Best known for evocative box-constructions in which he assembled small objects and ephemera, the American surrealist Joseph Cornell (1903-72) was also a devoted fan of the cinema. He thrived on almost daily visits to movie theaters, amassed archives of films and film stills, created short motion pictures, and produced works honoring his favorite females movie stars. This book examines for the first time Cornell's "portrait-homages" to these actresses, Hedy Lamarr, Lauren Bacall, Greta Garbo, and Jennifer Jones, among others.
Focusing on Cornell's "cinematic imagination" and the ways he adapted techniques of accumulation, collection, and juxtaposition to the art of portrayal, Jodi Hauptman argues that Cornell's movie star portraits are his most emblematic works. She shows how each portrait is inflicted by the star's personality, roles, and the moment of a particular film's release and how Cornell ultimately transforms each of his subjects. Hauptman also explores the links between collection and desire, contending that Cornell is both a surrealist and a historian: his accumulation of cast-offs echoes surrealism's infatuation with the found object while his attempts to rescue swiftly disappearing pasts reenact the historian's labor in the archive.
A journey along the historical spectrum of Celtic art, from the rich treasures found throughoutIron Age Europe, through the flowering ofmetalwork, sculpture and manuscriptillumination, to the revivals attempted today.
Art today may seem perplexing at first with its divergent styles, forms, practices, media, and agendas. Michael Archer's intelligently argued survey is unique in revealing and making coherent sense of art practice from the past forty years--Pop, Minimal, Conceptual, Land, Performance, Body, and Installation--and myriad developments in the work of Warhol, Beuys, Bourgeois, and the many other artists whose works are discussed and illustrated here.
The story of one of the most famous statues in history is fully told here, from the unearthing of the statue in 1820 through quibbles among the French, Germans, and Turks, over who should possess her.
Presented in the form of ABC questions, Balthus: In His Own Words reveals the artist's personal universe. "B" for beauty, "H" for Homer, "M" for Mozart, "S" for SOS, Balthus takes us through his intimate thoughts and views on everything from Paris to Chinese calligraphy. Balthus (1908-2001) learned how to paint at the Louvre museum and in Italy. A figurative artist, he gained a reputation for his incisive style and incredible precision. Balthus sometimes spent years on one painting, obsessively observing and re-creating on canvas. Later, he focused on the nude, particularly adolescent girls, which fell halfway between innocence and perversion. As the last book written in his own words prior to his death, this work has even more significance. The artist's voice shines through, offering an authentic and personal perspective.
In the 1960's and 1970's, American professor Norton Dodge forayed on his own in the Soviet Union, bought the work of underground unofficial artists, and brought it out himself or arranged to have it shipped illegally to the United States. John McPhee investigates Dodge's clandestine activities in the service of dissident Soviet art, his motives for his work, and the fates of several of the artists whose lives he touched. The Ransom of Russian Art is a suspenseful, chilling, and fascinating report on a covert operation like no other.
Man Ray (1890-1976) has long been considered one of the most versatile and innovative artists of the twentieth century. As a painter, writer, sculptor, photographer, and filmmaker, he is best known for his intimate association with the French Surrealist group in Paris during the 1920s and 1930s, particularly for his highly inventive and unconventional photographic images. These remarkable accomplishments, however, have tended to overshadow the importance of his earlier work--significant not only for comprehending Man Ray's future artistic development, but also for fleshing out our understanding of the visual arts in America during one of the most important and crucial phases of the evolution of modernism.The book, and the exhibition for which this work will serve as the catalog, concentrate on Man Ray's production from 1907 to 1917. Conversion to Modernism will be the first comprehensive, fully illustrated work to examine this artist's seminal years. The show and the catalog begin with Man Ray's high school years in Brooklyn, his studies at the Art Students League and the American Academy in New York, and the time he spent in life drawing classes at the more progressive Ferrer Center From 1913 to 1915, Man Ray lived in a small artists' colony in Grantwood, New Jersey. It was here, studying with Samuel Halpert (a former student of Matisse), that Man Ray began to become the artist we know today. The last section of the show and of the book include recently discovered photographs and other works that are influenced by a knowledge of the emergent Dada movement. Here is Man Ray in recognizable form just before he leaves the country for France in 1921. This exhibit will first be on display at the Montclair Art Museum from January 26 through March 2003. It will then travel to museums in Athens, Georgia, Philadelphia, and Chicago.
Paul Klee was endowed with a rich and many-sided personality that was continually spilling over into forms of expression other than his painting and that made him one of the most extraordinary phenomena of modern European art. These abilities have left their record in the four intimate Diaries in which he faithfully recorded the events of his inner and outer life from his nineteenth to his fortieth year. Here, together with recollections of his childhood in Bern, his relations with his family and such friends as Kandinsky, Marc, Macke, and many others, his observations on nature and people, his trips to Italy and Tunisia, and his military service, the reader will find Klee's crucial experience with literature and music, as well as many of his essential ideas about his own artistic technique and the creative process.
Wanda M. Corn's long-awaited new book proposes a remarkable revisioning of the history of American modern art between the two world wars. Moving away from issues of style and abstraction, she bases her work on a broad examination of culture and on discourses of national identity. Corn argues that the key questions for interwar modernists in New York and Paris were whether or not it was possible to create an art that was both American and modern, and if it was, what such an art would look like. Both European and American artists debated these questions and made art that responded to them.Corn organizes each chapter around a careful reading of a work of art, probing first its peculiar poetry and style and then its connection to its artist and the cultural influences surrounding it. The result is an unfolding of the work's contingent relationships with history, literature, art criticism, music, and popular culture. The works she examines--from those made by the Stieglitz circle to those by European Dadaists--were part of the quest for "the Great American Thing," a quest that was international in scope and that inspired a decade of vibrant cultural exchange between the art capitals of Europe and New York. Passionate and eminently readable, with more than 300 illustrations--drawings, paintings, sculptures, advertisements, cartoons, and documentary photographs--The Great American Thing indelibly alters the way we think about the first decades of American modernism and the legacy it created.
Few individuals have had a greater influence on the development of Western painting than the 16th-century Venetian artist Titian. His vibrant colours and exciting brushwork have made his work a constant inspiration to artists, from Rubens to the Impressionists and beyond. Every generation has found something new to admire in his astonishing technique, which enabled him to produce fresh interpretations of the most familiar religious and mythological stories as well as portraits and landscapes.