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Rewald Seminar
Rewald Seminars take place every two weeks, and offer an opportunity for faculty and students to hear cut-edge enquiry in progress by scholars from inside and outside CUNY.
John Rewald (1912-1994) was a Distinguished Professor of Fine art History at the Graduate Middle, starting time in 1971. Rewald was known for his of import work in tardily 19th century art, particularly The History of Impressionism, published in 1946. The Rewald endowment was established to support art history students and is used to fund our annual Rewald seminar series focusing on new research in progress from outside of and within CUNY. The Rewald endowment also funds ii to three student-led conferences a year, amongst other scholarly activities.
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Art History Faculty Books
Turks, Jews, and Other Germans in Contemporary Art
WithTurks, Jews, and Other Germans in Contemporary Fine art, Peter Chametzky presents a view of visual culture in Federal republic of germany that leaves behind the usual suspects — those artists who boss discussions of gimmicky High german art, including Gerhard Richter, Anselm Kiefer, and Rosemarie Trockel — and instead turns to those artists not besides known outside Frg, including Maziar Moradi, Hito Steyerl, and Tanya Ury. In this outset book-length examination of Germany's multicultural fine art scene, Chametzky explores the work of more than thirty German artists who are (among other ethnicities) Turkish, Jewish, Arab, Asian, Iranian, Sinti and Roma, Balkan, and Afro-German.
With a title that echoes Peter Gay'due south 1978 collection of essays,Freud, Jews and Other Germans, this book, similar Gay's, rejects the idea of "u.s." and "them" in German culture. Discussing artworks in a variety of media that both critique and expand notions of identity and customs, Chametzky offers a counternarrative to the fiction of an exclusively white, Christian High german culture, arguing for a cosmopolitan Germanness. He considers works that deploy disquisitional, confrontational, and playful uses of language, especially German language and Turkish; that assert the presence of "foreign bodies" amongst the German body politic; that grapple with food as a cultural marker; that engage with mass media; and that depict and inhabit spaces imbued with the element of time.
American discussions of German contemporary art have largely ignored the emergence of non-indigenous Germans as some of Germany'due south virtually important visual artists.Turks, Jews, and Other Germans in Contemporary Fine artfills this gap.
Chametzkyreceived a Ph.D. in Fine art History from the Graduate Center in 1991.
Published December 2021
MIT Printing, 2021
Flashback, Eclipse: The Political Imaginary of Italian Art in the 1960s
Zone Books, 2021
Flashback, Eclipseis a groundbreaking written report of 1960s Italian art and its troubled but as well resourceful relation to the history and politics of the showtime function of the twentieth century and the aftermath of World War Two. Most analyses accept treated the 1960s in Italia as the decade of "presentism" par excellence, a political decade merely ane liberated from history. Romy Golan, however, makes the counterargument that 1960s Italian artists did not forget Italian and European history merely rather reimagined it in oblique form. Her volume identifies and explores this imaginary through two forms of nonlinear and incomparably nonpresentist forms of temporality—the flashback and the eclipse. In view of the photographic and filmic nature of these two concepts, the volume's analysis is largely mediated by black-and-white images culled from art, design, and compages magazines, photograph books, film stills, and exhibition documentation.
The book begins in Turin with Michelangelo Pistoletto's Mirror Paintings; moves on toCampo urbano, a one-day event in the city of Como; and ends with theVitalità del Negativo exhibition in Rome. What is being recalled and at other moments occluded are non simply episodes of Italian nationalism and Fascism only also diverse liberatory moments of political and cultural resistance. The volume's main protagonists are, in order of appearance, artists Michelangelo Pistoletto and Giosetta Fioroni, photographer Ugo Mulas, Ettore Sottsass (every bit critic rather than designer), graphic designer Bruno Munari, curators Luciano Caramel and Achille Bonito Oliva, architect Piero Sartogo, Carla Lonzi (every bit artist as much every bit critic), filmmakers Michelangelo Antonioni and Bernardo Bertolucci, and, in flashback among the departed, painter Felice Casorati, author Massimo Bontempelli, art historian Aby Warburg, architect Giuseppe Terragni, and Renaissance friar-philosopher-mathematician Giordano Bruno (equally patron saint of the lx-eighters).
