Published to contextualize Sarah Sze's (born 1969) outdoor work Fallen Sky and the accompanying installation Fifth Season at Storm King Art Center, this book includes an overview of the work in relation to Sze's larger practice. Also included is a discussion between Sze and artist Katharina Grosse to discuss Fallen Sky and thematic parallels in their respective work. Eight contributing authors from across disciplines of fiction, poetry, art history and cultural criticism contribute creative pieces in response to Sze's work. The publication also includes photographs of Fallen Sky taken over the course of a full year, capturing the dynamic seasonality of the artwork and the context of Storm King's environment. Installation photography illustrates Fallen Sky's ability to reflect movement and to depict how the landscape behaves and changes over time, the work's appearance shifting continuously depending on the season, time of day and weather. Exhibition: Storm King Art Center, New Windsor, USA (26.06. - 08.11.2021).
In 'Joan Didion: What She Means', the writer and curator Hilton Als creates a mosaic that explores Didion's life and work and the feeling each generates in her admirers, detractors and critics. Arranged chronologically, the book highlights Didion's fascination with the two coasts that made her. As a Westerner transplanted to New York, Didion was able to look at her native land, its mores and fixed rules of behavior, with the loving and critical eyes of a daughter who got out and went back. (Didion and her late husband moved from New York to Los Angeles in 1964, where they worked as highly successful screenwriters, producing scripts for 1971's The Panic in Needle Park and 1976's A Star Is Born, among other works, before returning to New York 20 years later.) And from her New York perch, Didion was able to observe the political scene more closely, writing trenchant pieces about Clinton, El Salvador and most searingly the Central Park Five. The book includes 50 artists ranging from Brice Marden and Ed Ruscha to Betye Saar, Vija Clemins and many others, with works in all mediums including painting, ephemera, photography, sculpture, video and film. Also included are three previously uncollected texts by Didion: "In Praise of Unhung Wreaths and Love" (1969); a much-excerpted 1975 commencement address at UC Riverside; and "The Year of Hoping for Stage Magic" (2007).
"The Caribbean diaspora is a global phenomenon that transgresses political boundaries, identities, and histories. Forecast Form: Art in the Caribbean Diaspora 1990s-Today challenges conventional representations of Caribbean art, focusing on art of the diaspora rather than art defined by static geographic, ethnic, linguistic, and historical categories. Featuring essays by a group of multi-dimensional authors and works by an intergenerational group of artists living and working in the United States, Puerto Rico, Canada, Great Britain, France, the expanded Caribbean Basin, and the island nations of the Caribbean, the catalogue is informed by Caribbean intellectual traditions, diaspora studies, and Black and alternative geographies of fugitivity"--
"A convergence of science and art, maps held a very important place in the Netherlands in the seventeenth century, and they were of particular interest to Vermeer, who had something of an obsession with them. Of the thirty-four paintings attributed to him, nine have wall maps and other cartographic objects in them, and this fascination with maps has long intrigued scholars. Other painters of his time were drawn to maps, but none painted them with such precision. This first book to fully explore this intriguing aspect of this beloved artist's work will greatly enrich our understanding of him"--
The world of advertising has changed drastically over the last century. Marketers have shifted from selling physical objects to promoting lifestyles, brands and aspirations. Likewise, contemporary photographers have transformed the way they respond to advertising and the way they manipulate its visual language. This collection of important works by an international cadre of innovative artists traces the dialogue between art and advertising from the 1970s to the present. It offers arresting images from leading conceptual artists such as Chris Burden, Victor Burgin, Sherrie Levine and Richard Prince. We see how DIS, Roe Ethridge, Victoria Fu and Kim Schoen take on contemporary consumer culture, branding and lifestyle creation. Finally, this book looks at how, as artists delve deeper into commercial strategies, advertisers have begun to call upon them to apply their signature styles to media campaigns--and further blur the lines between fine art and consumerism. Exhibition: Los Angeles County Museum of Art, USA (04.09.-18.12.2022).
