Today's Hours:
Making Her Mark by
Winner, Alcuin Society Book Design Awards Second Prize (Prose Illustrated) and IPPY Award Silver Medal (Fine Arts) Gathering together just over 250 objects, including paintings, prints, scientific illustrations, textiles, sculpture, metalwork and furniture, Making Her Markilluminates the astonishing diversity and breadth of women's contributions to art of the pre-modern era (c. 1400-1800). In this important re-examination of early modern European art, an international team of scholars and curators assess the critical concepts that have shaped Western culture's understanding of what constitutes great art. In its recalibration of gender imbalances, this impressive volume offers an alternative view of the history of European art and sheds light on the collaborative nature of the creation of individual works and the interconnected histories of literature, politics, religion, science, and economics. Ambitious in its scope, Making Her Markis a bold corrective to the historical assumption that female artists of the past were rare and that their work was unremarkable. The result is a dynamic introduction to scores of women artists whose names are entirely new and a long-overdue reassessment of the art, culture, and history of early modern Europe.
Woman in Art by
Griselda Pollock reintroduces an important feminist forerunner in this new, full-colour setting of Helen Rosenau's 1944 book Woman in Art Helen Rosenau (1900-1984) was part of the influential migration of European Jewish intellectuals who fled to Britain and the United States during the 1930s, bringing with them exciting innovations in art history's methods. Only Rosenau, however, centred gender in her analysis. The result--her book Woman in Art: From Type to Personality--is a feminist art-historical project, as relevant today as when it was first published in 1944, in which Rosenau drew on contemporary discussions of gender in anthropology, philosophy, sociology, law, theology, history, and literature. In this new volume, ahead of the eightieth anniversary of its original publication, Rosenau's erudite and accessible text is prefaced with a personal memoir by Adrian Rifkin, who was once her student, new research into the refugee experience by Rachel Dickson, and a portrait of Rosenau as feminist intellectual by Griselda Pollock. In conversation with this new setting of the original text, richly illustrated with colour images, Pollock offers eye-opening new readings of key aspects of Rosenau's methods, concepts, arguments, and interpretations of famous artworks, establishing the place of Rosenau's "little book of 1944" in the historiographies of both feminist thought and cutting-edge art history across two centuries. A digital facsimile of Woman in Art (1944) can be found on the Internet Archive (archive.org)
Pigments by
A concise illustrated history of one of art's most important and elusive elements Over the millennia, humans have used pigments to decorate, narrate, and instruct. Charred bone, ground earth, stones, bugs, and blood were the first pigments. New pigments were manufactured by simple processes such as corrosion and calcination until the Industrial Revolution introduced colors outside the spectrum of the natural world. Pigments brings together leading art historians and conservators to trace the history of the materials used to create color and their invention across diverse cultures and time periods. This richly illustrated book features incisive historical essays and case studies that shed light on the many forms of pigments--the organic and inorganic; the edible and the toxic; and those that are more precious than gold. It shows how pigments were as central to the earliest art forms and global trade networks as they are to commerce, ornamentation, and artistic expression today. The book reveals the innate instability and mutability of most pigments and discusses how few artworks or objects look as they did when they were first created. From cave paintings to contemporary art, Pigments demonstrates how a material understanding of color opens new perspectives on visual culture and the history of art.
Edvard Munch by
Edvard Munch occupies a pivotal place in artistic modernity. His work is permeated by a singular vision of the world, with a powerful symbolist dimension that goes beyond the masterpieces he created in the 1890s. For Munch, humanity and nature were united in the cycle of life, death, and rebirth, which is reflected in the recurrence of certain motifs and color combinations in his work. He wrote: "These paintings, which are, admittedly, relatively difficult to understand, will be...easier to grasp if they are integrated into a whole." Published to accompany a major exhibition at the Musée d'Orsay, Edvard Munch: A Poem of Life, Love and Death presents about a hundred works--paintings, drawings, prints, and engraved blocks--reflecting the diversity of Munch's practice. Seven essays explore the artist in his philosophical and scientific milieu and the places that shaped the man and his art, as well as offering a rare glimpse of Munch's attempts at creative writing. They also examine the historical evolution of his monumental Frieze of Life series and the world-famous Scream. This publication invites readers to revisit the painter's work in its entirety by following the thread of an ever-inventive pictorial thinking: a vision that is both fundamentally coherent, even obsessive, and at the same time constantly renewed.