Published November 2021
Dressing Up: The Women Who Influenced French Fashion
How wealthy American women — every bit consumers and as influencers — helped shape French couture of the late nineteenth century; lavishly illustrated.
French manner of the tardily 19th century is known for its attraction, its ineffable chichi — think of John Singer Sargent'southward Madame Ten and her scandalously slipping strap. For Parisian couturiers and their American customers, it was likewise serious business concern. InDressing Up, Elizabeth Block examines the couturiers' influential clientele — wealthy American women who bolstered the French way manufacture with a steady stream of orders from the United States. Countering the usual narrative of the designer equally solo artistic genius, Block shows that these women — as high-volume customers and every bit pre-Internet influencers — were agile participants in the era's transnational fashion system.
Cake describes the arrival ofnouveau riche Americans on the French fashion scene, joining European royalty, French socialites, and famous actresses on the client rosters of the best fashion houses—Charles Frederick Worth, Doucet, and Félix, amidst others. She considers the mutual dependence of couture and coiffure; the participation of couturiers in international expositions (with mixed financial results); the distinctive shopping practices of American women, which ranged from extensive transatlantic travel to quick trips downtown to the department store; the operation of conspicuous consumption at balls and soirées; the impact of American tariffs on the French fashion industry; and the emergence of smuggling, theft, and illicit copying of French fashions in the American market as the center class emulated the preferences of the rich. Lavishly illustrated, with vibrant images of dresses, portraits, and manner plates,Dressing Up reveals the power of American women in French couture.
Winner of the Aileen Ribeiro Grant of the Clan of Dress Historians; an Association for Art History grant; and a Pasold Enquiry Fund grant.
Blockreceived a Ph.D. in Fine art History from the CUNY Graduate Center in 2011.
Published Oct 2021
The MIT Press, 2021
Designing Maternity: Things that Brand and Break Our Births
Michelle Millar Fisherand Amber Winick
While birth ofttimes brings cracking joy, making babies is a knotty enterprise. The designed objects that surround us when it comes to menstruation, birth control, formulation, pregnancy, childbirth, and early maternity vary as oddly, messily, and dramatically every bit the stereotypes advise. This smart, epitome-rich, fashion-forwards, and design-driven book explores more than 80 designs — iconic, conceptual, archaic, titillating, emotionally charged, or simply obviously strange — that take divers the relationships between people and babies during the by century.
Each object tells a story. In striking images and engaging text, Designing Motherhood unfolds the compelling design histories and existent-world uses of the objects that shape our reproductive experiences. The authors investigate the baby carrier, from the Snugli to BabyBjörn, and the (re)discovery of the varied traditions of baby wearing; the necktie-waist skirt, famously worn by a pregnant Lucille Ball onI Love Lucy, and essential for camouflaging and slowly normalizing a public pregnancy; the dwelling house pregnancy kit, and its threat to the potency of male gynecologists; and more. Memorable images — including historical ads, plant photos, and drawings — illustrate the crucial role design and material civilisation plays throughout the arc of human reproduction.
The book features a prologue by Erica Chidi and a foreword by Alexandra Lange.
Millar Fisheris a Ph.D. candidate in Art History at the CUNY Graduate Heart.
Published August 2021
MIT Press, 2021
From City Space to Cyberspace: Art, Squatting, and Internet Culture in holland
Amanda Wasielewski
The narrative of the birth of net civilization frequently focuses on the achievements of American entrepreneurs in Silicon Valley, simply in that location is an alternative history of internet pioneers in Europe who developed their own model of network culture in the early 1990s. Cartoon from their experiences in the leftist and anarchist movements of the '80s, they built DIY networks that requite usa a glimpse into what net culture could have been if it were in the hands of squatters, hackers, punks, artists, and activists. In the Dutch scene, the early internet was intimately tied to the aesthetics and politics of squatting. Untethered from profit motives, these artists and activists aimed to create a decentralized tool that would democratize culture and promote open and gratuitous substitution of information.