Artworks from the early 1990s through the present examine the many ways that love is understood, expressed or left unspokenThis volume features more than 35 diverse and multigenerational artists, exploring themes that grapple with some of the most firmly rooted concepts of love, including the union of two people and their co-belonging in a shared destiny, the ties that bind family and friends, and loving practice that comes from action, intention and commitment to promote the worth and well-being of community. Artists include: Ghada Amer, Rina Banerjee, Thomas Barger, Patty Chang, Susanna Coffey, James Drake, Keith Edmier and Farrah Fawcett, Alanna Fields, Dara Friedman, Andrea Galvani, General Idea, Jeffrey Gibson, Felix Gonzalez-Torres, Kahlil Robert Irving, Tomashi Jackson, María de los Angeles Rodríguez Jiménez, Rashid Johnson, Gerald Lovell, Rafael Lozano-Hemmer, Kerry James Marshall, Felicita Felli Maynard, Wangechi Mutu, Ebony G. Patterson, Paul Pfeiffer, Magnus Plessen, Gabriel Rico, Dario Robleto, RongRong&inri, Michelle Stuart, Vivian Suter, Jana Vander-Lee, Carrie Mae Weems and Akram Zaatari.
With a wealth of images and commentary, this is the essential career survey of Cave's socially responsive artThe definitive volume on the ever-evolving and shape-shifting work of the Chicago-based artist, Nick Cave: Forothermore highlights the way Cave's practice has shifted and continues to shift in response to our history and current moment of cultural crisis. Including several new, never-before-seen works, the book shows an artist at the height of his power.Addressing topics ranging from art history to social justice, Nick Cave: Forothermore includes essays from Naomi Beckwith, Romi Crawford, Antwaun Sargent, Malik Gaines, Krista Thompson and Meida Teresa McNeal. Punctuating these contributions are interviews with the artist exploring his life, work and teaching practice, as well as a roundtable discussion between Cave and dancer Damita Jo Freeman, musician Nona Hendryx and publisher Linda Johnson Rice on Cave's art and influences, as well as pivotal cultural phenomena from Soul Train to Ebony magazine. Nick Cave: Forothermore reveals the way art, music, fashion and performance can help us envision a more just future.Nick Cave (born 1959) is an artist and educator working between the visual and performing arts through a wide range of mediums, including sculpture, installation, video, sound and performance. Cave is well known for his Soundsuits, sculptural forms based on the scale of his body, initially created in direct response to the police beating of Rodney King in 1991. Cave has had major exhibitions at MASS MoCA (2016), Cranbrook Art Museum (2015), Saint Louis Art Museum (2014-15), ICA Boston (2014), Denver Art Museum (2013), Seattle Art Museum (2011) and the Yerba Buena Center for the Arts (2009), among others. Cave lives and works in Chicago.
A visual and conceptual conversation between two leading US photo-artists famed for their mutual explorations of race, class and powerDawoud Bey and Carrie Mae Weems met in New York in the late 1970s, and over the next 45 years these close friends and colleagues have each produced unique and influential bodies of work around shared interests and concerns. This publication brings together over 140 photographs and video art from the 1970s through the 2010s by two of our most notable and influential photo-based artists.Since first meeting at the Studio Museum in Harlem five decades ago, Bey and Weems have maintained spirited and supportive mutual engagement while exploring and addressing similar themes: race, class, representation, and systems of power. Dawoud Bey & Carrie Mae Weems: In Dialogue brings their work together in five thematic groupings to shed light on their unique creative visions and trajectories, and their shared concerns and principles.Photographer Dawoud Bey (born 1953) had his first exhibition at the Studio Museum in Harlem in 1979. Since then, his work has been presented internationally to critical and popular acclaim. Recent large-scale exhibitions of his photographs have been presented at the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago and Tate Modern, London. Bey's writings on his own and others' work are included in Dawoud Bey: Seeing Deeply and Dawoud Bey on Photographing People and Communities. He is a professor of art and Distinguished College Artist at Columbia College Chicago.Famed for her Kitchen Table Series, among other works, Carrie Mae Weems (born 1953) explores power, class, Black identity, womanhood, and the historical past and its resonance in the present moment. In addition to photography, Weems creates video, performance and works of public art, and organizes thematic gatherings which bring together creative thinkers across a broad array of disciplines. Her work has been exhibited across the world, at venues such as the Frist Center for the Visual Arts, the Solomon R. Guggenheim Museum, the Centro Andaluz de Arte Contemporáneo and the American Academy in Rome.