Camille Claudel by
Abundantly illustrated, this catalogue is a fascinating and comprehensive reevaluation of the French modernist sculptor Camille Claudel. Camille Claudel (1864-1943) was among the most daring and visionary sculptors of the late nineteenth century. Although much attention has been paid to her tumultuous life--her affair with her mentor, Auguste Rodin; the premature end to her career; her thirty-year institutionalization in an asylum--her art remains little known outside of France. Memorably praised by critic Octave Mirbeau in 1895 as "a revolt of nature: a woman of genius," Claudel was celebrated for her brilliance during a time when women sculptors were rare. Featuring more than two hundred photographs along with contributions from leading experts, this publication accompanies the first comprehensive survey of Claudel's oeuvre in nearly forty years. With essays exploring the many facets of her life, work, and reception; a biography; commentary by American sculptor Kiki Smith; and a fascinating appendix of documents written by Claudel and her contemporaries, this volume reevaluates the artist's work on its own merits and repositions her legacy within a more complex genealogy of modernism. This volume, copublished with The Art Institute of Chicago, accompanies an exhibition on view at The Art Institute of Chicago from October 7, 2023, to February 19, 2024 and at the J. Paul Getty Museum at the Getty Center from April 2 to July 21, 2024.
Doris Salcedo by
FINDING A FORM FOR THE TRAUMAS OF LOSS AND VIOLENCE Experiences of violence and loss take shape in the work of internationally acclaimed Colombian artist Doris Salcedo. Although her sculptures and installations are often based on concrete events, feelings of grief, alienation and loss of home take on a universally valid, heartfelt expression in her works. Different materials such as stone and concrete, wooden furniture, grass, petals, hair or pieces of clothing are transformed and charged with meaning. Rarely do indi vidual pain and collective grief find such a touching form or has their social overcoming been formulated so forcefully. Created in close collaboration with the artist, the cata logue offers a comprehensive survey over Salcedo's work from 1986 to 2022.
Urs Fischer: False Friends by
An unusual hybrid between a solo exhibition and a group show, Urs Fisher: False Friends places the oeuvre of Swiss artist Urs Fischer (born 1973) in conversation with the work of a selection of his peers: Pawel Althamer, Maurizio Cattelan, Peter Fischli and David Weiss, Robert Gober, Martin Kippenberger, Jeff Koons, Paul McCarthy, Cindy Sherman and Kiki Smith. Drawn from the holdings of the Dakis Joannou Collection and installed in the beautiful spaces of Geneva's Museum of Art and History, False Friends proposes unexpected connections between artworks and aesthetics, methods and materials, offering a reading of contemporary art as a magnetic field of elective affinities and striking variations--a cacophonic concerto of forms.
Infinity Net by
Yayoi Kusama is one of the most significant contemporary artists at work today. This extraordinary text tells the story of her life and remarkable career in her own words. 'I am deeply terrified by the obsessions crawling over my body, whether they come from within me or from outside. I fluctuate between feelings of reality and unreality. I, myself, delight in my obsessions.' Infinity Net reveals Yayoi Kusama as a fascinating figure and maverick artist who channels her obsessive neuroses into an art that transcends cultural barriers. Kusama describes the decade she spent in New York, first as a poverty-stricken artist and later as the doyenne of an alternative counter-cultural scene. She provides a frank and touching account of her relationships with key art-world figures, including Georgia O'Keeffe, Donald Judd and the reclusive Joseph Cornell, with whom Kusama forged a close bond. In candid terms she describes her childhood and the first appearance of the obsessive visions that have haunted her throughout her life. Returning to Japan in the early 1970s, Kusama checked herself into a psychiatric hospital in Tokyo where she resides to the present day, emerging to dedicate herself with seemingly endless vigour to her art and her writing. This remarkable autobiography provides a powerful insight into a unique artistic mind, haunted by fears and phobias yet determined to maintain her position at the forefront of the artistic avant-garde.
Vermeer and the Art of Love Hb by
Vermeer and the Art of Love is about the emotions evoked in those elegant interiors in which a young woman may be writing a letter to her absent beloved or playing a virginal in the presence of an admirer. But it is also about the love we sense in the painter's attentiveness to every detail within those rooms, which lends even the most mundane of objects the quality of something extraordinary. In this engaging and beautifully illustrated book, Georgievska-Shine uncovers the ways in which Vermeer challenges the dichotomies between 'good' and 'bad' love, the sensual and the spiritual, placing him within the context of his contemporaries to give the reader a fascinating insight into his unique understanding and interpretation of the subject.