Wasielewski received a Ph.D. in art history in 2019 from the CUNY Graduate Centre.
Published August 2021
Amsterdam University Press, 2021
Teachable Monuments: Using Public Art pinnacle Spark Dialogue and Confront Controversy
Bloomsbury, 2021
Sierra Rooney. Jennifer Wingate andHarriet F. Senie
Monuments around the world take become the focus of intense and sustained discussions, activism, vandalism, and removal. Since the convulsive events of 2015 and 2017, during which white supremacists committed violence in the shadow of Amalgamated symbols, and the 2020 nationwide protests against racism and police brutality, protesters and politicians in the United States have removed Confederate monuments, as well every bit monuments to historical figures like Christopher Columbus and Dr. J. Marion Sims, questioning their legitimacy as present-day heroes that their place in the public sphere reinforces. The essays included in this anthology offer guidelines and case studies tailored for students and teachers to demonstrate how monuments tin be used to deepen civic and historical engagement and social dialogue. Essays analyze specific controversies throughout North America with diverse outcomes as well as examples of monuments that convey outdated or unwelcome value systems without prompting debate.
Published Baronial 2021
Restless Enterprise: The Art and Life of Eliza Greatorex
University of California Press, 2020
Eliza Pratt Greatorex (1819–1897) was America'southward most famous woman artist in the mid-nineteenth century, but today she is all but forgotten. Get-go with her Irish roots, this biography brings her art and life dorsum into focus. Breaking conventions for female artists at that time, Greatorex specialized in landscapes and streetscapes, traveling from the Hudson River to the Colorado Rockies and beyond Europe and N Africa. Her crowning achievement, a monumental tome of drawings and narratives titledErstwhile New York, awakened the public to the destruction of the metropolis's architectural heritage during the post–Civil War era. Exploring Greatorex'due south trigger-happy ambition and artistic path, Katherine Manthorne reveals how her success at forging an independent career in a male-dominated world shaped American gender politics, visual civilisation, and urban consciousness.
Published December 2020
Claire Bishop in conversation with/en conversación con Tania Bruguera
Fundación Cisneros/Colección Patricia Phelps de Cisneros; Bilingual edition, 2020
A controversial effigy working in installation and performance, Cuban artist Tania Bruguera (born 1968) has consistently blurred the lines between fine art and activism. Defining herself as an initiator rather than an author, she ofttimes invites spectator participation and works in a collaborative mode, working with various organizations, institutions and individuals to challenge political and economic power structures and the control they hold over society. She researches and executes the ways in which art can be applied to everyday life, and how its furnishings can translate into political action. From offering Cubans one minute of uncensored time in Havana's Plaza de la Revolución (#YoTambienExijo, 2014) to operating a flexible community middle in Corona, Queens (Immigrant Motility International, 2011), Bruguera strives to make Arte Útil (Useful Art), an art that imagines and provides tools to bring almost social change.
This volume is the eleventh championship in the Fundación Cisneros' Conversaciones/Conversations serial, and features an in-depth conversation between the artist and the renowned art historian Claire Bishop. In this interview, Bruguera tells her own story, recounting the evolution of her early work in 1980s Cuba, motivated by her political activism, and her shift from intimate performances to the orchestration of the big-scale interactive situations and events that narrate her work today.
Published Oct 2020
Moving-picture show and Modern American Fine art: The Dialogue Between Cinema and Painting
Routledge, 2020
Between the 1890s and the 1930s, moving-picture show going became an established feature of everyday life across America. Movies constituted an enormous visual data bank and changed the way creative person and public alike interpreted images. This book explores mod painting as a response to, and an appropriation of, the aesthetic possibilities pried open by cinema from its invention until the outbreak of World War 2, when both the art globe and the film industry inverse substantially. Artists were watching movies, filmmakers studied fine arts; the membrane betwixt media was porous, allowing for fluid exchange. Each affiliate focuses on a suite of films and paintings, cleaved downwardly into facets and and then reassembled to elucidate the distinctive art–motion-picture show nexus at successive celebrated moments.