This powerful collection highlights the importance of snapshots in Black American life: as tools to challenge stereotypes, and as a way to document family and cultureThoughtfully illustrated, this volume highlights a selection of photographs of African American family life between the 1970s and the early 2000s--pictures that were lost by their original owners and then found by the artist Zun Lee on a street in Detroit in 2012, marking the beginning of the Fade Resistance collection of more than 4,000 Polaroids. Lee describes the collection as an important record of Black visual self-representation and a means to "reflect the way Black people saw themselves on their terms--without the intention of being seen, or judged, by others." To Lee, these powerful photographs are an expression of "Black life mattering."These vivid images chronicle milestones such as weddings, birthdays and graduations, as well as quiet daily moments, offering contemporary views long ignored or erased by mainstream culture. Together, these works highlight the role snapshots have played in Black life, as tools to challenge stereotypical portrayals and as a means to memorialize family, culture and heritage.Topics such as self-representation, visual history and the social power of photographs are addressed in critical texts by Sophie Hackett, Stefano Harney, Zun Lee and Fred Moten, and an original contribution by celebrated poet Dawn Lundy Martin.
Showcasing a lesser-known aspect of Saar's art, Betye Saar: Serious Moonlight provides new insights into her explorations of ritual, spirituality and cosmologies, as well as themes of the African diaspora. Featured here are significant installations created by Saar from 1980 to 1998, including Oasis (1984), a work that will be reconfigured at ICA Miami's Saar exhibition for the first time in more than 30 years.00With compelling scholarship and rich illustration-combining new installation photography and archival material-the monograph provides a fresh look at this significant artist's critical and influential practice. Betye Saar: Serious Moonlight reinforces and celebrates Saar's standing as a visionary artist, storyteller and mythmaker, and the ongoing significance and relevance of her work to the most pressing issues in America today.00Exhibition: Institute of Contemporary Art, Miami, USA (28.10.2021 - 17.04.2022) / 49 Nord 6 Est ? FRAC Lorraine, Metz, France (06.2022) / Kunstmuseum Luzern, Lucerne, Switzerland (02.2023).
Including textiles, paintings and decorative arts, Archive of the World offers a lucid alternative to traditional interpretations of art from the so-called New WorldExquisitely illustrated with new photography, this stunning book represents the first comprehensive study of LACMA's notable holdings of Spanish American art. Following the arrival of the Spaniards in the Americas in the 15th century, the region developed complex artistic traditions that drew simultaneously on Indigenous, European, Asian and African art. In 1565 the Spaniards conquered the Philippines, inaugurating a new commercial route that connected Asia, Europe and the Americas. Private homes and civic and ecclesiastic institutions in Spanish America were filled with imported and locally made objects. This confluence of riches signaled the status of the Americas as a major entrepôt--what one contemporaneous author described as "the archive of the world." Many works created in Spanish America were also shipped across the globe, attesting to their wide appeal.Arranged into five thematic sections, the volume features a conversation about LACMA's collection and nearly 100 catalog entries by various scholars, including Pablo F. Amador Marrero, Aaron M. Hyman, Rachel Kaplan, Paula Mues Orts, Jeanette F. Peterson, Elena Phipps, Maya Stanfield-Mazzi and Luis Eduardo Wuffarden, among others. These authoritative texts offer multiple access points to appreciate the material, aesthetic and historical aspects of the works, providing a lasting reference in this increasingly influential area of art history.
New ways of understanding Caribbean visual culture, from historical photographs following emancipation to contemporary transnational perspectives, on the occasion of a major exhibition at the Art Gallery of Ontario, CanadaAnchored by an extensive selection from the world-class Montgomery Collection of Caribbean Photographs at the Art Gallery of Ontario, Fragments of Epic Memory situates a range of prints, postcards, daguerreotypes and albums from the period just after emancipation in 1838 within a broader context of visual culture in the Caribbean.This critical volume includes works by Caribbean artists such as Wifredo Lam from Cuba, and Sir Frank Bowling and Aubrey Williams from Guyana--who represent the first generation of migrant modernist artists--alongside 21st-century artists such as Paul Anthony Smith from Jamaica (based in the US), Zak Ové from Britain (of Trinidadian heritage), Nadia Huggins from Trinidad (based in St. Vincent) and Sandra Brewster from Canada (of Guyanese heritage), among others. Their works, along with texts by prominent writers of Caribbean descent, serve as counterpoints to the historical photographs and the violence of the imperial project, constituting a conceptual generational bridge across history, geography, time and space.
