This beautifully designed and illustrated catalogue presents the 218 gifts of Chinese art from Ruth and Bruce Dayton to the Minneapolis Institute of Arts. Ranging in date from the Shang to the Qing, these objects were carefully chosen to form a high-quality and well-balanced collection that encompasses all classical Chinese traditions. They include ancient metalwork, Buddhist arts, lacquer, ceramics, painting and calligraphy, classical furniture and literati objects. Among the highlights are a Warring States inlaid bronze chariot fitting, a large Han bronze horse and a Han bronze money tree, a Song wooden Buddhist sculpture, Ming sutras and Taoist paintings, Sino-Tibetan Buddhist arts, outstanding lacquerwares of the Han, Song, Yuan, and Ming dynasties, Song, Yuan and Ming paintings in the literati tradition, Ming hardwood furniture, and a variety of scholar's objects.
The collection of Old Master drawings at Chatsworth House, Derbyshire, home of the Dukes of Devonshire, ranks as one of the great princely collections of Europe. Formed in the 18th-century by the first, second and third Dukes, the collection contains sheets by the great masters of every artistic school. Alongside the Royal Collection at Windsor Castle, it constitutes the finest privately owned group of such drawings in Britain.
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.
In the eighties, Cuban art centered on ideology, exoticism, shamanism, and a Beuysian conceptual legacy prevalent among students at the Instituto Superior de Artes, a power-house for young artists. Many of the artists from this generation left the island for Mexico and the United States. In the nineties many artists have chosen, almost strategically, to stay in Cuba. Their narratives deal with race, sexuality, camouflage, tourism, and the "hybrid" as the reigning cultural metaphor for the endless contradictions of contemporary Cuban life. This book includes work by Pedro Alvarez, Saidel Brito, Carmen Cabrera, Henry Erik, Luis Gomez, Douglas Perez, and Jose Vincench among others.
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.
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 modern art collection of the Saint-Etienne Métropole Museum, with its wealth of nearly 15,000 works, 900 pieces of design, and 2,000 photographs, includes major works by contemporary artists such as Franck Stella, Martial Raysse, Gilbert & George, Fernand Léger, Pablo Picasso, Jean Dubuffet, and Pierre Soulages.
The abstract paintings of Jackson Pollock, Willem de Kooning, Barnett Newman, Lee Krasner, Clyfford Still, Helen Frankenthaler, and others revolutionized the art world in the 1940s and 1950s and continue to inspire passionate arguments to this day. What were these artiststrying to achieve? Who were the critical voices of the time that rallied public interest in Abstract Expressionism and sparked rancorous debate? Drawing on recent critical, historical, and biographical work, this lavishly illustrated book offers a sharp new focus on a pivotal art movement. It also presents an extensive commentary on the two most influential critics of postwar American artClement Greenberg and Harold Rosenbergwhose powerful views shaped perceptionsof AbstractExpressionism and other contemporary art movements. In one essay, Norman L. Kleeblatt traces the influence of Abstract Expressionism into the mid-1970s and examines its connection to subsequent art styles. Other essays range fromthe literary and intellectual culture of New York during that period and an analysis of sculpture and representation to a discussion of Jewish issues in relation to postwar American Art. In addition, the book features a magisterial essay by eminent critic Irving Sandler and a copiously illustrated cultural timeline by Maurice Berger."