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"Working within a broad and renewed interest in craft practices, Los Angeles-based artist Christy Matson (American, b. 1979) creates woven pictures that explore memory and imagination through the layered history of textile production, while advocating for issues surrounding sustainability. A continuation of the Milwaukee Art Museum's Currents series, which highlights new trends in contemporary art, this publication calls attention to the rise of fiber art and celebrates Matson as a contemporary artist. Bringing together nearly fifty of Matson's most recent works from the last five years, this is the first publication to explore the artist's wide-ranging textile practice"--

How the influential American art historian used his print collection to theorize body language and the concept of the copyBeginning in the early 1960s, with only the meager budget of a part-time art history professor, Leo Steinberg (1920-2011) amassed a collection of more than 3,500 prints spanning the medium's 500-year history in the West. Steinberg's prints formed a visual library that shaped his scholarship in fundamental ways. His collection, incorporating the work of artists both famous and obscure, illuminates his claim that before photography, prints functioned as the "circulating lifeblood of ideas," disseminating figures and styles across boundaries. Through close observation of his prints, Steinberg developed some of his most innovative arguments about the instructive richness of the copy and the expressive potential of body language. This lavishly illustrated volume examines the development of Steinberg's remarkable collection and its role in his scholarship. It also serves as an introduction to the history of Western printmaking that these works broadly encompass.

Monumental, colorful and expressive, Matt Wedel's ceramics revel in what's possible with clayIn a bright yellow studio nestled in the rolling hills of southeastern Ohio, Matt Wedel (born 1983) builds ideas out of clay. A prolific maker, he regularly pivots between stoneware, earthenware and porcelain, exploring the expressiveness of material and color. Wedel's focus shifts between figure and flora, representation and abstraction, monumental and intimate, object and drawing--dualities that have a supportive tension rather than being at odds with each other. For Wedel, everything that goes into the making of the object is the work of art. Matt Wedel: Phenomenal Debris investigates the development and cross-pollination of figuration and landscape in Wedel's ceramic sculptures, as well as his own psychology and how it transforms both his work and the way he perceives his role as artist, father and global citizen.

"This book is published in conjunction with the exhibition Srijon Chowdhury: Same Old Song, organized by the Frye Art Museum, Seattle, curated by Interim Co-Director and Chief Curator, Amanda Donnan, and presented at the Frye, October 8, 2022-January 15, 2023"--Colophon.

"This publication accompanies the exhibition Fake News & Lying Pictures: Political Prints in the Dutch Republic, organized by Krannert Art Museum, University of Illinois Urbana-Champaign, on view August 25-December 17, 2022"--Colophon.

Referred to as "the dean of Philadelphia painters," Larry Day (1921-1998) was a dominant force in American art from the 1950s through the 1990s, as well as a dynamic teacher and mentory. Body Language is the first full catalog devoted to the breadth and range of his work.

"Omaskãeko Cree artist Duane Linklater (b. 1976, Treaty 9 territory, Canada) works across a range of mediums to address the contradictions of contemporary Indigenous life within and beyond settler systems of knowledge, representation, and value. Published on the occasion of his first major survey exhibition, this fully color-illustrated catalogue offers a timely assessment of the last decade of the artist's distinctive practice. Interspersed with photographs taken by the artist and his daughter, the catalogue presents an expansive constellation of references and intergenerational relationships that enriches understanding of Linklater's practice and of contemporary art at large"--

"Beginning in 1877 with Vassar College's first commission of a female artist to portray a contemporary female figure, through the ensuing years, the work of an increasing number of women artists was exhibited in various College buildings and discussed in print, including paintings by Lilly Martin Spencer, Cecilia Beaux, and Mary Cassatt. Women Picturing Women traces the history of artists and artists' subjects at the Frances Lehman Loeb Art Center at Vassar College"--

The Kuba of the Democratic Republic of Congo are recognized throughout the world for the beauty and inventiveness of their figure sculptures, decorative arts and surface design traditions. However, only a few scholarly articles have detailed the importance of Kuba masking traditions. A View from the Forest documents, in more than 160 photographs, Southern Kuba masking traditions associated with male initiation and funeral rites. This firsthand, intimate view of male initiation rites and mask making is the result of the author's own experiences together with 25 young men in a forest initiation camp. The book reflects the passion, commitment and creativity of Southern Kuba men as they reveal the esoteric lore and teach mask-construction skills to the next generation. Belgian colonialism harshly affected the lives of all Congolese. Art-making in the form of masks, costumes, and community-wide performances proved to be a powerful form of resistance.--

Recent multimedia projects by Simon Starling on hidden histories and unlikely connectionsPublished for British artist Simon Starling's (born 1967) exhibition at the Rennie Collection in Vancouver, this volume presents a selection of the artist's multimedia, research-based art from the last decade, contextualized by new essays.