"This volume presents for the first time a recently rediscovered series of pencil drawings from the early 1990s, through which Wyeth imagined his own funeral. Chapters by leading art historians explore the significance of picturing one's own death in both the context of Wyeth's late career and contemporary American art. The book connects the funeral series to Wyeth's decades-long engagement with death as an artistic subject in painting, his relationships with the models depicted, and his use of drawing as an expressive and exploratory medium. It further inserts Wyeth's work into a larger conversation about mortality and self-portraiture that developed in American art since the 1960s, and includes works by Duane Michals, Andy Warhol, David Wojnarowicz, George Tooker, Janaina Tschèape and Mario Moore. While his contemporaries posed a variety of existential questions in picturing their own passing, those that interrogate the universality of death as a human experience have become especially urgent in the wake of the coronavirus pandemic and the national reckoning with racial inequality that emerged in 2020. Andrew Wyeth: Life and Death thus addresses ideas about loss, grief, vulnerability and (im)mortality that pervade the current moment."--
A sourcebook, reader and document of the MoMA PS1 exhibition gathering an intergenerational and international group of 47 artists and collectives with deep ties to New YorkThrough images, artist writings, roundtable conversations and oral histories highlighting key artists from the fifth edition of Greater New York at MoMA PS1, this book expands core themes in the exhibition, such as the interrelation of the surrealistic and the documentary; New York as site of Indigenous and diasporic cultural production; and the everyday challenges of living as an artist in a rapidly changing city. Central to the book is a wide selection of primary source materials: writings, poetry, notes, sketches and scripts by exhibition artists--offering, in their own words, a window into their interdisciplinary processes and approaches.Artists include: Yuji Agematsu, Nadia Ayari, BlackMass Publishing, Diane Burns, Kristi Cavataro, Curtis Cuffie, Hadi Fallahpisheh, Rotimi Fani-Kayode, Raque Ford, Luis Frangella, Dolores Furtado, Julio Galán, Doreen Garner, Emilie Louise Gossiaux, Robin Graubard, Milford Graves, Bettina Grossman, Avijit Halder, Bill Hayden, Steffani Jemison, G. Peter Jemison, E'wao Kagoshima, Marie Karlberg, Matthew Langan-Peck, Las Nietas de Nonó, Athena LaTocha, Carolyn Lazard, Sean-Kierre Lyons, Hiram Maristany, Servane Mary, Rosemary Mayer, Alan Michelson, Ahmed Morsi, Nicolas Moufarrege, Marilyn Nance, Tammy Nguyen, Shelley Niro, Kayode Ojo, Paulina Peavy, Freya Powell, Raha Raissnia, Andy Robert, Diane Severin Nguyen, Shanzhai Lyric, Regina Vater, Stanley Wolukau-Wanambwa and Lachell Workman.
Multimedia expressions of a universal human impulse: the desire to record our daily lives, from cave paintings to TikTokHome movies capture everything from mundane events to rites of passage: a child's first steps, a family vacation or a birthday party. These everyday subjects that fascinate amateur filmmakers have also long inspired visual artists. I AM HERE presents home movies alongside art by Njideka Akunyili Crosby, Nicole Eisenman, Keith Haring, David Hockney, Arthur Jafa, Ed Ruscha and others, as well as personal artifacts including family photo albums, mixtapes, time capsules, postcards and home movies. This book embraces a more-is-more visual approach with reproductions of art and film stills, plus an eye-popping cover by Toronto-based artist Fiona Smyth.
"Jackson's paintings synthesize connections shared by local residents of color around experiences of transportation, housing, agriculture and labor" -New York TimesThe first monograph on Tomashi Jackson (born 1980), The Land Claim illustrates the Cambridge- and New York-based artist's unique work and research methodology that focuses on the historic and contemporary lived experiences of Indigenous, Black and Latinx families on the East End of Long Island, and how the role of women, the meaning of labor and the sacredness of land link these communities. Jackson's intricately layered and boldly composed large-scale paintings are featured alongside transcribed interviews and archival images from her research. Jackson provokes an urgent discourse around historical narratives of labor, collective memory, educational access, transportation and land rights experienced by communities of color.