Nonconformers by
A global history of self-taught artists advocating for a nuanced understanding of modern and contemporary art often challenged by the establishment When the art world has paid attention to makers from outside the cultural establishment, including so-called outsider and self-taught artists, it has generally been within limiting categories. Yet these artists, including many women, people with disabilities, and people of color, have had a transformative influence on the history of modern art. Responding to growing interest in these artists, this book offers a nuanced history of their work and how it has been understood from the early twentieth century to the present day. Nonconformers includes work by well-known figures such as Henry Darger, Hilma af Klint, and Bill Traylor alongside many other artists who deserve widespread recognition. After reviewing how self-taught artists factored into key movements of twentieth-century art, the book shifts to highlighting the voices of contemporary practitioners through new interviews with artists William Scott, Mamadou Cissé, and George Widener. An international group of contributors addresses topics such as the development of the Black Folk Art movement in America and l'Art Brut in France, the creative process of self-taught artists working outside of traditional studios, and the themes of figuration, landscape, and abstraction. Global in scope and with chronological breadth, this alternative narrative is an essential introduction to the genre long known as "Outsider Art."
Islam in Europe by
Traces the blending of Islamic and European visual culture during the ninth to seventeenth centuries. Islam in Europe surveys artistic production in the medieval Islamic world and examines the many ways it altered the trajectory of European visual culture. It reveals this interconnectedness through works of art that reflect the contact, influence, and exchange that developed during the medieval period and Renaissance. It also explores the reception of the image of Islam in Europe. Opening with early medieval objects produced by Muslim artisans and known to have been exported in large numbers to medieval Europe, this catalog explores the crosscurrents of visual culture at the nexus of Islam and Christendom which were already well developed by the tenth century. A central group of objects traces the breathtaking force with which refined export wares from Mamluk Egypt, Syria, Central Asia, and Anatolia flooded the Italian market during the fourteenth to sixteenth centuries, revolutionizing European aesthetics and reshaping the taste for--and the very definition of--luxury goods. The catalog concludes with a group of important early textiles spanning the thirteenth to seventeenth centuries. Presenting sixty works of art together for the first time, this illuminating volume elucidates the complete integration of Islamic art and artisanal technology into European visual culture. A brief introductory essay explores questions of entanglement in the medieval world, and the final essay by Michael Franses analyzes the importance of the only firmly dateable Lotto arabesque carpet still in existence, acquired by the David Collection in Copenhagen in 2022.
Hand Job by
In this digital age of computer-generated graphics and typography, it's refreshing to find typographers who still believe in working by hand. No longer relegated to designer's sketchbooks, hand-drawn type has emerged from the underground as a dynamic vehicle for visual communicationfrom magazine, book, and album covers to movie credits and NFL advertisements. As the practice and appreciation of hand-drawn type grows, its time to celebrate the work of those typographers whose every letterform is a work of art. Hand Job collects groundbreaking work from fifty of today's most talented typographers who draw by hand. Graphic designer and hand typographer Michael Perry selects work representing the full spectrum of design methods and styles. Each hand-drawn work is entirely shaped by the artist's unique processevery one a carefully executed composition enhanced by unplanned "accidents" of line, color, and craft. Hand Job also includes photographs of found type,artists studios, and the tools that help make typography come to life. Whether you are looking to invigorate your design work or are just in need of a little offbeat inspiration, Hand Job will have you reaching for your favorite pen.
Isa Genzken by
Generously illustrated essays consider Isa Genzken's remarkable body of work, from her early elegant floor pieces to her later explosive assemblages. Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. Her heterogeneous assemblages, a New York Times critic observes, are "brash, improvisational, full of searing color and attitude." Genzken, the recent subject of a major retrospective at MoMA, offers a highly original interpretation of modernist, avant-garde, and postminimalist practices even as she engages pressing sociopolitics and economic issues of the present. These illustrated essays address the full span of Genzken's work, from the elegant floor sculptures with which she began her career to the assemblages, bursting with color and bristling with bric-a-brac, that she has produced since the beginning of the millennium. The texts, by writers including Yve-Alain Bois, Benjamin H. D. Buchloh, and the artist herself, consider her formation in the West German milieu; her critique of conventions of architecture, reconstruction, and memorialization; her sympathy with mass culture; and her ongoing interrogation of public and private spheres. Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993. Contributors Yve-Alain Bois, Benjamin H. D. Buchloh, Diedrich Diederichsen, Hal Foster, Isa Genzken, Isabelle Graw, Lisa Lee, Pamela M. Lee, Birgit Pelzer, Juliane Rebentisch, Josef Strau, Wolfgang Tillmans, Lawrence Weiner Contents Isa Genzken- Two Exercises (1974) . Birgit Pelzer- Axiomatics Subject to Withdrawal (1979) . Benjamin H. D. Buchloh- Isa Genzken- The Fragment as Model (1992) . Benjamin H. D. Buchloh- Isa Genzken- Fuck the Bauhaus. Architecture, Design, and Photography in Reverse (2014) . Isa Genzken- Sketches for a Feature Film (1993) . Isabelle Graw- Free to Be Dependent- Concessions in the Work of Isa Genzken (1996) . Diedrich Diederichsen- Subjects at the End of the Flagpole (2000) . Pamela M. Lee- The Skyscraper at Ear Level (2003) . Benjamin H. D. Buchloh- All Things Being Equal (2005) . Wolfgang Tillmans- Isa Genzken- A Conversation with Wolfgang Tillmans (2003) . Diedrich Diederichsen- Diedrich Diederichsen in Conversation with Isa Genzken (2006) . Lisa Lee- "Make Life Beautiful!" The Diabolic in the Work of Isa Genzken (A Tour Through Berlin, Paris, and New York) (2007) . Lawrence Weiner- Isa Genzken Again (2010) . Juliane Rebentisch- The Dialectic of Beauty- On the Work of Isa Genzken (2007) . Yve-Alain Bois- The Bum and the Architect (2007) . Josef Strau- Isa Genzken- Sculpture as Narrative Urbanism (2009) . Hal Foster- Fantastic Destruction (2014)
Robert Gober: 2000 Words by
In placing us at a remove from our relationships to familiar, domestic objects and environments, Robert Gober's labor-intensive work defies our understanding of accepted conventions and draws attention to the movement of meaning between materials and across personal histories. Part of the 2000 Words series, conceived and commissioned by Massimiliano Gioni, and published by the Deste Foundation, Robert Gober: 2000 Words presents the entirety of the sculptor's works in the Dakis Joannou Collection and includes an essay by Johanna Burton that examines how the artist's work alloys personal histories with collective experience.
Venice by
A Sunday Times Art Book of the Year A visual journey through five centuries of the city known for centuries as 'La Serenissima' - a unique and compelling story for both lovers of Venice and lovers of its art. Venice was a major centre of art in the Renaissance: the city where the medium of oil on canvas became the norm. The achievements of the Bellini brothers, Carpaccio, Giorgione, Titian, Tintoretto and Veronese are a key part of this story. Nowhere else has been depicted by so many great painters in so many diverse styles and moods. Venetian views were a speciality of native artists such as Canaletto and Guardi, but the city has also been represented by outsiders: J. M. W. Turner, Claude Monet, John Singer Sargent, Howard Hodgkin, and many more. Then there are those who came to look at and write about art. The reactions of Henry James, George Eliot, Richard Wagner and others enrich this tale. Nor is the story over. Since the advent of the Venice Biennale in the 1890s, and the arrival of pioneering modern art collector Peggy Guggenheim in the late 1940s, the city has become a shop window for the contemporary art of the whole world, and it remains the site of important artistic events. In this elegant volume, Gayford - who has visited Venice countless times since the 1970s, covered every Biennale since 1990, and even had portraits of himself exhibited there on several occasions - takes us on a visual journey through the past five centuries of the city known 'La Serenissima', the Most Serene. It is a unique and compelling portrait of Venice that will delight lovers of the city and lovers of its art.
Artemisia Gentileschi and the Business of Art by
A new account of the renowned Baroque painter, revealing how her astute professional decisions shaped her career, style, and legacy Art has long been viewed as a calling--a quasi-religious vocation that drives artists to seek answers to humanity's deepest questions. Yet the art world is a risky, competitive business that requires artists to make strategic decisions, especially if the artist is a woman. In Artemisia Gentileschi and the Business of Art, Christopher Marshall presents a new account of the life, work, and legacy of the Italian Baroque painter, revealing how she built a successful four-decade career in a male-dominated field--and how her business acumen has even influenced the resurrection of her reputation today, when she has been transformed from a footnote of art history to a globally famous artist and feminist icon. Combining the most recent research with detailed analyses of newly attributed paintings, the book highlights the business considerations behind Gentileschi's development of a trademark style as she marketed herself to the public across a range of Italian artistic centers. The disguised self-portraits in her early Florentine paintings are reevaluated as an effort to make a celebrity brand of her own image. And, challenging the common perception that Gentileschi's only masterpieces are her early Caravaggesque paintings, the book emphasizes the importance of her neglected late Neapolitan works, which are reinterpreted as innovative responses to the conventional practices of Baroque workshops. Artemisia Gentileschi and the Business of Art shows that Gentileschi's remarkable success as a painter was due not only to her enormous talent but also to her ability to respond creatively to the continuously evolving trends and challenges of the Italian Baroque art world.
