An American Point of View 18 the most comprehensive study to date on this collection which holds masterpieces of American art from Colonial Times to World War 11 including artists such as John Singleteton Copley. Frederick Edwin Church, Winslow Homer and Edward Hopper. Full--colour reproductions are paired with texts describing the works and placing them in a historical context. In addition to informative analyses of individual masterpieces in the collection. the catalogue includes two longer essays and many photographs of the two museums. The first essay explores the philosophy and experiences of Ambassador Daniel J. Terra. the establishment of his collection. and the creation of his two museums in America, The second essay traces the beginnings of the Giverny museum from 1986 to its opening in 1992 to its evolution over the past ten years with special attention given to Terra's goals. With an introduction written by American art specialist Wanda Corn and previously unpublished information on the selected works of art. this catalogue is a useful tool for scholars of American art, Its numerous reproductions and readable text. make it equally enjoyable as a summary of a major collec
In the years around 1960, a rapid process of deindustrialization profoundly changed New York City. At the same time, massive highway construction, urban housing renewal, and the growth of the financial sector altered the city's landscape. As the new economy took shape, manufacturing lofts, piers, and small shops were replaced by sleek high-rise housing blocks and office towers.
Focusing on works by Claes Oldenburg, Jasper Johns, Robert Rauschenberg, and Donald Judd, art historian Joshua Shannon shows how New York art engaged with this transformation of the city. Shannon convincingly argues that these four artists---all living amid the changes---filled their art with old street signs, outmoded flashlights, and other discarded objects in a richly revealing effort to understand the economic and architectural transformation of their city.
Andy Warhol (1928-1987) is hailed as the most important proponent of the Pop art movement. A critical and creative observer of American society, he explored key themes of consumerism, materialism, media, and celebrity.
Drawing on contemporary advertisements, comic strips, consumer products, and Hollywood's most famous faces, Warhol proposed a radical reevaluation of what constituted artistic subject matter. Through Warhol, a Campbell's soup can and Coca Cola bottle became as worthy of artistic status as any traditional still life. At the same time, Warhol reconfigured the role of the artist. Famously stating "I want to be a machine," he systematically reduced the presence of his own authorship, working with mass-production methods and images, as well as dozens of assistants in a studio he dubbed the Factory.
This book introduces Warhol's multifaceted, prolific oeuvre, which revolutionized distinctions between "high" and "low" art and integrated ideas of living, producing, and consuming that remain central questions of modern experience.
From its birth as a remote trading outpost on the fringes of the Dutch empire to its current status as the so-called Capital of the World, New York has always captivated visual artists. The extraordinary prints collected by the New-York Historical Society over the course of its history vividly preserve these impressions on paper. In this handsome volume more than 150 of these views of the city -- including two spectacular gatefold panoramas -- speak eloquently of the surging power of this dynamic urban center. At the same time, they present an intimate portrait of everyday life as it has been lived and savored in this great city for more than three centuries.
The companion to an exhibition celebrating the New-York Historical Society's bicentennial anniversary, this beautifully printed volume presents a full range of historic images, from 1672 to the present. In the lively essay and information-filled captions, curator and historian Marilyn Symmes tells the unique stories behind the people and places, parks and buildings, streets and neighborhoods, parades and events depicted in each image -- in essence, the story of New York City itself.
The momentary beauty of Sage Vaughn s butterflies is palpable. These impossibly lovely, delicate creatures appear to have magically landed or violently crashed, oozing their colorful pigment like blood-stained marks across the canvas. The dichotomy of these delicate and ephemeral creatures co-existing over images of gritty urban life creates a contrast that is layered, mysterious, and up for interpretation. Vaughn s butterflies appear as choreographed nature their drips echoing his early beginnings as a graffiti artist. Sometimes juxtaposed against the likes of mundane interiors, forests, or the Russian punk band Pussy Riot, Vaughn s distinctive paintings create provocative relationships between the built and natural environment. The effect is dreamlike and almost hypnotic, as swarms of butterflies concurrently live and die in graceful formations that are at once heart-breakingly beautiful and sublimely melancholy.