Published September 2020
Women in the Nighttime: Female Photographers in the U.S., 1850-1900
Schiffer, 2020
Recover the stories of long-disregarded American women who, at a time when women rarely worked outside the home, became commercial photographers and shaped the new, challenging medium. Covering ii generations of photographers ranging from New York City to California'due south mining districts, this report goes across a broad survey and explores individual careers through principal sources and new materials. Profiles of the photographers animate their careers by exploring how they began, the details of running their own studios, and their visual output. The featured photos vary in form—daguerreotype, tintype, menu de visite, and more—and discipline, including Ceremonious State of war portraits, postmortem photography, and landscape photography. This welcome resources fills in gaps in photographic, American, and women's history and convincingly lays out the parallels between the growth of photography as an available medium and the late-19th-century women's movement.
Published September 2020
Theodore Wendel: True Notes of American Impressionism
Laurene Buckley
I of the get-go American artists to bring French Impressionism home to develop on native soil, Theodore Wendel is likely the last to accept a monograph that records his remarkable career and stunning oeuvre. His portraits and notwithstanding lifes, and especially his landscapes, not only exemplify the joyous palette and vigorous brushwork of the genre, just they also mirror the idyllic, transient beauty of rural hamlets along the Massachusetts declension — Gloucester and Ipswich, the dual epicenters of his distinguished career.
I of the original "Duveneck boys" who studied in Munich at the Majestic Academy, Wendel followed his mentor to Florence and Venice; he after went on to Paris and ultimately joined a colony of young artists at Giverny. The scenes and discipline matter in the works he completed at that place are among the earliest by an American artist to adopt and evolve Impressionist strategies. Upon his return to America, he spent the side by side decades rendering scenes of the farmland and declension northward of Boston that contemporary critics acclaimed equally some of the best they had seen. Yet despite his talent and the significant accolades earned during his career, in the near-century post-obit his death the recognition of his achievements has faded. The Artist Volume Foundation is delighted to have the opportunity to remedy this state of affairs with this monograph on the creative person,Theodore Wendel: Truthful Notes of American Impressionism.
Laurene Buckley's years of exhaustive research inform an engaging and detailed narrative of Wendel's fourth dimension in Europe and his many years capturing the essence of the farms and fishing villages along the rural coast of Massachusetts. Thanks to her efforts, the book features many of his best works, a number of which are in private collections. An informative introduction past William H. Gerdts provides significant artistic context for Wendel and explains the artist's deft ability to draw the viewer into a scene.
Buckleyreceived her Ph.D. in art history in 1996 from The Graduate Center.
Published September 2019
The Creative person Book Foundation, 2019
From Darkness to Calorie-free: Writers in Museums, 1798-1898
Open Volume Publishers, 2019
Katherine Manthorne and Rosella Mamoli Zorzi
From Darkness to Light explores from a variety of angles the field of study of museum lighting in exhibition spaces in America, Nippon, and Western Europe throughout the nineteenth and twentieth centuries.
Written by an array of international experts, these collected essays gather perspectives from a various range of cultural sensibilities. From sensitive discussions of Tintoretto'south unique approach to the play of light and darkness as exhibited in the Scuola Grande di San Rocco in Venice, to the development of museum lighting as part of Japanese artistic self-fashioning, via the story of an epic American painting on bout, museum illumination in the work of Henry James, and lighting alterations at Chatsworth (to name simply a few topics) this book is a treasure trove of illuminating contributions.
The collection is at once a refreshing insight for the enthusiastic museum-goer, who is brought to an awareness of the exhibit in its immediate environment, and a wide-ranging scholarly compendium for the professional who seeks to proceed in their academic or curatorial work with a more than enlightened sense of the lighted space.
Published April 2019
The Rockies and the Alps: Bierstadt, Calame & the Romance of the Mountains
GILES, 2018
Katherine Manthorne and Tricia Laughlin Bloom
Inspired by the grandeur of the Rockies and the Alps, American and European artists strove to capture their power in paint. Landscapes of soaring peaks and spectacular vistas became increasingly popular in the mid-nineteenth century, when photographers, scientists, and armchair travelers were enkindling to these wonders. Creative interests coincided with the ascent of tourism, as improved transportation and accommodations made mountains and glaciers more accessible. This richly illustrated volume brings together dazzling depictions of the Rockies and the Alps, while examining the dialogue between artists who visited and recorded these geographically distant ranges.
