJOO AND ANNE BERG - IMAGES ON WOMANPOWER - ARTS MANIFESTO (1971); RITA MAE BROWN - A MANIFESTO FOR THE FEMINIST ARTIST (1972); VALIE EXPORT - WOMEN'S ART: A MANIFESTO (1972); FEMINIST FILM AND VIDEO ORGANIZATIONS - WOMANIFESTO (1975); KLONARIS / THOMADAKI - MANIFESTE POUR UNE FÉMINITÉ RADICALE POUR UN CINÉMA AUTRE (1977);CAROLEE SCHNEEMANN - WOMEN IN THE YEAR 2000 (1977); Z.BUDAPEST, U.ROSENBACH, S.B.A.COVEN - FIRST MANIFESTO ON THE CULTURAL REVOLUTION OF WOMEN (1978); EWA PARTUM - CHANGE, MY PROBLEM IS A PROBLEM OF A WOMAN (1979); WOMEN ARTISTS OF PAKISTAN MANIFESTO (1983); CHILA BURMAN - THERE HAVE ALWAYS BEEN GREAT BLACKWOMEN ARTISTS (1986); EVA AND CO - THE MANIFESTO (1992); VNS MATRIX - BITCH MUTANT MANIFESTO (1994); VIOLETTA LIAGATCHEV - CONSTITUTION INTEMPESTIVE DE LA RÉPUBLIQUE INTERNATIONALE DES ARTISTES FEMMES (1995); OLD BOYS NETWORK - 100 ANTI-THESES (1997); LILY BEA MOOR (aka SENGA NENGUDI) - LILIES OF THE VALLEY UNITE! OR NOT (1998); DORA GARCIA - 100 IMPOSSIBLE ARTWORKS (2001); SUBROSA - REFUGIA: MANIFESTO FOR BECOMING AUTONOMOUS ZONES (BAZ)(2002); ORLAN - CARNAL ART MANIFESTO (2002); RHANI LEE REMEDES - THE SCUB MANIFESTO (2002); FACTORY OF FOUND CLOTHES - MANIFESTO (2002); FEMINIST ART ACTION BRIGADE - MANIFESTO (2003); METTE INGVARTSEN - YES MANIFESTO (2004); XABIER ARAKISTAIN - ARCO MANIFESTO (2005); YES! ASSOCIATION/FÖRENINGEN JA! - JÄMLIKHETSAVTAL #1(THE EQUAL OPPORTUNITIES AGREEMENT #1) (2005); ARAHMAIANI - LETTER TO MARINETTI and MANIFESTO OF THE SCEPTICS (2009); GUERRILLA GIRLS - GUIDE TO BEHAVING BADLY (2010); JULIE PERINI - RELATIONAL FILMMAKING MANIFESTO (2010); ELIZABETH M. STEPHENS AND ANNIE M. SPRINKLE - ECOSEX MANIFESTO (2011); LUCIA TKACOVA and ANETTA MONA CHISA - 80:20; SILVIA ZIRANEK - MANIFESTA (2013); MARTINE SYMS - MUNDANE AFROFUTURIST MANIFESTO (2013)
Exploring key works of art historians such as Aby Warburg, Wilhelm Worringer, and Alois Riegl, as well as architects and artists like Fernand Léger, Mies van der Rohe, and Salvador Dalí, Papapetros tracks the evolution of the problem of animation from the fin de siècle through the twentieth century. He argues that empathy—the ability to identify with objects of the external world—was repressed by twentieth-century modernist culture, but it returned, projected onto inorganic objects such as machines, automobiles, and crystalline skyscrapers. These modern artifacts, he demonstrates, vibrated with energy, life, and desire of their own and had profound effects on people. Subtle and insightful, this book will change how we view modernist art, architecture, and their histories.
1971: A Year in the Life of Color looks at many black artists’ desire to gain freedom from overt racial representation, as well as their efforts—and those of their advocates—to further that aim through public exhibition. Amid calls to define a “black aesthetic,” these experiments with modernist art prioritized cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color’s special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists—among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas—rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture’s preoccupation with color.
Among the major writers on contemporary international art represented in this book are Rasheed Araeen, Joaquín Barriendos, Susan Buck-Morss, John Clark, Iftikhar Dadi, T. J. Demos, Néstor García Canclini, Charles Green, Suman Gupta, Harry Harootunian, Michael Ann Holly, Shigemi Inaga, Fredric Jameson, Caroline Jones, Thomas DaCosta Kaufmann, Anthony D. King, Partha Mitter, Keith Moxey, Saskia Sassen, Ming Tiampo, and C. J. W.-L. Wee.
Art and Globalization is the first book in the Stone Art Theory Institutes Series. The five volumes, each on a different theoretical issue in contemporary art, build on conversations held in intensive, weeklong closed meetings. Each volume begins with edited and annotated transcripts of those meetings, followed by assessments written by a wide community of artists, scholars, historians, theorists, and critics. The result is a series of well-informed, contentious, open-ended dialogues about the most difficult theoretical and philosophical problems we face in rethinking the arts today.
This wide-ranging exploration of different methods and media in art since the 1950s includes nine chapters that focus on individual processes of making: Painting, Woodworking, Building, Performing, Tooling Up, Cashing In, Fabricating, Digitizing, and Crowdsourcing. Detailed examples are interwoven with the discussion, including visuals that reveal the intricacies of techniques and materials. Artists featured include Ai Weiwei, Alice Aycock, Isa Genzken, Los Carpinteros, Paul Pfeiffer, Doris Salcedo, Santiago Sierra, and Rachel Whiteread.