Sage Vaughn is an LA-based painter and illustrator who is best recognized for his wildlife series. Moustachioed, eccentric, and consistent, Vaughn works in his studio from 9 a.m. to 6 p.m. and has been quoted as an artist with a blue-collar work ethic. As a child, Vaughn and his father, who was also a painter, would spend hours on end at the LA Zoo sketching animals all day. As a teenager, growing up in the San Fernando Valley in the late 70s and early 80s, Vaughn was greatly influenced by the punk movement and graffiti art. Vaughn s current Wildlives paintings focus on the juxtaposition and coexistence of humans and animals, drawing comparisons between their inherent liberty, freedom, and survival skills. He has had widely acclaimed solo shows in New York, Geneva, and London and has been featured in a group show at MOCA in LA, curated by the Beastie Boys Mike D."
In this exciting new monograph, Professor Griffin provides fresh insight into the life and work of one of America's most-famous and best-loved artists. The author places Homer against a background of American nationalism fuelled by tensions between American self-identity and European sophistication. Finding in Homer's work the aspiration to create specifically American subjects and a specifically American character. It is testament to Homer's success that his influence is still echoed in every strand of America media almost 100 years after his death. Born in 1836, Homer began his career a magazine illustrator, soon becoming a regular contributor to Harper's Weekly, one of the America's most popular magazines. In the early 1860s, Homer was sent by his editor to the front lines of Civil War battles in Virginia. His woodcuts and lithographs of wartime encampments were widely distributed and served to make him highly popular with a large American audience.
Published in conjunction with the major exhibition, 'The Road to Aztlan: Art from a Mythic Homeland' explores the art derived from and created about the legendary area that encompasses the American Southwest and portions of Mexico long before they were separated by an international border. The book and accompanying exhibition view Aztlan as a metaphoric centre and allegorical place of origin for the various peoples of the Southwest and Mexico. Cultural interactions between the two areas span two millennia, beginning with maize cultivation, which spread north from Mexico around BC 1200. The book also investigates the relationship between myth and history as expressed in art and material culture of the region's inhabitants over time and the relationship and continuities of cultural practices over the course of the pre-Columbian, colonial, and contemporary eras. Crucial to these changing relationships are aspects of tradition and innovation within cultures as people sought to negotiate, maintain, and redefine their identities in the face of social disruption.
Not since the early nineteenth century, when George Catlin and Karl Bodmer thoroughly sketched the area, have the rough-textured Loess Hills of western Iowa been artistically interpreted with any intensity. Now, inspired by this rugged landscape of steep-sided ridges and bluffs, "Land of the Fragile Giants" offers a collaboration of contemporary artists, scientists, and humanists all creating their interpretations of today's Hills. Looking at the natural and the human features of the renowned Hills, personal essays blend with works of art to create a verbal and visual panorama of the Loess Hills and a multidimensional view of a region that makes a deep impression on each visitor.
Working closely with Iowa State University's Brunnier Art Museum, twenty-seven professional artists from Iowa and the Midwest visited the Loess Hills at various times throughout 1993 to gather insight for their projects. The result: a dramatic exhibition of paintings, sculpture, prints, and photographs that beautifully complement this volume's literary works. The twelve essayists also have strong ties to the Loess Hills. Each author has spent a significant portion of her or his life in the Hills. The scientists reinterpret their research within the framework of their experience; the humanists provide background and context for the scientists; the artists illuminate the whole.
The art and essays in "Land of Fragile Giants" bring a meeting of broadly diverse minds and talents to an appreciation of the multitude beauties of Iowa's premier natural area. This striking and colorful volume will appeal to all those captivated by the Loess Hills and all general readers with interdisciplinary interests.