British designer Lee Alexander McQueen's collections synthesized his training in Savile Row tailoring, theatrical design, and haute couture with references spanning time, geography, mediums, and technology. Taking a look at McQueen's design process, this book documents the designer's diverse sources of inspiration by displaying McQueen's fashions alongside related artworks. McQueen's encyclopedic references range from ancient Greece and Rome to Tibetan silk brocade patterns, 17th-century Dutch painting, the prints of Goya, and the films of Stanley Kubrick. In each of these cases and beyond, examples of McQueen's work are displayed alongside artworks from LACMA's permanent collection.
Houle's painting blends Western abstraction, postmodernism and conceptualism with First Nations art history and techniques, challenging expectations about Indigenous aestheticsAn extensive survey spanning more than 50 years, Robert Houle: Red Is Beautiful celebrates Houle's ongoing career as an internationally recognized Indigenous artist, curator and writer, calling attention to First Nations and settler-colonialist histories through the critical lens of his impressive oeuvre. Painful personal experiences from the time he spent in residential school as a youth are brought into sharp relief through painting. Houle's visual commentary tackles global topics including commercial appropriation, Indigenous resistance movements, land rights, religion and war, among others. A leader in challenging systemic racial biases, Houle has played a significant role at successfully introducing Indigenous art and its relationship to the contemporary art world in Canada and beyond. Rare excerpts from the artist's archive are featured alongside major scholarly texts, poetic writings and personal anecdotes from fellow prominent Indigenous thinkers and creators, offering new insights about an artist ahead of his time.Robert Houle (born 1947) teaches at the OCADU and has collaborated on projects that seek to establish awareness of First Nations contemporary art, such as the Land, Spirit, Power exhibition at the National Gallery of Canada in 1992. He is represented by Kinsman Robinson Galleries in Toronto.
The most comprehensive publication to date on Sarah Cain's exuberant paintings and installationsLos Angeles-based painter Sarah Cain (born 1979) works on canvases of all sizes, often modifying them by cutting and braiding, painting on all sides and installing the canvas with the back of the painting facing the viewer. She also paints on other surfaces, including interior and exterior walls, floors, furniture and dollar bills.Cain's process often involves altering and disfiguring a composition until the original image is no longer recognizable. Her process of creation and destruction frequently includes found objects and is steeped in the history of painting and feminist art practices. Cain's work is a challenge to the patriarchal hierarchies of painting. "Almost everything about Cain's paintings--their speed, their brashness, their noodling compositions, their splashes and spray-painted scribbles, their tacky accouterments, their sense of absurdity--seems to undermine the gravitas that large-scale painting traditionally projects," wrote Jonathan Griffin, in the New York Times.Sarah Cain: Enter the Center features new writings and previously unpublished photographs and documentation of dozens of artworks with a focus on the last decade of Cain's exuberant and unique paintings and installations.
Trouvs evident investment in tricks of the eyeand of the mindpaint her as a 21st-century surrealist IArtforum/I
This first ever book on the Bay Area Beat artist reveals a unique drawing style that dovetails Cocteau with Japanese and Renaissance printmaking
A career retrospective on the conceptually complex sculpture of the Canadian postminimalist
Directors Inspiration. An inspirational trove of film posters and ephemera, photographs, artwork and more from the collection of Spike Lee
An unprecedented look at Nellie Mae Rowe's art as a radical act of self-expression and liberation in the post-civil rights-era SouthA New York Times critics' pick Best Art Books 2021 During the last 15 years of her life, Nellie Mae Rowe lived on Paces Ferry Road, a major thoroughfare in Vinings, Georgia, and welcomed visitors to her "Playhouse," which she decorated with found-object installations, handmade dolls, chewing-gum sculptures and hundreds of drawings. Rowe created her first works as a child in rural Fayetteville, Georgia, but only found the time and space to reclaim her artistic practice in the late 1960s, following the deaths of her second husband and her longtime employer. This book offers an unprecedented view of how Rowe cultivated her drawing practice late in life, starting with colorful and at times simple sketches on found materials and moving toward her most celebrated, highly complex compositions on paper. Through photographs and reconstructions of her Playhouse created for an experimental documentary on her life, this publication is also the first to juxtapose her drawings with her art environment. Nellie Mae Rowe (1900-82) grew up in rural Fayetteville, Georgia. When her Playhouse became an Atlanta attraction, she began to exhibit her art outside of her home, beginning with Missing Pieces: Georgia Folk Art, 1770-1976, a traveling exhibition that brought attention to several Southern self-taught artists, including Rowe and Howard Finster. In 1982, the year she died, Rowe's work received a new level of acclaim, as she was honored in a solo exhibition at Spelman College and included as one of three women artists in the Corcoran Gallery of Art's landmark exhibition .