Hippolyte Bayard and the Invention of Photography by
The first English-language volume about Hippolyte Bayard, one of the inventors of photography who helped transform the burgeoning medium into an art form. Hippolyte Bayard (1801-1887) is often characterized as an underdog in the early history of photography. From the outset, his contribution to the invention of the medium was eclipsed by others such as Louis-Jacques-Mandé Daguerre (1787-1851) and William Henry Fox Talbot (1800-1877). However, Bayard had an undeniable role in the birth of photography and its subsequent evolution into a form of art. He was a pioneer in artistic style, innovator in terms of practice, and teacher of the next generation of photographers. Alongside an exploration of Bayard's decades-long career and lasting impact, this volume presents--for the first time in print--some of the earliest photographs in existence. An album containing nearly 200 images, 145 of those by or attributed to Bayard, is among the Getty Museum's rarest and most treasured photographic holdings. Few prints have ever been seen in person due to the extreme light sensitivity of Bayard's experimental processes, making this an essential reference for scholars and enthusiasts of the very beginning of photography. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from April 9 to July 7, 2024.
Kerry James Marshall: the Complete Prints by
This catalog raisonné offers the first public account of these important works and the first in-depth study of the role of printed images and print processes in Marshall's work as a whole. One of the most important American contemporary artists, Kerry James Marshall is known for artworks that address the 'crisis of under-representation' of the black figure in the pictorial traditions of the Western world, from museums to comic books. His work has been widely celebrated in major museum retrospectives such as Kerry James Marshall: Painting and Other Stuff (Antwerp, Copenhagen, Barcelona, Madrid) in 2014 and Mastry (Chicago, New York, Los Angeles) in 2017, and through numerous awards, including a MacArthur Fellowship in 1997. Best known as a painter, Marshall has throughout his career also produced a vast graphic oeuvre that has been seldom seen and rarely documented. An assiduous worker, he spent his youth acquiring time-honored skills of art - drawing and painting, but also wood engraving and printing. By his midtwenties, he recalls, 'I could paint in egg tempera.... I was good at printmaking. I could do woodcuts, etchings, aquatints. I knew all of those techniques.' Most of his prints have been produced not in professional print workshops, but by the artist, working alone in his studio. They range from images the size of postcards to his 50-foot-long, 12 panel woodcut Untitled (1998-99), to iterations of his ongoing magnum opus, Rythm Mastr. And while some have entered prominent museum collections, many exist only in private collections or the artist's archive and are unknown to the public.
The Politics of Collecting by
In The Politics of Collecting, Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation--rather than merit or good taste--are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution.
Antony Gormley by
Sculptor Antony Gormley (born 1950) has become a household name, particularly in his native Britain, thanks to his prominent public installations and major solo shows. Awarded the Turner Prize in 1994, he was knighted in 2014. From The Angel of the North (1998) to the hundred cast-iron life-size human figures that populate Crosby Beach in Liverpool (Another Place, 2007), Gormley makes works that explore the human body and its relationship to space. As Gormley put it, "I've never been interested in making statues. But I have been interested in asking what is the nature of the space a human being inhabits. What I try to show is the space where the body was, not to represent the body itself." A new, authoritative survey, Antony Gormley focuses on recent work by one of the best-known and most respected sculptors working today. In this volume, a diverse range of contributors bring excitingly multidisciplinary perspectives to bear on Gormley's oeuvre. Leading scientist and writer on cosmology Priyamvada Natarajan explores the role of space and light in Gormley's work. Michael Newman places Gormley within the British sculptural tradition, while the novelist Jeanette Winterson explores her personal response to Gormley's sculpture. Finally, art historian and curator Martin Caiger-Smith introduces Gormley's new body of work, exploring the roots of Gormley's practice and the role that public sculpture can play in the 21st century.
Robert Gober by
Robert Gober rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. In the years since, his reputation has continued to grow, commensurate with the rich and complex body of work he has produced. Published in conjunction with the first comprehensive large-scale survey of the artist's career to take place in the United States, this publication presents his works in all mediums, including individual sculptures and immersive sculptural environments, as well as a distinctive selection of drawings, prints, and photographs. Prepared in close collaboration with the artist, it traces the development of a remarkable body of work, highlighting themes and motifs that emerged in the early 1980s and continue to inform the artist's work today. An essay by Hilton Als, and an in-depth chronology with extensive input from the artist himself, foregrounds images from Gober's archives, including many neverbefore- published photographs of works in progress.