2 central figures highlighted are Swiss painter Alexandre Calame (1810–1864), frequently identified with Alpine views of torrents, glaciers, and gorges, and Albert Bierstadt (1830–1902), whose impressive canvases oft provided American audiences with their kickoff glimpse of the Rockies and the western frontier. Their contemporaries included J.M.West. Turner, John Ruskin, painters of the Hudson River School Thomas Cole, Worthington Whittredge, and John F. Kensett, and photographers Carleton Watkins and Eadweard Muybridge.
The Rockies and the Alps features contributions by four outstanding scholars who investigate how geology, flora and fauna, and social and literary contexts relate to the ascension of alpine landscape painting. Each essay explores the close connections amongst these artists and various layers of symbolism these mountain images carried, revealing how the same landscape paintings that became archetypal symbols of American identity were in fact the product of a dialogue between American and European artists.
Published February 2018
California Mexicana: Missions to Murals, 1820-1930
University of California Press, 2017
Following the U.Southward.-Mexican War (1846–1848), lands that had for centuries belonged to New Spain, and later to Mexico, were transformed into the xxx-first land in the The states. This procedure was facilitated by visual artists, who forged distinct pictorial motifs and symbols to establish the state's new identity. This commonage cultural inheritance of the Spanish and Mexican periods forms a central current of California history but has been merely sparingly studied past cultural and art historians.California Mexicana focuses for the first time on the range and vitality of artistic traditions growing out of the unique amalgam of Mexican and American civilization that evolved in Southern California from 1820 through 1930. A study of these early regional manifestations provides the essential matrix out of which emerge later art and cultural bug. Featuring painters, printmakers, photographers, and mapmakers from both sides of the border, this collection demonstrates how they fabricated the Mexican presence visible in their fine art. This beautifully illustrated catalogue addresses ii key areas of inquiry: how Mexico became California, and how the visual arts reflected the shifting identity that grew out of that transformation.
Published in association with the Laguna Art Museum, and as part of the Getty's Pacific Standard Time: LA/LA.
Published October 2017
Traveler Artists: Landscapes of Latin America from the Patricia Phelps de Cisneros Collection
Fundación Cisneros/Colección Patricia Phelps de Cisneros, 2015
In the 19th century, European and North American travelers illustrated narratives of their explorations in the New Earth that were published in Europe. Europeans imagined the torrid zone every bit a site for cultural imperialism and fantasies of self-realization. Traveler artists often authenticated this perception by presenting the landscape as an enchanted state. Later in the century, native artists began to pick upward the European landscape tradition and reverberate on their own civilization through a different lens.Traveler Artists contributes new scholarship to this burgeoning field and offers original research on 52 artworks past such fundamental figures as Frans Post, Frederick Edwin Church, José María Velasco and Auguste Morisot, many of which are reproduced here for the first time.
Published October 2015
Radical Museology, or, What's Contemporary in Museums of Contemporary Art?
Koenig Books, 2014
In the face of austerity cuts to public funding, a handful of museums of contemporary fine art have devised compelling alternatives to the mantra of 'bigger is ameliorate and richer'.
InRadical Museology, art historian and critic, Claire Bishop presents the collection displays of the Van Abbemuseum in Eindhoven, the Museo Nacional de Reina Sofía in Madrid and MSUM in Ljubljana every bit outlines of a new understanding of the contemporary in gimmicky art.
Rather than denoting presentism, the contemporary comes to bespeak a dialectical method: scouring the by for the origins of our present historical moment, which in turn is the determining motivation for our interest in the by. It is an anachronic action that seeks to reboot the hereafter through the unexpected appearance of a relevant past.
Accompanying and complimenting Claire Bishop's text are illustrations by artist Dan Perjovschi.
