In 1984, Jasper Johns suggested to an interviewer that he had made a critical shift in his working process. "In my early work," he said, "I tried to hide my personality, my psychological state, my emotions...I sort of stuck to my guns for a while, but eventually it seemed like a losing battle. Finally, one must simply drop the reserve." His paintings of the 1980s and 90s bear this out: their imagery often includes objects and locations in his present studio and home, as well as allusions to memories of his childhood. These motifs are reiterated, altered, reworked and quoted in the context of new compositions, forming layered and complex spaces of recollection that merge past and present. This profusely illustrated volume, published in conjunction with an exhibition of paintings, prints and drawings organized by the Walker Art Center, is the first to look broadly at this period in Johns' career. All of the artist's major bodies of work from the past two decades--including those based on the Seasons, Green Angel and Catenary motifs--are covered in this study, with special consideration given to imagery appropriated from Picasso and Manet. Many of the works are published here for the first time, making this an invaluable tool for the study of Johns' work.
The penny bank craze of the twentieth century began quietly enough. Here, a slotted pottery pig from Scotland. There, a grimacing human face made in Bennington, Vermont. In 1793, penny banks first appeared in America, along with the first large copper pennies. Those who mistrusted paper currency saved their "hard" money in vessels of pottery, glass, and tin. In the 1890s, "China Pig" with a slit in his back sold for a dime. Plump pigs and pennies went together like thrift and future success. To this day, these iconic examples of American folk art and vernacular design are prized additions to museum and personal collections throughout the country. Money in the Bank details a wide range of extraordinary still and mechanical banks acquired by Katherine Kierland Herberger, who initially discovered the pleasure and variety of toy banks as gifts for her son. Over 1,200 purchases later, she donated the collection to The Minneapolis Institute of Arts. All are pictured here in full color for the first time. Acclaimed art historian Karal Ann Marling contributes an essay to the book tracing the importance of banks in popular culture, and an introduction narrates Herberger's extensive collecting activities. Money in the Bank is a lavishly illustrated and remarkably comprehensive catalog that demonstrates the charm and whimsy, as well as the significance, of toy banks in America. Corine Wegener is assistant curator at The Minneapolis Institute of Arts. Karal Ann Marling is professor of American studies and art history at the University of Minnesota. Distributed for The Minneapolis Institute of Arts
Many of our most cherished childhood memories recall the pleasure of sitting in a big comfy chair while a doting parent reads from a lovingly illustrated picture book. Jack and the Bean Stalk, Little Red Riding Hood, Robinson Crusoethe colorful illustrations that decorated the pages of these stories remain forever captured in the minds eye.
Once Upon a Time reawakens the joys of childhood reading, of seeing a story come alive in words and pictures on the printed pageand in our nascent imaginations. Drawing upon the extraordinary collection of Victorian-era illustrated books amassed by Arthur and Ellen Liman, it presents fairy tales and fables, nursery rhymes, instructional books, juvenile fiction, histories, and manners manuals. Created through a variety of illustration techniques and printing processes, most are beautifully colored. Many are also animated with moveable parts. These striking objects are accompanied by brief texts that place them within their era and illuminate the rise of children's literature in America as a cultural phenomenon related to the growth of literacy, an increase in leisure time, and an understanding of the "infant mind." The moral of this story: learning your ABCs can be a visual pleasure.
When the young artist Everard Jean Hinrichs was looking for a new name, he chose "Sloane" as a tribute to his mentor John Sloane and "Eric" as homage to his greatest inspiration, America. This original collection of Eric Sloane's oil paintings spotlights his evocative depictions of the nation's landscape and material culture. Shimmering with immense historical and nostalgic appeal, it features nearly a hundred of the artist's finest paintings of locations ranging from New England to the American Southwest. A perfect introduction to Sloane's art, this fine anthology will also appeal to the painter's many longtime fans. Michael Wigley, whose Santa Fe gallery is a primary venue for Sloane's artwork, selected these images from an extensive legacy. Wigley also provides an informative commentary on the artist's techniques, and Mimi Sloane offers a warm reminiscence of her husband's life and lively career.
The rise of globalism has created tremendous challenges to old economic, political, and cultural paradigms, changes that are increasingly reflected in diverse artistic practices across the planet. If disciplinary boundaries are now crossed as easily as geographic ones, how does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of digital media? Does the global information age facilitate an international language of art and an alternative reading of history, from art history toward art histories? From the perspective of a museum of modern and contemporary art--a purely European construct--the art institution has to overcome a major contradiction, one that exists between its mission of permanence and its mission of change. To invite and encourage such dialogue, How Latitudes Become Forms looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves, featuring thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world, as well as multidisciplinary artworks by more than 40 artists from Brazil, China, India, Japan, South Africa, Turkey, and the United States. Including conversations with Cuauhtemoc Medina & Vasif Kortun, Kathy Halbreich & Vishakha Desai, Steve Dietz & Raqs Media Collective, Philip Bither, Baraka Sele and Philippe Vergne.
"GLOBAL AGE. Sm4to, 352pgs. Book has a unique binding, bound in illustrated paper wraps held together with chrome screws and titling stamped on exposed text block spine, very clever. Catalog is an extensive examination of the exhibition replete with color images and writings on the show. One of the screws is missing from the binding, front cover at spine edge has a 1/4 semi-circle closed tear, corner tips of pgs.215-352 are slightly bumped and cover edges are lightly worn, otherwise book is solid and interior is clean and bright.
This handsome catalogue presents 267 European drawings and watercolors dating from the 16th through the early 20th centuries. Color reproductions of 73 of the Ackland's most important Italian, Netherlandish, French, British, and German drawings are accompanied by 194 black-and-white reproductions and 35 supplemental images. Although the Ackland has not previously published its drawings, many of the works are already quite well known, including works by Luca Cambiaso, Pietro da Cortona, Eugene Delacroix, Jean-Honore Fragonard, William Blake, Guilio Romano, Henry Fuseli, and Egon Shiele.
Beginning with an overview of the history of the Ackland's drawings collection, the catalogue examines the most significant works with full-page reproductions and essays that detail the scholarly issues relevant to each drawing, including questions of attribution, date, subject matter, and relationship to other studies or to known projects. In addition, 200 works are presented with thumbnail reproductions and brief commentary.