"Published in conjunction with the touring exhibition, Light, Space, Surface. Itinerary: Addison Gallery of American Art, Phillips Academy October 2, 2021-January 30, 2022 Frist Art Museum June 3, 2022-September 6, 2022"--
Artists defy Western conceptions of the "human" The term "no humans involved" emerged shortly after the 1991 beating of Rodney King, when it was discovered that the Los Angeles Police Department was using the term as a shorthand for casework that involved Black and Latino men and sex workers. In 1994, Jamaican scholar and theorist Sylvia Wynter challenged her academic colleagues to consider how they themselves might be contributing to the cultural mindset that gave rise to this exclusionary definition of human. In particular, Wynter highlighted the strong influence the notion of race has on the definition of the human and the social hierarchies and injustices that result from this link.No Humans Involved collects works by contemporary artists that serve as a response to Wynter's prompt. Among the artists featured are Eddie Aparicio, who uses large-scale, rubber casts of trees to document social and economic relationships between Latin America and the United States; Tau Lewis, a multidisciplinary artist who creates portraits out of culturally relevant found objects and recycled materials; and Wilmer Wilson IV, who investigates the marginalization of Black bodies in social relations through performance, sculpture, photography and other mediums. This collection of artworks from a diverse group of artists provides a contemporary response to Wynter's call to action, addressing the social divisions present today and exploring opportunities for social unity.Artists include: Eddie Aparicio, Tau Lewis, Las Nietas De Nonó, Sondra Perry, Sangree, Wangshui and Wilmer Wilson IV.
Sixteen international artists at the forefront of feminismThis book focuses on a selection of midcareer international artists whose oeuvres are informed by the legacies of feminist thought. Each artist adds to the feminist discourse, whether by reclaiming women's marginalized creative histories, using gender discrimination as a method of institutional critique or creating alternate research methodologies that confront patriarchal norms.The book includes sculpture, painting, video, installation and performance art, and features lesser-known projects or entirely new commissions that recast sociopolitical realities throughout the world. In addition to extensive illustrations, the book includes essays by Anne Ellegood and Connie Butler, curators and art historians whose practices have also been dedicated to a discussion of women's rights.Artists include: Leonor Antunes, Yael Bartana, Pauline Boudry / Renate Lorenz, Candice Breitz, Shu Lea Cheang, Minerva Cuevas, Vaginal Davis, Every Ocean Hughes, Bouchra Khalili, Laura Lima, Teresa Margolles, Otobong Nkanga, Okwui Okpokwasili, Lara Schnitger and Beverly Semmes.
On a sculptural recreation of a room from an ancient Iraqi palace, in the wake of lootings by Western archaeologists and ISISUsing Arab-language newspapers and wrappers from food products imported from the Middle East, Iraqi American artist Michael Rakowitz (born 1973) has recreated to scale Room H from the Northwest Palace of the ancient Assyrian city of Nimrud (Kalhu). Part of a reception suite, Room H was originally lined with seven-foot-tall carved stone reliefs, including an inscription detailing Ashurnasirpal II's achievements and winged male figures, many of which have been removed by Western archaeologists over the last 150 years. Here, Rakowitz has "reappeared" only those panels that were in situ in Room H when the remains of the palace were destroyed by the jihadist group the Islamic State (ISIS) in 2015. Areas from which the reliefs had already been removed by 19th-century archaeologists are left blank, resulting in what Rakowitz calls "a palimpsest of different moments of removal."
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