Published February 2014
Theresa Bernstein: A Century in Art
The American artist Theresa Ferber Bernstein (1890-2002) fabricated and exhibited her work in every decade of the twentieth century. This administrative book provides an overview of her life and artistic career, examining her relationships with gimmicky artists. Working in realist and expressionist styles, she treated the major subjects of her time, including the fight for women'southward suffrage, the plight of immigrants, World State of war I, jazz, unemployment, racial discrimination, and occasionally explicitly Jewish themes. This volume includes thematic essays and more than than two hundred images, from full-color reproductions of her fine art to rare documentary photographs, many published hither for the kickoff fourth dimension. The book also includes a detailed chronology of Bernstein'south life, a list of public collections, and a list of her writings.
Published Nov 2013
University of Nebraska Press, 2013
Strange Beauty: Issues in the Making and Meaning of Reliquaries, 400 - circa 1204
Reliquaries, ane of the central art forms of the Center Ages, have recently been the object of much interest amidst historians and artists. Until now, nonetheless, they have had no treatment in English that considers their history, origins, and place within religious practice, or, above all, their dazzler and aesthetic value. InStrange Beauty, Hahn treats issues that cut across the class of medieval reliquaries equally a whole. She is particularly concerned with portable reliquaries that often contained tiny relic fragments, which purportedly allowed saints to actively exercise ability in the world. Above all, Hahn argues, reliquaries are a form of representation. They rarely simply describe what they contain; rather, they prepare the viewer for the appropriate reception of their precious contents and found the 'story' of the relics, and thus engage the viewer in means that are persuasive or rhetorical.
Published July 2012
Penn State University Press, 2012
Artificial Hells: Participatory Art and the Politics of Separation
Verso, 2012
A searing critique of participatory fine art past an iconoclastic historian.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to have part an artist tin promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to functioning theorists such as Shannon Jackson.
Artificial Hells is the first historical and theoretical overview of socially engaged participatory fine art, known in the US equally "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines central moments in the evolution of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentine republic and Paris; the 1970s Customs Arts Movement; and the Artists Placement Group. It concludes with a word of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Paweł Althamer and Paul Chan.
Since her controversial essay inArtforum in 2006, Claire Bishop has been i of the few to challenge the political and aesthetic ambitions of participatory fine art. InBogus Hells, she non only scrutinizes the emancipatory claims made for these projects, but as well provides an alternative to the ethical (rather than artistic) criteria invited past such artworks. Artificial Hells calls for a less prescriptive approach to fine art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Published July 2012
Lee Krasner: A Biography
This offset full-length account of Lee Krasner's colorful life challenges previous portrayals of the painter and wife of Jackson Pollock, showing that she was an independent and resourceful woman of uncompromising talent and prodigious energy. She emerges as a pregnant creative person who deserves her place in the twentieth century'south cultural lexicon and artistic pantheon. Levin also probes Krasner's relationship with Pollock, examining how this stiff woman struggled to meet the challenges of their poverty, every bit well every bit her husband's alcoholism and extramarital diplomacy, all the while encouraging his art. Drawing on new sources and numerous personal interviews-including with Krasner, whom Levin interviewed during the last years of the artist's life-the author uncovers never-before-told stories of how Krasner skillfully marketed Pollock'southward piece of work and how this eventually raised prices for all the abstract expressionists. The volume was listed as an editors' choice in theNew York Times on July 17.
Published March 2011
William Morrow, 2011
Installation Fine art: A Disquisitional History
Tate, 2011
What has been loosely termed Installation Art, dominates the exhibition programmes of galleries worldwide. However, while information technology is much discussed information technology has rarely been clearly divers. Installation Fine art provides, for the get-go time, a articulate account of the ascension of this at present prevalent strand of contemporary fine art. Author Claire Bishop provides both a history and a full critical exam of installation art, in a survey of the course that is both thorough and accessible. While revising and, in some cases, re-assessing many well-known names in mail service-1960 art, information technology will also innovate the audience to a wider spectrum of younger artists yet to receive serious critical attending.
