In Art: A New History, Paul Johnson turns his great gifts as a world historian to a subject that has enthralled him all his life: the history of art. This narrative account, from the earliest cave paintings up to the present day, has new things to say about almost every period of art. Taking account of changing scholarship and shifting opinions, he draws our attention to a number of neglected artists and styles, especially in Scandinavia, Germany, Russia and the Americas.
Paul Johnson puts the creative originality of the individual at the heart of his story. He pays particular attention to key periods: the emergence of the artistic personality in the Renaissance, the new realism of the early seventeenth century, the discovery of landscape painting as a separate art form, and the rise of ideological art. He notes the division of 'fashion art' and fine art at the beginning of the twentieth century, and how it has now widened.
Though challenging and controversial, Paul Johnson is not primarily a revisionist. He is a passionate lover of beauty who finds creativity in many places. With 300 colour illustrations, this book is vivid, evocative and immensely readable, whether the author is describing the beauty of Egyptian low-relief carving or the medieval cathedrals of Europe, the watercolours of Thomas Girtin or the utility of Roman bridges ('the best bridges in history'), the genius of Andrew Wyeth or the tranquility of the Great Mosque at Damascus, the paintings of Ilya Repin or a carpet-page from the Lindisfarne Gospels. The warmth and enthusiasm of Paul Johnson's descriptions will send readers hurrying off to see these wonders for themselves.
This richly illustrated book, created to accompany the traveling exhibition of the same name, provides a fascinating critical overview of Ant Farm, the radical architecture collective that brought us Cadillac Ranch, Media Burn, and The Eternal Frame. Established by several young renegade architects in 1968, Ant Farm was a collaborative art and design group eager to bring to its practice a revolutionary spirit more consistent with the times. Its vision encompassed creations for a nomadic lifestyle, including inflatable structures and radical environments that culminated in projects such as the organically appointed House of the Century and the unrealized aquatic edifice The Dolphin Embassy. Ant Farm 1968-1978 explores the sweeping career of this inspired and inspiring visionary collective as its architectural projects broadened to embrace a range of undertakings that challenged the visual architecture of image, icon, and power.Constance Lewallen provides an in-depth, anecdotally rich interview with founding members Chip Lord, Doug Michels, and Curtis Schreier. An essay by Michael Sorkin gives the multivalent cultural context for Ant Farm's radical architecture. Steve Seid takes a comprehensive look at Ant Farm's influential videotapes. Caroline Maniaque's "Searching for Energy" details the group's inflatable structures in relationship to contemporaneous architects working in a similar vein. The catalog also includes a substantial excerpt from Chip Lord's 1976 meditation on car culture, with a new epilogue; a graphically playful timeline recounting Ant Farm's essential art projects; and a rich montage of images and ephemera capturing the humor, originality, and prescience of this feisty enterprise. A joint publication with the Berkeley Art Museum
Associate curator of photography at The Minneapolis Institute of Arts, describe Evans's photographic vision and include fascinating information about the acquisition history of many of the photographs in this book. Illustrated with almost one hundred high-quality black-and-white photographs, Walker Evans presents the full breadth of Evans's expansive and varied photographic art.
These essays cover a range of topics, including art and architecture, religion, and literature in a collage of ideas, commentary, and criticism from snake handling to Wallace Stevens.
Over the course of the past 40 years, painter John Wesley has created a remarkably singular body of work whose subject is no less than the American psyche. While many artists of his generation have used popular images to explore the cultural landscape, Wesley has employed comic strip style and compositional rigor to make deeply personal, often hermetic paintings that strike at the core of our most primal fears, joys and desires. In this first volume ever to collect the entire iconic Bumstead series, which spans from 1974 until the present, we are introduced to several paintings that have never been reproduced before. These are dark and erotic works, sly and witty without ever giving too much away. Linda Norden described them thus in Parkett 62: "The Bumstead paintings--whether detailing scenes of domestic misunderstanding, zooming in on off-camera moments of bafflement or simply scanning empty halls and walls for private memories--are excruciatingly specific representations of the gulfs between feeling and comprehension... smart, funny, startling, irreverently empathetic and often heartbreaking, they are a welcome antidote to more laborious discourse." With an insightful new essay by Robert Hobbs.
This volume in the Museum with No Frontiers Exhibition series contains four introductory essays on Islamic art in the Mediterranean, 14th- and 15th-century western Anatolian history and art and social life in Emirates and Early Ottoman periods. The rest of the book contains eight itineraries for exploring the sites and monuments of Turkey which take nine days to complete. Details on location, with maps, and the types of monuments and sites that can be visited are included, along with lots of colour photographs and plans.