An examination of the pioneering Caribbean and Latin American artists who resided in New York prior to WWII and shaped the American avant-garde
Between 1900 and 1942, New York City was the site of extraordinary creative exchange where artists could share ideas in a global context. The swiftly changing urban landscape before and between the World Wars inspired the erosion of artistic boundaries and fostered a new climate of modernist experimentation. Nexus New Yorkfocuses on key artists from the Caribbean and Latin America who entered into dynamic cultural and social dialogues with the American-based avant-garde and participated in the development of a new modern discourse. Featuring both celebrated and little-known figures of this period, including Carlos Enr quez, Alice Neel, Marius de Zayas, Francis Picabia, Joaqu n Torres-Garcia,
Few regions of the country produced such a distinctive group of artists with such a particular view on the modern world as did the Pacific Northwest in the 1930s and 1940s. Capitalizing on their particular geographical position at what was a modern art outpost -- working free from the strong influences of New York and Europe, and sitting at the portal to the Far East -- a close-knit group of artists sought to address the global political, social, and economic ills of their time.
The seminal figures in this group -- Mark Tobey and Morris Graves especially -- quickly garnered critical attention in New York for their uncommon imagery and expressive technique, which drew upon spiritual tenents ranging from Zen Buddhism to the Persian Baha'i faith and their mastery of Asian calligraphy. Modernism in the Pacific Northwest presents an overview drawn from SAM's unparalleled collection of the key figures of this generation: Mark Tobey, Morris Graves, Guy Anderson, Kenneth Callahan, Leo Kenney, Paul Horiuchi, George Tsutakawa, Phil McCracken, James Washington Jr., and Tony Angell.
For the first time in its 40-year history, the American Folk Art Museum is able to present a significant selection of masterworks from its renowned collection, including major new acquisitions. American Anthem, which accompanies the show, is a chronological consideration of American folk art from the colonial period to the present. Unlike past surveys, the artworks will not be arranged by medium or theme, but rather through contextual settings in a visually powerful mix of materials, demonstrating the aesthetic ideas that were commonly held in a particular period and that received different interpretations across mediums. For example, the imposing portraits of Mr. and Mrs. Reynolds, attributed to early Connecticut artist Reuben Moulthrop, will be considered along with a stunning late-18th century bed rug and superb examples of painted furniture of the period. Approximately one-third of the volume will be devoted to self-taught artists of the 20th century, placing this artistically and culturally diverse field in an historical continuum with traditional folk art for the first time. In every period, past and present, American folk artists have responded to common impulses: patriotism
A radical new generation of American abstract painters has emerged at the beginning of the new century. Even although they 'deconstruct' traditions and echo grunge, the movement also finds room for historical references to war, brutality and the spilling of blood. This book profiles some of the leading exponents of the movement.
This presents the holdings of the Butler Institute of American Art in Youngstown, Ohio, USA. Founded in 1919, it houses a comprehensive collection of American paintings which range from the works of 18th-century portraitists to contemporary artists.
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.
A radical re-evaluation of American modernism through four generations of artists and their work - now in paperback.
"That rarity of rarities, an opinionated but not eccentric scholarly history by a veteran museum curator whose every page crackles with original thinking and bears the stamp of a preternaturally sharp eye? Excellent reproductions and crisp typography complement the lucid prose." --Wall Street Journal
Twentieth-century art in America has long been understood in two very separate distinct halves: pre-World War II, often considered as inferior and provincial; and the triumphant, international post-war work that made a complete break with everything that went before. Agee discovers exciting new connections between artists and artworks, which strongly suggest that 1945 was not such a dividing line in art history after all. His fresh research offers an innovative approach and a brilliant take on art history.