Artists featured include Vito Acconci, Michael Asher, Joseph Beuys, Christian Boltanski, Marcel Broodthaers, Judy Chicago, Olafur Eliasson, Felix Gonzales-Torres, Dan Graham, Group Material, Ann Hamilton, Thomas Hirschhorn, Carsten Holler,, Robert Irwin, Isaac Julien, Ilya Kabakov, Yayoi Kusama, Cildo Meireles, Robert Morris, Bruce Nauman, Mike Nelson, Helio Oiticica, Claes Oldenburg, Robert Smithson, Paul Thek, Rirkrit Tiravanija James Turrell, Nib Viola and Richard Wilson.
Published Jan 2011
Fern Hunting among These Picturesque Mountains: Frederic Edwin Church in Jamaica
In 1865 the American landscape painter Frederic Edwin Church and his wife, Isabel, traveled to Jamaica on a sojourn of recovery after the tragic deaths of their two young children. A fourth dimension to mourn and escape from the constant reminders found at their dwelling house, Olana, the Churches' trip to Jamaica also provided ample inspiration for Frederic. The Olana Drove includes 8 oil sketches, an ink drawing, and a pencil drawing Church building made in Jamaica. V of these oil sketches on newspaper Church chose to mount to sheet and frame for his and Isabel'south enjoyment; from these works, and others held by the Cooper-Hewitt, Church building created 2 major studio oils,The Vale of St. Thomas, Jamaica (1867) and The Subsequently Glow (1867). The volume includes 48 color illustrations, as well as essays by Elizabeth Mankin Kornhauser (on Church's Jamaica work) and Katherine Manthorne (about Church's friends and fellow artists who also traveled to Jamaica to paint).
Published June 2010
Cornell University Press, 2010
Muralnomad: The Paradox of Wall Painting, Europe 1927-1957
In this fascinating and generously illustrated book, Romy Golan explores mural and landscape-like works in Europe from the 1920s to the 1950s, beginning with Monet's installation of the Nymphéas at the Musée de l'Orangerie in Paris, and ending dramatically with Le Corbusier's huge tapestries in Chandigarh, India.
Many artists and critics looked to the mural as a corrective to the ills of painterly Modernism: the disruption of the pictorial field at the hands of Cubism and other advanced practices; the commodification of painting through the market for easel paintings; and more by and large the alienation of homo and the anomie of art in the modernistic condition.
At the same time it was clear that a return to the mural format would never exist more than an anachronistic and futile gesture. This book is therefore about landscape paintings that are non convinced they vest on walls: such foreign objects as mosaics designed to exist disassembled; paintings that resemble large-scale photographs, or photomurals; and tapestries that functioned as portable woolen walls. The author argues that the uncertain relation of these objects to the wall is symptomatic of the dilemmas that troubled European fine art, artists, and architects during the middle decades of the twentieth century.
Published September 2009
Yale University Press (translated in French and published past Macula, 2018)
Double Amanuensis
Double Agent is the exhibition catalogue for London'south Institute of Contemporary Arts exhibition which ran from February 14 to April half dozen, 2008, featuring international artists Pawel Althamer, Phil Collins, Dora Garcia, Joe Scanlan, Christoph Schlingensief, Barbara Visser, Donelle Woolford, and Artur Zmijewski. The works of these artists raise questions of performance and authorship, and peculiarly the bug that arise when the artist is no longer the central amanuensis in his or her ain work, but instead operates through a range of individuals, communities, and surrogates. Double Amanuensis explores the ethics of operation and representation, including the ability relations involved in the use of non-professional subjects.
Published January 2009
Institute of Contemporary Arts, 2009
Eve'south Daughter/Modern Woman: A Mural past Mary Cassett
Sally Webster reevaluates the typical dismissals of Mary Cassatt as an creative person lacking radical convictions with an historical, artful, and symbolist analysis of Cassatt'sModernistic Woman, a unique venture into the male-dominated realm of large-calibration mural painting deputed for the Woman's Building at Chicago's 1893 World's Columbian Exposition. The author undertakes a complete overview of the mural, synthesizing a wide multifariousness of interpretations and original observations to present the start complete treatment of the piece of work. She connects the symbolism of the painting to Cassatt'due south life as a adult female artist and a fellow member of the Parisian avant-garde, and to the history of woman's emancipation. Dr. Webster ends with a detective story every bit she joins the hunt to unravel the mystery of the now-missing mural, last known to be in the possession of Mrs. Potter Palmer (of Chicago's Palmer House family). Sally Webster is a professor of fine art history at Lehman College and the Graduate Center.