Published on the occasion of an exhibition of the same name at the Indianapolis Museum of Art at Newfields, May 21-December 5, 2021.

"European Paintings and Sculpture from Joslyn Art Museum is the first comprehensive reexamination of the museum's permanent collection in over three decades, marking a significant milestone for the institution and drawing well deserved attention to the artworks in its care. The museum's collection of European painting and sculpture includes masterworks by Titian, Paolo Veronese, Claude Lorrain, Rembrandt van Rijn, Gustave Courbet, Edgar Degas, Claude Monet, and Camille Pissarro, as well as significant holdings of nineteenth-century French academic painting, with major examples by Jules Breton, William-Adolphe Bouguereau, and Jean-Lâeon Gâerãome. Despite the importance of this collection, previous publications have only addressed these works within a broader selection of museum highlights. The new catalogue presents one hundred artworks dating from the late thirteenth to the early twentieth century and representing many of the most important artists, schools, and styles of European art history"--

"Edward Hicks (1780-1849) has long been considered our foremost folk artist. Many people recognize his name and can visualize his Peaceable Kingdom paintings, with their vision, taken from the Old Testament, of wild, predatory animals coming to an accord with tame, defenseless creatures. But Hicks himself, and especially how he and his work figure in the larger sphere of American culture, remain far from settled topics. It can be questioned whether the painter, who was a widely known Quaker minister and supported his family as a decorator of carriages and other objects, was a folk artist at all. Unlike other such figures, he never stopped developing his art. His Peaceable Kingdoms, worked on continuously for over three decades (and some sixty in number), form in effect a singular ever-changing visual diary. Taking Hicks's measure from different perspectives, Sanford Schwartz looks for the first time at ways in which Hicks is part of all nineteenth-century American art and can also be seen as an outsider artist. Schwartz understands the importance of Quakerism in Hicks's life. Yet he puts a new emphasis on the painter's passionate, contradictory character and on the expressiveness of his animal creations. Volatile, antic, or poignant in demeanor, they are shown to have emotional depths that are rarely felt in American nineteenth-century painting of any stripe"--

Published in conjunction with the exhibition Revisiting America: The Prints of Currier and Ives, presented at Joslyn Art Museum.

A new edition of an exquisitely crafted homage to the Massachusetts coastIn this new edition of Between Land and Sea: The Great Marsh (first published by Braziller in 2007), the award-winning, Ipswich, MA-based landscape photographer Dorothy Kerper Monnelly conveys the surprising, ever-changing drama of the vast tidal wetlands known as the Great Marsh. For over 40 years, Monnelly has come to know this region intimately, one of the last unspoiled wilderness areas in the urban Northeast. Her timeless, visionary photographs are joined in this edition by an essay from acclaimed author Terry Tempest Williams reflecting on our relationship to liminal spaces like the marsh. Although salt marshes are among the most productive ecosystems on earth, these wetlands are threatened throughout the world by human activity and have disappeared from much of the American seacoast. The Great Marsh, despite threats from development, pollution, and now rising seas, is a pristine remnant of this ancient coastal environment.

Kevin M. Murphy is curator of American art at the Crystal Bridges Museum of American Art.

When justice is at stake, artists have spearheaded challenging conversations. The work in this book bears witness to stories that challenge dominant paradigms. Among the 50 artists represented here are Carlos Amorales, Loretta Bennett, Mark Bradford, Willie Cole, Abraham Cruzvillegas, Ellen Gallagher, Glenn Ligon, Julie Mehretu and Wangechi Mutu.

Chronicles Pasco's journey as an artist and the transformation of his work over the last fifty years

Offers new perspectives on Ralph A. Blakelock (1847-1919) by addressing the modernity of his accomplishments. The works featured attest to a salient characteristic of our own time, namely, the artist's growing autonomy. The Unknown Blakelock explores this ongoing impact of Blakelock's work, which has previously been placed in the context of the exploration of his own contemporaries.