Published August 2008
University of Illinois Press, 2008
Hellenistic and Roman Ideal Sculpture: The Allure of the Classical
While searching for the origins of classicism in Western art, Rachel Kousser offers a case study of a sculptural type most often accounted as extraordinarily conservative: the forceful however erotic image of Venus, as institute in Hellenistic and Roman ideal sculpture. Her scholarly analysis, the kickoff of this type, argues that the Romans self-consciously employed such sculpture to represent their ties to the by in a rapidly evolving world, thereby subtly exemplifying their preference for the retrospective. She addresses historical development and the Roman adaptation for context, rather than adherence to an original. At the same time, Kousser reevaluates major monuments, including the Venus de Milo, the Cavalcade of Trajan, and the Arch of Constantine.
Published June 2008
Cambridge University Press, 2008
Condign Judy Chicago: A Biography of the Artist
Judy Chicago, artist, writer, feminist, educator, and intellectual whose career now spans four decades, radically changed our understanding of women'due south contributions to art and to gild. Although one time disparaged and misunderstood by the critics, Chicago'due south innovative works, such every bitThe Dinner Political party (1974-79), have become icons of the feminist art movement, earning her a identify amongst the well-nigh influential artists of her fourth dimension. Gail Levin draws upon Chicago's personal letters and diaries, her published and unpublished writings, and more than 250 new interviews with her friends, family, admirers, and critics, to give a richly detailed story of a bully creative person, a leader of the women's move, a tireless crusader for equal rights, and a complicated, vital adult female who has dared to express her ain sexuality in her art and demand recognition from a male person-dominated culture.
Published February 2007
Random House, 2007
Participation
MIT Press, 2006
Art that seeks to produce situations in which relations are formed amidst viewers is placed in historical and theoretical context in key writings by critics and artists.
The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century fine art. This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone and so far equally to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational fine art seeking to claiming and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic evolution in historical and theoretical context.
Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter Bürger, Jen-Luc Nancy, Edoaurd Glissant, and Félix Guattari, as well as the first translation into English of Jacques Rancière's influential "Problems and Transformations in Critical Art." The volume too includes central writings by such artists equally Lygia Clark and Hélio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist.
Published December 2006
Modernity and Nostalgia: Art and Politics in France Betwixt the Wars
Yale University Press, 1995
For nigh of the nineteenth century and the outset decade of the twentieth, France embodied the very essence of artistic modernism. Nevertheless, in this original and perceptive study, Romy Golan argues that, after the Outset Globe State of war, traumatized by the experience of the trenches and so by the stranglehold of the Low, French republic suffered a crisis of confidence so profound that it initiated a period of cultural, political, and economic retrenchment that lasted into the Vichy years. The image that French republic acquired of itself—equally a rural, feminine, feudal, and victimized order—was not only reflected in the art of the period only was to a big extent fashioned and conditioned by it.
Golan argues that reactionary bug such every bit anti-urbanism, the return to the soil, regionalism, corporatism, and doubts virtually the new applied science became central to cultural and art historical discourse. Focusing on the overlap of avant-garde and middle-of-the-road production, she investigates the import of these problems not only in painting, sculpture, and architecture (concentrating on the work of Léger, Picasso, Le Corbusier, Ozenfant, Derain, the Surrealists, and the and so-callednaïfs), merely also in the decorative arts, in the spectacle of globe and colonial fairs, and in literature. Throughout she finds evidence that artists turned from the aesthetics of the automobile age toward a more than xenophobic, organic, naturalistic art. This leads her to ask whether the famous and momentous shift of the avant-garde from Paris to New York in 1939 did not, in fact, begin 2 decades earlier, in 1918. Co-ordinate to Golan, it was in democratic France of this period, rather than in Fascist Italy or Nazi Federal republic of germany, that one finds the most compelling demonstration of the subconscious interaction of art and credo.
Published October 1995
Source: https://www.gc.cuny.edu/art-history/news-and-events
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